Synonyms for cancelli or Related words with cancelli

invrea              grecanico              turri              breme              barlassina              bozzolo              padovano              brolo              campolese              mazzin              soranzo              martignano              calabra              agliano              acuto              cozzo              piovene              comparetti              farnesiani              scarsella              alberese              asinari              ghemme              accoramboni              giarelli              seminara              viagrande              melchiori              pierantoni              terreni              avigliano              buonaccorsi              tarlati              raffaelle              billio              giacoma              raniero              carmignani              pellini              angiolo              raffaelo              bronzi              franceso              giacopo              canonica              greci              bigari              ghetaldi              costaguti              cancellieri             

Examples of "cancelli"
The Italian word Cancello (meaning gate), plural Cancelli, may refer to:
Cancelli are lattice-work, placed before a window, a door-way, the tribunal of a judge, or any other place.
The planorbular, white shell is cancellated with elevated, decussating tansverse and longitudinal lines. It is very widely umbilicated. The spire is excavated. The whorls are rapidly increasing, spirally striated, with a sloping, smooth sutural margin. The body whorl becomes disjointed. The large aperture is round and cancellated with the lips. The cancelli are transversely striated. The outer margin of the periphery is crenate.
The municipality borders with Castel San Niccolò (AR), Castelfranco di Sopra (AR), Figline Valdarno, Incisa in Val d'Arno, Montemignaio (AR), Pelago, Pian di Scò (AR) and Rignano sull'Arno. It counts the hamlets ("frazioni") of Cancelli, Canova, Cascia, Caselli, Ciliegi, Donnini, Leccio, Matassino, Montanino, Pietrapiana, Pontifogno, Prulli, Saltino, San Clemente, San Donato in Fronzano, Sant'Ellero, Tosi, Vaggio and Vallombrosa.
Albacina, Argignano, Attiggio, Bassano, Bastia, Belvedere, Borgo Tufico, Cacciano, Ca' Maiano, Campodiegoli, Campodonico, Cancelli, Cantia, Castelletta, Ceresola, Ciaramella, Coccore, Collamato, Collegiglioni, Colle Paganello, Cupo, Fontanaldo, Grotte, Marena, Marenella, Marischio, Melano, Moscano, Nebbiano, Paterno, Poggio San Romualdo, Precicchie, Rocchetta, Rucce, San Donato, San Giovanni, San Michele, San Pietro, Sant'Elia, Serradica, Valgiubbola, Vallemontagnana, Valleremita, Vallina, Varano, Viacce, Vigne.
The church retains virtually all its Arts and Crafts Gothic furnishings, including an ambo formed by a low serpentine marble cancelli screen with a pulpit and reading desk at either end, choir stalls, organ case, font, and some pews. The chancel floor is of inlaid white, green, and red marble.
The carving or construction of the rood screen often included latticework, which makes it possible to see through the screen partially from the nave into the chancel. The term "chancel" itself derives from the Latin word "cancelli" meaning "lattice"; a term which had long been applied to the low metalwork or stone screens that delineate the choir enclosure in early medieval Italian cathedrals and major churches. The passage through the rood screen was fitted with doors, which were kept locked except during services.
Chancellor () is a title of various official positions in the governments of many nations. The original chancellors were the "cancellarii" of Roman courts of justice—ushers, who sat at the "cancelli" or lattice work screens of a basilica or law court, which separated the judge and counsel from the audience. A chancellor's office is called a chancellery or chancery. The word is now used in the titles of many various officers in all kinds of settings (government, education, religion, etc.). Nowadays the term is most often used to describe:
Until the 6th century the altar of Christian churches would have been in full view of the congregation, separated only by a low altar rail around it. Large churches had a ciborium, or canopy on four columns, over the altar, from which hung altar curtains which were closed at certain points in the liturgy. Then however, following the example of the church of Hagia Sophia in Constantinople, churches began to surround their altars with a colonnade or templon which supported a decorated architrave beam along which a curtain could be drawn to veil the altar at specific points in the consecration of the Eucharist; and this altar screen, with widely spaced columns, subsequently became standard in the major churches of Rome. In Rome the ritual choir tended to be located west of the altar screen, and this choir area was also surrounded by cancelli, or low chancel screens. These arrangements still survive in the Roman basilicas of San Clemente and Santa Maria in Cosmedin, as well as St Mark's Basilica in Venice. In the Eastern Church, the templon and its associated curtains and decorations evolved into the modern iconostasis. In the Western Church, the cancelli screens of the ritual choir developed into the choir stalls and pulpitum screen of major cathedral and monastic churches; but the colonnaded altar screen was superseded from the 10th century onwards, when the practice developed of raising a canopy or baldacchino, carrying veiling curtains, over the altar itself.
In the Early Church, the sanctuary was connected directly to the nave. The choir was simply the east part of the nave, and was fenced off by a screen or low railing, called "cancelli", which is where the English word chancel comes from. The development of the architectural feature known as the choir is the result of the liturgical development brought about by the end of persecutions under Constantine the Great and the rise of monasticism. The word "choir" is first used by members of the Latin Church. Isidore of Seville and Honorius of Autun write that the term is derived from the "corona", the circle of clergy or singers who surrounded the altar.
Churches built in England in the 7th and 8th centuries consciously copied Roman practices; remains indicating early cancelli screens have been found in the monastic churches of Jarrow and Monkwearmouth, while the churches of the monasteries of Brixworth, Reculver and St Pancras Canterbury have been found to have had arcaded colonnades corresponding to the Roman altar screen, and it may be presumed that these too were equipped with curtains. Equivalent arcaded colonnades also survive in 10th-century monastic churches in Spain, such as San Miguel de Escalada. Some 19th-century liturgists supposed that these early altar screens might have represented the origins of the medieval rood screens; but this view is rejected by most current scholars, who emphasize that these screens were intended to separate the altar from the ritual choir, whereas the medieval rood screen separated the ritual choir from the lay congregation.
Aside from backing vocals and a string quartet, everything else is Battiato's doing, with the Krautrock touches apparent in his previous work starting to surface all the more readily here. Things are generally more meditative and reflective, though certainly Battiato isn't far from his usual wry humor (thus "Propriedad Prohibida," the title of his bitterly wry take on more-leftist-than-thou Italian bands of the time like , though the song itself is a quietly entrancing instrumental). ... "Il Mercato Degli Dei" is as representative of the album as anything, an instrumental composed of various parts and consisting almost entirely of Battiato's various keyboard explorations arranged and overdubbed, but emphasizing calm, quiet arrangements rather than Rick Wakeman-like orgies of sound. "I Cancelli Della Memoria" makes for a great start to the album, soothing Tangerine Dream-like airs and bubbling synth bass loops mixing with everything from (apparently) Battiato's own sax work to his more expected piano parts.
Abbazia di Sassovivo, Acqua Santo Stefano, Afrile, Aghi, Ali, Annifo, Arvello, Ascolano, Barri, Belfiore, Borgarella, Borroni, Budino, Camino, Cancellara, Cancelli, Cantagalli, Capodacqua, Caposomigiale, Cappuccini, Cariè, Carpello, Casa del Prete, Casa Pacico, Casale del Leure, Casale della Macchia, Casale di Morro, Casale di Scopoli, Cascito, Casco dell'Acqua, Casenove, , Casevecchie, Cassignano, Castello di Morro, Castretto, Cavallara, Cave, Cerritello, Chieve, Cifo, Civitella, Colfiorito, Collazzolo, Colle di Verchiano, Colle San Giovanni, Colle San Lorenzo, Colle Scandolaro, Collelungo, Collenibbio, Colpernaco, Colpersico, Corvia, Costa di Arvello, Crescenti, Croce di Roccafranca, Croce di Verchiano, Cupacci, Cupigliolo, Cupoli, Curasci, Fiamenga, Fondi, Forcatura, Fraia, Hoffmann, La Franca, La Spiazza, La Valle, Leggiana, Liè, Maceratola, Maestà di Colfornaro, Modonna delle Grazie, Montarone, Morro, Navello, Orchi, Palarne, Pale, Perticani, Pescara I°, Pescara II°, Pieve Fanonica, Pisenti, Poggiarello, Polveragna, Ponte San Lazzaro, Ponte Santa Lucia, Pontecentesimo, Popola, Rasiglia, Ravignano, Rio, Roccafranca, Roviglieto, San Bartolomeo, San Giovanni Profiamma, San Vittore, Sant'Eraclio, Santo Stefano dei Piccioni, Scafali, Scandolaro, Scanzano, Scopoli, Seggio, Serra Alta, Serra Bassa, Serrone, Sostino, Sterpete, Tesina, Tito, Torre di Montefalco, Treggio, Uppello, Vallupo, Vegnole, Verchiano, Vescia, Vionica, Volperino.
The "Liber Pontificalis" states that Pope Felix I decreed that Mass should be celebrated on the tombs of martyrs. This no doubt brought about both a change of form, from that of a simple table to that of a chest or tomb, and the rule that every altar must contain the relics of martyrs. Usually the altar was raised on steps, from which the bishop sometimes preached. Originally it was made in the shape of an ordinary table, but gradually a step was introduced behind it and raised slightly above it. When the tabernacle was introduced the number of these steps was increased. The altar is covered, at least in basilicas and also in large churches, by a canopy supported by columns, called the ciborium, upon which were placed, or from which were suspended, vases, crowns, baskets of silver, as decorations. From the middle of the ciborium, formerly, a gold or silver dove was suspended to serve as a pyx in which the Blessed Sacrament was reserved. Veils or curtains were attached to the columns which supported the ciborium. The altar was often encircled by railings of wood, or metal, called "cancelli", or by low walls of marble slabs called "tranennae".