The church of All Saints is mentioned in Domesday, and tradition ascribes the building of its nave to King John, while the western side of the tower must be older still.
It was not completed, however, till the 19th century, when the west portal and towers and two bays of the nave were added, according to the plans of Violletle-Duc. The fine stained glass of the windows dates from the 13th to the 15th centuries.
The central tower of a church over the intersection of the nave and chancel with the transepts is sometimes called the " rood tower "; an example is that at Notre Dame at Paris.
In the old town of Bridlington the church of St Mary and St Nicholas consists of the fine Decorated and Perpendicular nave, with Early English portions, of the priory church of an Augustinian foundation of the time of Henry I.
A.) Fleche (French for "arrow"), the term generally used in French architecture for a spire, but more especially employed to designate the timber spire covered with lead, which was erected over the intersection of the roofs over nave and transepts; sometimes these were small and unimportant, but in cathedrals they were occasionally of large dimensions, as in the fleche of Notre-Dame, Paris, where it is nearly ioo ft.
The nave passes from Norman to Early English in the course of its eight bays from east to west and also from the arcade through the triforium to the clerestory.
"Gynaeconitis" is the term given by Procopius to the space reserved for women in the Eastern Church, and this separation of the sexes was maintained in the early Christian churches where there were separate entrances and accommodation for the men and women, the latter being placed in the triforium gallery, or, in its absence, either on one side of the church, the men being on the other, or occasionally in the aisles, the nave being occupied by the men.
Eu has three buildings of importance - the beautiful Gothic church of St Laurent (12th and 13th centuries) of which the exterior of the choir with its three tiers of ornamented buttressing and the double arches between the pillars of the nave are architecturally notable; the chapel of the Jesuit college (built about 1625), in which are the tombs of Henry, third duke of Guise, and his wife, Katherine of Cleves; and the château.
Its foundation dates from the year 1030, while the nave is Romanesque of the middle of the 12th century, with much pointed work.
Basilica with a vaulted portico and a nave and two aisles begun in 1103, a mosaic pavement in the Cosmatesque style, a good ambo resting on columns and decorated with mosaics showing traces of Moorish influence, a Paschal candelabrum, and an organ gallery of similar style.
On one side stands the cathedral of San Lorenzo, a Gothic structure of the 14th and 15th centuries, in the plan of a Latin cross, with nave and aisles of equal height; on the other the Palazzo del Municipio, presenting two fine Gothic façades, of the 14th century (though the building was not completed till 5443), with the figures of the Perugian griffin and the Guelph lion above the outside stair; and in the centre the marble fountain constructed in1277-1280by Arnolfo di Cambio, and adorned with statues and statuettes by Niccolo and Giovanni Pisano.
San Pietro de' Cassinensi (outside the Porta Romana) is a basilica with nave and aisles, founded in the beginning of the i 1th century by San Pietro Vincioli on the site of a building of the 6th century, and remarkable for its conspicuous spire, its ancient granite and marble columns, its walnut stall-work of 1535 by Stefano de' Zambelli da Bergamo, and its numerous pictures (by Perugino, &c.).
Paul began the famous Villa Borghese; enlarged the Quirinal and Vatican; completed the nave, facade and portico of St Peter's; erected the Borghese Chapel in Sta Maria Maggiore; and restored the aqueduct of Augustus and Trajan ("Acqua Paolina").
The vaulting of the nave and aisles and the beautiful cloisters were added in the 13th century.
According to this scheme only the old choir was left; the nave and transepts were to be rebuilt after the classical style, with a lofty dome at the crossing - not unlike the plan eventually carried out.
But the dean and chapter objected to the absence of a structural choir, nave and aisles, and wished to follow the medieval cathedral arrangement.
The principal portal is a fine specimen of 12th-century Romanesque, and the lower part of the nave is of the same period; the choir and the transept are striking examples of the style of the 13th century.
St Michael's, the parish church, has a striking Perpendicular tower, an arch of carved oak dividing its nave and chancel, a magnificent rood-loft, and a 13th-century monument doubtfully described as the tomb of Bracton, the famous lawyer, whose birthplace, according to local tradition, was Bratton Court in the vicinity.
The position of the ambo was not absolutely uniform; sometimes in the central point between the sanctuary and the nave, sometimes in the middle of the church, and sometimes at one or both of the sides of the chancel.
Ursus in 370-390, which had a nave and four aisles, was destroyed in 1734-44, only the (inaccessible) crypt and the round campanile remaining from the earlier structure; there are fragments of reliefs from a pulpit erected by Archbishop Agnellus (556-569) in the interior.
The walls of the nave are adorned with mosaics of the 6th century; the scenes from the New Testament above the windows date from the time of Theodoric, while the somewhat stiff processions below, of virgins on one side and of saints on the other, are substitutions of the latter half of the 6th century for representations which probably contained some allusion to Arianism or episodes in the life of Theodoric (so Ricci).
It has a nave and aisles with a closed vestibule on the west, and a fine round campanile of the 9th (?) century.
The plan consists of a large rectangular nave, with semicircular recesses for altars, opening out of the aisles, north and south.
Brizio, separated from the nave by a fine 14th-century wroughtiron screen.
The abbey church of St Mary the Virgin is a stately cruciform building with central tower, the nave and choir having aisles and clerestory.
The church is cruciform and the altar stands beneath the eastern lantern arch, a fine rood screen separating off the choir, which was devoted to monastic use, while the nave was kept for the parishioners, in consequence of a dispute between the vicar and the monastery in 1499.
The choir only is used for service (Protestant), the nave being used as a gymnasium.
At Steetley, near Worksop, is a small Norman chapel, with apse, restored from a ruinous condition; Youlgrave church, a building of much general interest, has Norman nave pillars and a fine font of the same period, and Normanton church has a peculiar Norman corbel table.
Below the nave is another crypt.
Above the nave and is separated from it by a marble rood-screen, on the architrave of which stand fourteen figures, the signed work of Jacobello and Pietro Paolo delle Masegne, 1394.
The exteriors of the north Italian Gothic churches are characterized by the flatness of the roof; the treatment of the west facade as a mere screen wall, masking the true lines of the aisle roofs; the great circular window in the west front for lighting the nave; the absence of pinnacles owing to the unimportance of the buttresses; the west-end porches with columns resting on lions or other animals.
The interior, a basilica with nave and two aisles, contains columns said to come from a temple of Minerva and a fine mosaic pavement of 1166, with interesting representations of the months, Old Testament subjects, &c. It has a crypt supported by forty-two marble columns.
The great colonnade, which is its most striking feature, was apparently intended for the nave of a hypostyle hall like that of Karnak, but had to be hastily finished without the aisles.
He published in 1551 Regola generale per sollevare ogni affondata nave, intitolata la Travagliata Invenzione (an allusion to his personal troubles at Brescia), setting forth a method for raising sunken ships, and describing the diving-bell, then little known in western Europe.
The building was cruciform, but only the west front and part of the nave remain.
The front has a large late Norman portal of four orders, with rich Early English arcading above; the nave arcade is ornate Norman.
690) from the ruins of Justinian's church of St Mary on Mount Sion, and the central avenue or nave built with them presents the appearance of a Christian church; it however runs north and south, the Mecca niche being at the south end; originally there were seven aisles on each side, now reduced to three.
The church of the Holy Ghost (Helgeands-Kyrka) in a late Romanesque style (c. 1250) is a remarkable structure with a nave of two storeys.
It is in the form of a Latin cross, consisting of nave with aisles, transepts, choir with aisles, a central tower, and two W.
The foundation of the new nave was laid by Archbishop Romanus (1286-96), son of the treasurer, the building of it being completed by Archbishop William de Melton about 1340.
Front, consisting of a centre and two divisions corresponding with the nave and aisles, has been described as "more architecturally perfect as a composition and in its details than that of any other English cathedral," the great window above the door being considered by some superior to the famous E.
The chief building in Agen is the cathedral of St Caprais, the most interesting portion of which is the apse of the 12th century with its three apse-chapels; the transept dates from the 12th and 13th centuries, the nave from the 14th to the 16th centuries; the tower flanking the south facade is modern.
Gsell, consists of a nave and two aisles, and still contains a mosaic. The Great Basilica served for centuries as a quarry, but it is still possible to make out the plan of the building, which was divided into seven aisles.
Remains of the latter include a nave-arcade with rounded arches.
It consists of a chancel, nave and porch, in such unchanged condition that E.
Petronio, the patron saint of Bologna, which was begun in 1390; only the nave and aisles as far as the transepts were, however, completed, but even this is a fine fragment, in the Gothic style, measuring 384 ft.
The nave is the most beautiful portion.
Maria di Provenzano, a vast baroque building of some elegance, designed by Schifardini (1594) Sant' Agostino, rebuilt by Vanvitelli in 1755, containing a Crucifixion and Saints by Perugino, a Massacre of the Innocents by Matteo di Giovanni, the Coming of the Magi by Sodoma, and a St Anthony by Spagnoletto (?); the beautiful church of the Servites (15th century), which contains another Massacre of the Innocents by Matteo di Giovanni and other good examples of the Sienese school; San Francesco, designed by Agostino and Agnolo about 1326, and now restored, which once possessed many fine paintings by Duccio Buoninsegna, Lorenzetti, Sodoma and Beccafumi, some of which perished in the great fire of 1655; San Domenico, a fine 13th-century building with a single nave and transept, containing Sodoma's splendid fresco the Swoon of St Catherine, the Madonna of Guido da Siena, 1281, and a crucifix by Sano di Pietro.
Adjoining the town hall is the Anglican cathedral of St Andrew, in the Perpendicular style; it has two towers at the west end and a low central tower above the intersection of the nave and transepts, with a very handsome chapter house.
Later he erected the priory, for canons of his order, of which the nave and transepts of the church remain.