Word Finder - nave

definition

The middle or body of a church, extending from the transepts to the principal entrances.

The nave is the most beautiful portion.

Its foundation dates from the year 1030, while the nave is Romanesque of the middle of the 12th century, with much pointed work.

The main building, consisting of a nave with apsidal end and two aisles,.

The abbey church of St Mary the Virgin is a stately cruciform building with central tower, the nave and choir having aisles and clerestory.

Later he erected the priory, for canons of his order, of which the nave and transepts of the church remain.

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.

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.

Brizio, separated from the nave by a fine 14th-century wroughtiron screen.

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.

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.

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 western limit of the former nave of the church is marked by a fine Early English doorway, now forming an entrance to the churchyard.

In the restoration of 1866 some early mural painting was discovered, and a transition Norman clerestory was discovered, remaining above the later nave.

The church is without aisles, and has a semicircular roof, and the choir is raised twelve steps above the floor of the nave.

Bishop Dean (temp. Henry VII.) rebuilt the choir, Bishop Skevyngton (1532) added tower and nave.

The choir was lengthened and the beautiful eastern rose window added by Bishop Stewart in 1511, and the porch and the western end of the nave were finished in 1540 by Bishop Robert Reid.

The qanki, or sanctuary, is divided from the nave, by a solid wall, pierced by a single doorway; it contains the altar, or madhb'kha (literary, the sacrificing place), and may be entered only by persons in holy orders who are fasting.

The pillars which support the nave are of marble from Elba and Giglio; those of the side aisles are the spoils of ancient Greek and Roman buildings brought by the Pisan galleys.

The church was remodelled in 1139, to which period much of the existing structure belongs, including the richly sculptured west front and the open confessio or crypt, which occupies the eastern half of the church, raising the choir high above the nave.

The nave, dating from the 11th century, is supported by alternate columns and pillars, and contains frescoes of the 11th-14th centuries.

It consists of a nave in six bays, aisles, transepts, each with two eastern chapels, and an apse, all vaulted with simple quadripartite brick groining.

The eastern portion of the vaulting, including the choir and one bay of the nave, has the older and simpler decorations; the rest of the nave has more elaborate painted ornament - foliage mixed with figures of Dominican saints, executed in the 15th century.

It is mainly built of red brick, with fine nave columns of red and white marble and an elaborate marble pavement inlaid in many different patterns.

The plan is unusual, consisting of a large nave without aisles, the span being between 45 and 50 ft.; it also has two shallow transepts and an apsidal east end.

From this period date the nave and the side aisles; the choir was completed in 1315-1338 and the long transepts in 1 34 6 - 1 354.

The Liebfrauenkirche is first mentioned in 1314 as a collegiate church; the nave was consecrated in 1340.

The first portion (the nave) was consecrated on the 2nd of June 1904.

The pulpit was formerly used in the nave of Westminster Abbey, being presented to Belfast cathedral by the dean and chapter of that foundation.

The former cathedral church was mainly built 1069-1089, but was later gothicized; near the west end of the nave a plate in the floor marks the spot where Huss stood when condemned to death, while in the midst of the choir is the brass which covered the grave of Robert Hallam, bishop of Salisbury, who died here in 1417, during the council.

The chancel, nave and two side chapels exist, and it still serves as the parish church.

The church of St Mary and All Saints, originally collegiate, is Perpendicular, and only the nave with aisles, and the tower surmounted by an octagon, remain; but the building is in the best style of its period.

It is mainly Early English, and a fine example of the style; but some of the windows including the nave clerestory, and the beautiful carved wooden roof, are Perpendicular.

An open space forming the heart of the square in which the church stands separates the solitary western tower (14th century) from the choir and transept, the nave having been blown down by a violent hurricane in 1674 and never rebuilt.

Even the waggon vaults over the nave, choir and transepts are of stone unprotected by lead or tiles.

The church of All Saints has a fine Perpendicular tower, left uninjured when the nave and chancel were burned down in 1842.

Here he instituted evening nave services.

The church of St Peter and St Paul shows fine Perpendicular work, especially in the ornate interior of the nave.

The church, which rises high above the buildings clustering round it, consists of transepts and four bays of the nave of Romanesque architecture and of a fine choir (1450 - I 521) in the Flamboyant Gothic style with a triforium surmounted by lofty windows.

In 1776 three of the seven bays of the nave were pulled down, and soon after the incongruous western front was added.

The church of Our Lady, a late Romanesque building, has two ancient crypts and a 13thcentury choir of exceptional beauty, but the nave suffered severely from a restoration in 1764.

The nave and choir have aisles, triforium and clerestory.

In the middle of the nave is the tomb of Gerhard III., count of Gelderland, and his wife Margaret of Brabant.

The form it took was a solemn procession of boats, headed by the doge's maesta nave, afterwards the Bucentaur (from 1311) out to sea by the Lido port.

The nave is of ornate Norman work, with a massive triforium, surmounted by a Perpendicular clerestory and a beautiful wooden roof.

The restoration involved the complete rebuilding of the choir and the south side of the nave, but the model of the ancient building was followed with great care.

The church of St John the Baptist is a perpendicular cruciform structure, consisting of chancel, nave of seven bays, aisles, transepts and lofty western tower.

The nave is like an Italian basilica, while the large triple-apsed choir is like one of the early three-apsed churches, of which so many examples still exist in Syria and other eastern countries.

The basilican nave is wide, with narrow aisles.

The other half, Eastern in two senses, is both wider and higher than the nave.