The outer gate and inner door of the nave had been carefully shut by me, according to custom, on entering the cathedral.
Down the centre run two lines of gigantic pillars which hold up the roof, and form the nave of the hall; and beyond these on either side are the aisles, whose roofs are supported by a perfect forest of smaller columns.
Observe the height and the delicate arches of the triforium, or pierced gallery of the second story, as well as the windows of the clerestory above it—the part of the nave which rises higher than the aisles, and opens freely to the exterior.
The lofty nave is flanked by double aisles, all supported by powerful piers.
It has =two western towers=, instead of one in the centre where nave and transepts intersect, as is usual in England; so have all the cathedrals in France which imitate it.
Notice also the exquisite pendentive of the roof at the point of intersection of the naveand short false transepts.
The architecture of the Nave and Choir, with its light and airy arches and pillars, is of the later 13th century.
The =interior= still preserves in most part its Romanesque arches and architecture; but the lower part of the nave is the oldest portion (early 12th cent.
The nave is flanked by aisles, which are divided from it by round pillars, capped by a singular balustrade or gallery with low, flat arches, simulating a triforium.
The upper part of the Choir, and the whole of the Nave and Transepts was then rebuilt—which accounts for the gracefulness and airiness of its architecture when contrasted with the dark and heavy vestibule of the age of Suger.
The arrangement into a nave and two aisles is, to a certain extent, confirmed by some of the later Cyprian coins, which certainly represent Cyprian temples, and probably the temple of Paphos.
In 1522 its safety was threatened by the Calvinists who pillaged the cathedral, but it was restored to the authorities and was used to decorate the nave on festive occasions.
Band of decorated ornament from the triforium of the nave of St. Albans.
In large churches and cathedrals the upper portion of the nave is lighted by a row of windows called the Clear-story or the Clere-story.
A lofty tower, without buttresses, stands at the west end, or at the intersection of the nave and transepts.
They are generally cruciform in shape, with a square tower over the intersection of the nave and transepts.
In order to preserve it, it was lined and strengthened, for it was used to decorate the nave for eight days at the time of St. John's Day.
This oblong space was separated from the aisles and from the western portion of the nave by low marble walls or railings (cancelli).
The altar stands on a platform; the sanctuary is divided from the nave by a screen of six pillars.
Within, apart from the beautiful mosaic decoration, a fine effect was produced by the arch of triumph and the apse, which terminated the nave and dominated the whole vast space of the interior.
The columns between naveand aisles, Vitruvius proceeds, are the same height as the width of the latter, and the aisle is covered with a flat roof forming a terrace (contignatio) on which people can walk.
Where this transept occurred it was divided from the nave by a wide arch, the face and soffit of which were richly decorated with mosaics.
This was approached by descending flights of steps from the nave or aisles.
It had a nave and side aisles divided by columns supporting a horizontal entablature, with another order supporting arches forming a gallery above.
This remarkable San Pablo is extremely small, and cruciform, with three apses, a short nave and an octagonal vault over the crossing.
As the sight grows accustomed to the gloom, the next thing we notice is the vastness and splendour of the nave in which we stand: a single span seventy-three feet broad.
The nave and aisles are all roofed to the same level, giving a very lofty appearance to the whole interior.
The nave has the fault of being too short, and Boffy could not fail to see that it wants in proportion.
Finally a jury of twelve men was appointed who gave their verdict in favour of Boffy, and thenave was erected.
Rainbow-coloured beams from the upper windows fell athwart the nave in rich prismatic streams.
We passed through the lovely old doorway to the uninteresting interior: a nave and isles with rude arches and piers plain and square.
On one side of the cloisters was the partly restored church, high and wide, with a magnificent nave of seven fine bays, so slightly pointed as to be almost Romanesque.
The vast nave is the widest Gothic vault in existence and on entering strikes one with astonishment.
An immense nave with aisles and pillars and vaulted roofs might stretch behind us.
The cathedral was rebuilt in 1016, but the nave was reserved for Boffy and his genius four hundred years later.
Through lovely and graceful arches which framed in the picture, one caught the pointed windows of the nave with their rich tracery, above which rose the decorated belfries with pierced parapets.
Pacing up the paved footway he entered the church and stood for a while in the nave passage.
The only touch of joy, of festiveness, was that afforded by the choice blooms with which Mr. Wilding had smothered nave and choir and altar-rails.
Down the festooned nave she came on his arm, her step unfaltering, her face calm; black misery in her heart.
On either side of the nave the original walls have been pierced, and an arcade of three good Early English arches was inserted in the thirteenth century.
There were also two windows in thenave opposite to each other.
The simplicity of the nave as a whole has led some to ascribe the building of it to a date earlier than that of the nave at Gloucester; but if the received accounts go for anything, the building of the two fabrics was contemporaneous.
The arch is distinctly horse-shoe-shaped, and on the nave side has a square label merging into the abacus, while the chancel side has none.
The insertion of the later windows, which presumably were enlarged when the nave was vaulted, has destroyed the regularity of the arcading.
The space thus given up to the altar and chapels is indicated by the step which comes in the nave near the second pillar, counting westward from the western tower piers.
Near the tower end is a portion of the Perpendicular timbered roof, and the rest of the roofing of the nave and chancel is modern work designed upon the basis of the older example.
As was the case at Tewkesbury, Gloucester, and elsewhere, the nave was the parish church, and the choir and the rest of the building eastwards the private chapel of the Priory.
The clerestory on this north side of the nave has a Norman arcade, supported on short shafts, which extends from the tower to the west front.
It was on the same stones that the knees of St. Romauld had pressed, that the Capucin was kneeling, as Paolina walked up the nave of the church.
On the south wall of the nave is an inscription which, from its very oddity, deserves to be recorded:-- M.
A wooden roof to the nave is understood to have been added in the fourteenth century, while the chancel, transepts, and tower arches are of the thirteenth.
The interior of the church is not unremindful, at a general glance, of St. Albans Abbey, since the nave is entirely blocked by the tower.
To the beautiful building, as we see it, he would have added a nave and aisles, grandly vaulted, as the strength of the buttresses sufficiently indicates the chapel itself was meant to be.
Presently there stands out from among the trees on the Oxford bank an old church with a very long nave and tall tower, with an unusual high-pitched red roof, topped by a vane.
Meanwhile, thank your stars, dear, that you did not live in Massachusetts some years ago, or you would certainly nave gone to heaven in the shape of smoke.
Commodities nave been cheap, and all necessary supplies have been procured without our having felt the much-feared failure of iron, bronze, and tin from Japon.
Therefore, we are free from that canaille for this year, and they nave done us but little harm.
The nave is early English, and decorated; and the original west front remains with an elaborate Perpendicular front of excellent design, intended as the base of a western tower, which was never finished.
C] The Lady Alice De Romilly built not only Bolton Priory, but the nave of Carlisle Cathedral, and the chancel of Crosthwaite Parish Church at Keswick.
This nave remains perfect, but the rest of the church is in complete ruin.
In the interior, the nave is chiefly remarkable for its proportions; but the choir is richly ornamented in the style of the renaissance.
On each side of the nave there is a series of chapels, constructed in the fourteenth century, between the buttresses of the main walls; they are full of very fine stained glass, and contain good pictures and monuments.
The choir, separated from the nave by a modern Grecian screen, was built in the thirteenth century, the carving of the stalls is extremely curious.
At the base of the most westerly of the three piers that divide the nave from the aisles, there crops out a small piece of the living rock; this is at the end farthest from the choir.
True, the middle arch of the three which divide the nave from the aisles is pointed, whereas the two others are round, but this is evidently done to economise space, which was here unusually costly.
On the left-hand side of the nave going towards the altar there is a remarkable picture of the battle of Lepanto, signed "Georgius Wilhelmus Groesner Constantiensis fecit A.
This type comprised nave and aisles, ending at one end in an apse and two chambers resembling rudimentary transepts, and at the other end in a porch (narthex).
The nave and porch were floored with plain red tesserae: in the apse was a simple mosaic panel in red, black and white.
Illustration: View of a section of the Nave of old S.
Another sight must have struck the pilgrim as he first crossed the threshold, that of the "triumphal arch" between the nave and the transept, glistening with golden mosaics.
A bishop walking up the nave of Siena must feel as a Roman felt among the waxen images of ancestors renowned in council or war.
This noble work, by Antonio Pollaiuolo, is set against the second pilaster of the nave of S.
On entering the nave the visitor was struck by the simplicity of Constantine's design, and by the multitude and variety of later additions, by which the number of altars alone had been increased from one to sixty-eight.
