What is Nave? Meaning of the word nef, architectural dictionary. Dictionary of temple architecture Nave definition by history

), bounded on one or both longitudinal sides by a number of columns or pillars separating it from neighboring naves.

Etymology

The word "nave" comes from the Latin navis- "ship". Presumably, this name was supposed to emphasize the importance of the main space of the temple, since the ship was one of the symbols of the Christian church. Perhaps it also reflects the resemblance of this part of the temple to the overturned body of a ship.

Story

The division of the interior into naves by a series of supports arose in ancient Greek temples. In ancient Roman architecture, the interiors of civil buildings - basilicas - consisted of a series of parallel naves.

Beginning in the 4th century, the basilica type was adopted for Christian churches, and the nave became a common element of Christian architecture. The naves are divided into both the interior space of basilica churches, which became widespread in the Middle Ages in Western Europe in the Catholic tradition, and the interiors of many cross-domed churches that appeared and became widespread in the architecture of Eastern Christian countries and Byzantium. Unlike the altar, choir and presbytery, intended exclusively for the clergy and choir, the nave is the part of the temple in which the laity could be present.

In early Christian churches there could be 3 or 5 naves (usually an odd number), the central nave was always wider and higher. Windows were made in the upper part of its walls to illuminate the interior. The naves were covered with a flat wooden ceiling.

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In addition to longitudinal ones, there are transverse naves - the so-called. transepts In early Christian basilicas, the transept ended the building on the side of the altar. Later, in basilicas, the transept moved closer to the middle of the building, forming a cross with the central nave. The center of the cross of such temples can be crowned with a tower or dome.

In cross-domed churches, the longitudinal and transverse naves can be the same length, forming an equal-ended cross. In some centric churches, the naves may become weakly defined, which does not always allow the use of this term to describe the interior of a cross-domed church.

As in ancient Roman architecture, naves can also be used in secular buildings: for example, the library of the monastery of San Marco in Florence (1431-1441) was designed as a three-nave hall. Many underground stations of the Moscow Metro are designed as three-nave halls, sometimes with a dedicated central nave.

Or pillars separating it from neighboring naves.

Etymology

Story

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Literature

// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
Architecture. Quick reference / Ch. ed. M.V. Adamchik. - Minsk: Harvest, 2004. - P. 331-332. - 624 s. - ISBN 985-13-1842-6.

Excerpt describing the Nave

The Emperor left, and after that most of the people began to disperse.
“I said that we would have to wait a little longer, and so it happened,” people said joyfully from different sides.
No matter how happy Petya was, he was still sad to go home and know that all the pleasure of that day was over. From the Kremlin, Petya did not go home, but to his comrade Obolensky, who was fifteen years old and who also joined the regiment. Returning home, he resolutely and firmly announced that if they didn’t let him in, he would run away. And the next day, although he had not yet completely given up, Count Ilya Andreich went to find out how to settle Petya somewhere safer.

On the morning of the 15th, the third day after this, countless carriages stood at the Slobodsky Palace.
The halls were full. In the first there were noblemen in uniforms, in the second there were merchants with medals, beards and blue caftans. There was a hum and movement throughout the hall of the Noble Assembly. At one large table, under the portrait of the sovereign, the most important nobles sat on chairs with high backs; but most of the nobles walked around the hall.
All the nobles, the same ones whom Pierre saw every day, either in the club or in their houses, were all in uniforms, some in Catherine’s, some in Pavlov’s, some in the new Alexander, some in the general noble, and this general character of the uniform gave something strange and fantastic to these old and young, the most diverse and familiar faces. Particularly striking were the old people, low-sighted, toothless, bald, covered in yellow fat or wrinkled and thin. For the most part, they sat in their seats and were silent, and if they walked and talked, they joined someone younger. Just like on the faces of the crowd that Petya saw in the square, on all these faces there was a striking feature of the opposite: a general expectation of something solemn and ordinary, yesterday - the Boston party, Petrushka the cook, Zinaida Dmitrievna’s health, etc.
Pierre, who had been wearing an awkward nobleman's uniform that had become too tight for him since early morning, was in the halls. He was excited: the extraordinary gathering of not only the nobility, but also the merchants - the estates, etats generaux - evoked in him a whole series of thoughts that had long been abandoned, but were deeply etched in his soul about the Contrat social [Social Contract] and the French Revolution. The words he noticed in the appeal that the sovereign would arrive in the capital to confer with his people confirmed him in this view. And he, believing that in this sense something important was approaching, something that he had been waiting for a long time, walked around, looked closely, listened to the conversation, but nowhere did he find the expression of the thoughts that occupied him.
The sovereign's manifesto was read, which caused delight, and then everyone scattered, talking. In addition to the usual interests, Pierre heard talk about where the leaders should stand when the sovereign enters, when to give a ball to the sovereign, whether to divide into districts or the entire province... etc.; but as soon as it came to the war and what the nobility was assembled for, the talk was indecisive and uncertain. Everyone was more willing to listen than to talk.
One middle-aged man, courageous, handsome, in a retired naval uniform, spoke in one of the halls, and people crowded around him. Pierre walked up to the circle that had formed around the talker and began to listen. Count Ilya Andreich in his Catherine, voivode's caftan, walking with a pleasant smile among the crowd, familiar with everyone, also approached this group and began to listen with his kind smile, as he always listened, nodding his head approvingly in agreement with the speaker. The retired sailor spoke very boldly; this was evident from the expressions of the faces listening to him, and from the fact that those known to Pierre as the most submissive and quiet people moved away from him disapprovingly or contradicted him. Pierre pushed his way into the middle of the circle, listened and became convinced that the speaker was indeed a liberal, but in a completely different sense than Pierre thought. The sailor spoke in that especially sonorous, melodious, noble baritone, with a pleasant grazing and reduction of consonants, in that voice with which one shouts: “Pipe, pipe!”, and the like. He spoke with a habit of revelry and authority in his voice.
- Well, the Smolensk people offered the militia to the gosuai. Is it a decree for us from Smolensk? If the bouard nobility of the Moscow province finds it necessary, they can show their devotion to the Emperor by other means. Have we forgotten the militia in the seventh year! The revelers and thieves have just made a profit...
Count Ilya Andreich, smiling sweetly, nodded his head approvingly.
– So, did our militias really benefit the state? No! They just ruined our farms. It’s better to have another set... otherwise neither a soldier nor a man will return to you, and only one debauchery. The nobles do not spare their belly, we ourselves will all go, take another recruit, and all of us just call the goose call (that’s how the sovereign pronounced it), we will all die for him,” the speaker added with animation.

(ship) (French nef, from Latin navis - ship), an elongated room, part of the interior (usually a basilica), limited on one or both longitudinal sides by a number of columns or pillars.

Architectural Dictionary. 2012

Nave. Architecture of the Gothic cathedral.

In addition to longitudinal ones, there are transverse naves - the so-called. transepts. In early Christian basilicas, the transept ended the building on the side of the altar. Later, in basilicas, the transept moved closer to the middle of the building, forming a cross with the central nave. The center of the cross of such temples can be crowned with a tower or dome. As in ancient Roman architecture, naves can also be used in secular buildings: for example, the library of the Monastery of San Marco in Florence (1431-1441) was designed as a three-nave hall.

BASILIA - (Greek royal), a large public building erected in the center of ancient Roman cities. Mass - (French messe, from Latin missa) the main liturgical service in the Latin rite of the Catholic Church. The oblong part of a building in Romanesque Renaissance churches, extending from the entrance doors to the choir and covered by a vault; shaped like an overturned ship.

See what a “side nave” is in other dictionaries:

The ship was originally a longitudinal part of a Christian temple, usually divided by a colonnade or arcade into the main one. In it, invisible to everyone, the Lord is present, surrounded by angels and saints. In the Old Testament, people were given clear instructions from God about what a place of worship should be like. Orthodox churches built according to the New Testament comply with the requirements of the Old Testament.

Only a clergyman is allowed to enter this place, because according to the Teaching, the Kingdom of Heaven was closed to people after the Fall. According to the laws of the Old Testament, a priest was allowed into this territory once a year with sacrificial cleansing blood. The middle part of an Orthodox church, or ship, corresponds to the Old Testament concept of a sanctuary.

If, according to the laws of the Old Testament, only a priest could enter this territory, in an Orthodox church all respectable Christians can stand in this place. In the modern world, in this regard, the porch has lost its former meaning. The construction of an Orthodox church is carried out in compliance with strict rules.

A sacred place in the temple for offering prayer and making a bloodless sacrifice. Located in the eastern part of the Orthodox Church, separated from the rest of the room by an altar barrier, an iconostasis. It has a three-part division: in the center there is a throne, on the left, from the north - the altar, where wine and bread for communion are prepared, on the right, from the south - the deaconnik, where books, clothes and sacred vessels are kept.

Zakomara - semicircular completions of the upper outer walls of the church made in the form of a vault. The iconostasis is a barrier made of icons arranged in several tiers, which separates the altar from the main part of the temple. Interior - the interior space of a building. A chapel is an extension to the main church building, which has its own altar in the altar and is dedicated to one of the saints or church holidays.

A rotunda is a round building with a dome-shaped roof. In ancient Roman architecture, the interiors of civil buildings - basilicas - consisted of a series of parallel naves. 1. The word nave means part of the interior of the cathedral, separated from the rest of the space by a number of columns. The etymology of the word nave is of Latin origin and means “ship” (Latin navis). As a rule, Gothic cathedrals have 3 or 5 naves, and the one in the middle, the main nave, differs from the rest in height.

It should be noted that the architecture of the Gothic cathedral introduced several innovations that made it possible to increase the size and height of cathedrals compared to the Romanesque architectural style. Quite often, naves began to be decorated with rose windows framed by patterned frames and ornaments.

The middle part of the temple (nave)

Together with the longitudinal nave, the transept forms a middle cross. If you look at the plan of a Gothic cathedral, the top view is a cross consisting of a nave and a transept. As a rule, the middle cross of a Gothic cathedral, that is, the place where the nave and transept intersect, is crowned with a tower.

Abse (apse) - an altar projection, as if attached to the temple, most often semicircular, but also polygonal; covered with a semi-dome (conch). The altar housed a throne - an elevation for the celebration of the main Christian sacrament - the Eucharist. It has the shape of a saw. The sail is an element of the dome structure in the shape of a spherical triangle.

The main difficulty of fresco painting is that the artist must begin and finish the work on the same day, before the wet lime dries. The first Christians of Jerusalem did not have a temple at all. According to the Bible, they visited the Old Testament temples of the Jews, and to celebrate the sacrament of the Eucharist they gathered separately in their homes.

The nave is a longitudinal space in the temple. The most traditional structure of the temple is three-nave. Nave of the Cathedral in Exeter, England. There are usually three or five naves in the temple, with the central nave usually wider and higher than the rest. The division of the interior into naves by a series of supports arose in ancient Greek temples.

Abse (apse)– an altar ledge, as if attached to the temple, most often semicircular, but also polygonal; covered with a semi-dome (conch). An altar was placed inside the apse.

Altar(from Latin “alta ara” - high altar) - the main part of the Christian temple in its eastern part. In an Orthodox church it is separated by an altar partition or iconostasis. The altar housed a throne - an elevation for the celebration of the main Christian sacrament - the Eucharist. Door altar- an icon consisting of several folding boards covered with picturesque images on both sides (diptych, triptych, polyptych).

Altar barrier- a low wall or colonnade that encloses the altar part of the temple in Orthodox churches (from the 4th century).

Pulpit- (from Greek) - an elevation in the center of the temple, from which sermons were delivered and the Gospel was read. As a rule, it was surrounded by columns carrying a roof (ciborium).

Arcature belt– wall decoration in the form of a series of decorative arches.

Flying buttress- an open semi-arch that serves to transfer pressure to the buttresses of the temple.

Atrium– a closed courtyard into which the rest of the rooms open.

Atticus- (from the Greek Attikos - Attic) - a wall erected above the cornice crowning the architectural structure. Often decorated with reliefs or inscriptions. In ancient architecture it usually ends with a triumphal arch.

Basilica- a rectangular building in plan, divided by columns (pillars) into several longitudinal galleries (naves).

Drum- a cylindrical or multifaceted upper part of the temple, over which a dome is built, ending with a cross.

Light drum- a drum, the edges or cylindrical surface of which is cut through by window openings. Head - a dome with a drum and a cross, crowning a temple building.

Baptistery- baptismal. A small centric building, round or octagonal in plan.

Stained glass– a picture on glass, an ornament made of colored glass or other material that transmits light.

Gem- a carved stone with a recessed (intaglio) or convex (cameo) image.

Donjon– the main tower of a medieval castle.

Deaconnik- a room in the altar part of an Orthodox church to the south of the altar.

Altar- a room in the altar part of an Orthodox church to the north of the altar.

Belfry- a structure built on the wall of a temple or installed next to it with openings for hanging bells. Types of belfries: wall-shaped - in the form of a wall with openings; pillar-shaped - tower structures with a multi-faceted (usually in Russian architecture, octagonal, less often nine-sided) base with openings for bells in the upper tier. In the lower tiers there is often a chamber type - a rectangular volume with a covered vaulted arcade, the supports of which are located along the perimeter of the walls.

Zakomara– (from other Russian. mosquito- vault) - a semicircular or keel-shaped completion of a section of a wall, covering the adjacent internal cylindrical (box, cross) vault.

Keystone- a stone that ends a vault or arched opening.

Campanile- in Western European architecture, a free-standing tetrahedral or round bell tower.

Canon- a set of strictly established rules that determine the basic set of subjects, proportions, compositions, designs, and colors for works of art of a given type.

Counterforce- a vertical massive protrusion of the wall that strengthens the main supporting structure.

Conha– a semi-dome over the apse, niche. Often made in the form of a shell.

Cross-domed temple- canonical type of Byzantine Orthodox church. It was a shortened basilica, topped with a dome, and, according to the Apostolic decrees, with the altar facing east.

Cube– the main volume of the temple.

Dome– a covering in the form of a hemisphere, an overturned bowl, etc.

ploughshare- wooden tiles used to cover domes, barrels and other tops of the temple.

Bulb- a church dome resembling an onion in shape.

Spatula- a vertical flat and narrow projection of a wall, similar to a pilaster, but without a base and capital.

Luminarium- a hole in the ceiling of an early Christian temple.

Martyrium- a type of early Christian memorial temple over the grave of a martyr.

Mosaic- a favorite type of monumental painting in the Middle Ages. The image is made from pieces of colored glass - smalt, natural stones. The pieces of smalt and stone have an irregular shape; the light on them is refracted many times and reflected at different angles, creating a magical shimmering glow that flutters in the semi-darkness of the temple.

Naos- the central part of the Byzantine cross-domed church, crowned with the main dome.

Narthex– an extension on the western side of the temple, giving the building a more elongated rectangular shape. It was separated from the central part of the temple - the naos - by a wall with arched openings leading to each of the naves.

Rib- an arched rib in Gothic vaults.

Nave– (from the Greek “neus” - ship) - an elongated room, part of the interior of a church building, limited on one or both longitudinal sides by a number of columns or pillars.

Porch– a porch and a small platform (usually covered) in front of the entrance to an Orthodox church.

Pilaster(blade) - a constructive or decorative flat vertical protrusion on the surface of a wall, having a base and a capital.

Podklet- lower floor of the building.

Curb- a decorative strip of bricks placed on edge at an angle to the surface of the facade. Has the shape of a saw.

Sail– an element of a dome structure in the shape of a spherical triangle. The main dome rests on the sails.

Plintha– flat brick (usually 40x30x3 cm), building material and element of external decorative decoration of temples.

Portal– a decoratively designed doorway of a building.

Portico- a gallery on columns or pillars, usually in front of the entrance to a building.

Side chapel- a small temple attached to the main building of the church, having its own altar in the altar and dedicated to a saint or holiday.

Narthex- the western part of Orthodox churches at the entrance, where, according to the Charter, some parts of the divine service and services (betrothal, lithium, etc.) are performed. This part of the temple corresponds to the courtyard of the Old Testament tabernacle. The entrance to the vestibule from the street is arranged in the form of a porch - a platform in front of the entrance doors, to which several steps lead.

Sacristy- a place in the altar or a separate room at a Christian church for storing the liturgical vestments of priests.

Rust- hewn stone, the front side of which is left roughly trimmed. Rustication imitates the natural texture of stone, creating the impression of special strength and heaviness of the wall.

Rustication– decorative treatment of the plaster surface of a wall, imitating masonry made of large stones.

Sredokrestie– the intersection of the central nave of the cross-domed church with the transept.

Travea- the space of the nave under the vault.

Transept– transverse nave of the cross-domed church.

Refectory- part of the temple, a low extension on the western side of the church, which served as a place for preaching and public meetings.

Fresco– (“fresco” – fresh) – a technique of monumental painting with water paints on damp, fresh plaster. The primer and the fixing (binder) substance are one whole (lime), so the paints do not crumble.

The fresco technique has been known since ancient times. However, the surface of the antique fresco was polished with hot wax (a mixture of fresco with painting with wax paints - encaustic). The main difficulty of fresco painting is that the artist must begin and finish the work on the same day, before the wet lime dries. If corrections are necessary, you need to cut out the corresponding part of the lime layer and apply a new one. The fresco technique requires a confident hand, fast work and a completely clear idea of the entire composition in each part.

Gable- the completion (triangular or semicircular) of the facade of a building, portico, colonnade, limited by two roof slopes on the sides and a cornice at the base.

Choirs– an open gallery, a balcony in the second tier of the temple on the western side (or on all sides except the eastern). The choristers were housed here, as well as (in Catholic churches) the organ.

Tent- a high four-, six- or octagonal pyramidal covering of a tower, temple or bell tower, widespread in the temple architecture of Rus' until the 17th century.

Fly- a rectangular cavity in the wall.

Apple– a ball at the end of the dome under the cross.

What is Nave? Meaning of the word nef, architectural dictionary. Dictionary of temple architecture Nave definition by history

Etymology

Story

Architectural solutions

Etymology

Story

Architectural solutions

Illustrations

Write a review about the article "Nave"

Notes

Literature

Links

Excerpt describing the Nave

See also interpretations, synonyms, meanings of the word and what NEF is in Russian in dictionaries, encyclopedias and reference books:

Nave. Architecture of the Gothic cathedral.

See what a “side nave” is in other dictionaries:

The middle part of the temple (nave)

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What is Nave? Meaning of the word nef, architectural dictionary. Dictionary of temple architecture Nave definition by history

Etymology

Story

Architectural solutions

Etymology

Story

Architectural solutions

Illustrations

Write a review about the article "Nave"

Notes

Literature

Links

Excerpt describing the Nave

See also interpretations, synonyms, meanings of the word and what NEF is in Russian in dictionaries, encyclopedias and reference books:

Nave. Architecture of the Gothic cathedral.

See what a “side nave” is in other dictionaries:

The middle part of the temple (nave)

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