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In music, a melody of four pitches where a straight line drawn between the outer pair bisects a straight line drawn between the inner pair, thus forming a cross. In its simplest form, the cruciform melody is a changing tone, where the melody ascends or descends by step, skips below or above the first pitch, then returns to the first pitch by step.
Adding transepts improved the stability of the log technique and is one reason why the cruciform floor plan was widely used during 1600 and 1700s. For instance the Old Olden Church (1759) replaced a building damaged by hurricane, the 1759 church was then constructed in cruciform shape to make it withstand the strongest winds. [10]
Cathedral floor plan (crossing is shaded) A crossing, in ecclesiastical architecture, is the junction of the four arms of a cruciform (cross-shaped) church. [1]In a typically oriented church (especially of Romanesque and Gothic styles), the crossing gives access to the nave on the west, the transept arms on the north and south, and the choir, as the first part of the chancel, on the east.
Amiens Cathedral floorplan: massive piers support the west end towers; transepts are abbreviated; seven radiating chapels form the chevet reached from the ambulatory. In Western ecclesiastical architecture, a cathedral diagram is a floor plan showing the sections of walls and piers, giving an idea of the profiles of their columns and ribbing.
The cruciform plan was the dominant church design in Norway when the octagonal plan was introduced. The octagonal plan offers better view of the choir compared to the cruciform plan. The octagonal plan also creates a more rigid wood construction then the simple rectangular plan ("long church" or "hall church") allowing taller and wider ...
St. Mary's Cathedral, Sydney has a typical cruciform plan. The main body of the building, making the longer arm of the cross, is called the nave, and is where worshipers congregate; the term is from the Latin word for ship. The cathedral is symbolically a ship bearing the people of God through the storms of life. [13]
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The cross-in-square church may be said to constitute a unique artistic development of the middle Byzantine period. Early Byzantine churches were predominantly basilical or centrally planned (e.g. cruciform tetraconch churches, octagons). The question of the origins of the cross-in-square form has therefore engaged art historians since the ...