Fig. 8. North Newbald, Yorkshire: tower arches, chancel and S. transept, from N.W.
§ 36. A noble example of a Norman cruciform church, whose plan has suffered little alteration, exists at North Newbald in the east Riding of Yorkshire. At each angle of the crossing are masses of shafted piers, connected by wide and lofty rounded arches. The nave, as is usual, is the longest arm of the four, so that the plan is a Latin cross. It has north and south doorways: there are also doorways in the end walls of the transepts, placed in the western part of each wall. In the east wall of each transept is an arch, now blocked up, the filling being pierced with fifteenth century windows. These arches are the openings of original apses, which contained the transept altars. The chancel, probably always rectangular, was rebuilt in the fifteenth century. As a corollary of the true cruciform plan, the four arms are all of equal width. At Bampton-in-the-Bush, Oxon, where the plan of the church was greatly altered in the thirteenth century by the addition of aisles, the Norman plan was very similar to that of North Newbald. The cruciform plan of Melbourne, Derbyshire, with its aisled nave, was probably inspired more directly by continental examples. The aisleless chancel was vaulted, and ended in an apse, which was squared in later times by the addition of a rectangular piece east of its springing points. Out of the east walls of the short transepts opened wide apses, the walls of which joined the western ends of the walls of the chancel. Thus, externally, the plan of the eastern part of the church was closely allied to the plan with three apses which, in some of our larger churches, was derived from Normandy. At Melbourne, however, there are important variations from this plan. The chancel is short, there are no quire aisles, and the transept apses were rounded externally. In the larger churches of Normandy, the side apses were at the end of the quire aisles, and were usually squared externally, while the apses projecting from the east walls of the transepts, as at Saint-Georges-de-Boscherville, were left rounded. At Newbald and Bampton there seems to have been no attempt to give complete unity of design, as at Melbourne, to the rectangular chancel and transeptal apses. In any case, transeptal apses were the exception in the plans of our Norman cruciform churches, although their convenience for holding altars is obvious.
§ 37. The cruciform plan, beautiful as it is, was never generally adopted. It was inconvenient for purposes of public worship, as long as the rounded arch remained fashionable. In our own day, even in churches where the central tower is carried on high pointed arches, and the view of the altar is practically unhindered, the chancel is cut off from the nave by the crossing, and the acoustic problem, which in modern church planning is so necessary a consideration, is almost insurmountable. In the middle ages, this problem was not so acute; but it was undesirable that the interior of the chancel should be nearly invisible from the nave. At Newbald the tower arches are planned upon a liberal scale: at Bampton, on the other hand, where the eastern tower arch is left, the others having been rebuilt in the thirteenth century, it is very low. The low tower arches at Burford, Oxon, and the narrow arches at St Giles, Northampton, are examples of the way in which the supports of the Norman central tower interfered with the internal convenience of churches. It was not until much later that this difficulty was solved, and then only in one or two cases, when the cruciform plan had become exceptional. The plans of Bampton, Burford, and Witney, show how the builders of west Oxfordshire experimented in cruciform planning. The division between chancel and nave is felt much less at Witney than in the other two churches; for the great thirteenth century tower and spire, resting upon massive piers joined by pointed arches, throw a considerable portion of their weight upon nave and transept arcades, whose exceptional massiveness gives unity to the whole design. In the fifteenth century, however, the rebuilders of the aisleless church of Minster Lovell, between Witney and Burford, solved the problem by removing the supports of their square central tower from the angles of the crossing to points entirely within the church, and building arches from the piers thus formed to the angles of the crossing. The comparatively light piers, instead of hindering the view, allow of easy access from the nave to the transepts, and there is hardly a point in the body of the church from which seeing and hearing alike are in any way impeded. With the earlier builders, however, the natural course was to leave the piers where they were, and endeavour to lighten them as far as possible; and, in aisled churches, the difficulties involved often led to the abandonment of the complete cruciform plan.
§ 38. The cruciform church gives occasion for a brief remark on one aspect of medieval building which is often exaggerated. The revival of interest in medieval architecture, in the early part of the nineteenth century, was accompanied by an insistence on symbolism in the plan and design of churches. A minute symbolism, which often was the fruit of pious imagination, or was derived from the fancies of post-medieval writers on ritual, was read into every detail of the medieval church fabric. It is true that, as has been said, some builders worked imaginatively, imitating in the round naves of a few churches the rotunda of the Holy Sepulchre. Other instances of devout imitation might be found, if we looked for them. But the imitation of a concrete model is a different thing from translating abstract mysteries into the plan and elevation of a building. And, although the ground plan with nave, transepts, and chancel, certainly forms a cross; and, although, as time went on, the resemblance to the chief symbol of the Christian faith was no doubt recognised and valued, the plan itself, as we have shown, came into being from entirely natural causes. Where the central tower was introduced, the plan was dictated by structural necessity. Where there was no central tower, transeptal chapels provided accommodation for altars, for which the body of the church afforded no convenience. In this and in other cases, medieval builders were impelled by practical common sense and the requirements of the services of the church; and symbolism, if it was a consideration at all, was purely secondary.