the contemporaneous choir, with the transepts of Nôtre Dame de la Chapelle at Bruxelles; the Madeleine, about 1250, at Tournai; the choir, 1221, of St. Martin at Ypres, remarkable for the branches of foliage along the strings; the crypt, 1228, of St. Bavon at Gand, which was the last (except one hereafter noticed) that was constructed in the kingdom; Ste. Pamele, built 1295-9, by A. de Bincho, at Audenaerde, which is said to be "le type le plus curieux qu'il soit possible de trouver de ce style;" and St. Jacques at Tournai, which has one triforium over another, and exhibits in the tower a pointed trefoiled arch with columns to support the cusps; are also transitional.

34160

556. The chapel of the castle at Vianden, was about 50 ft. long and 36 ft. wide; its plan was a decagon with one side opening to the castle and another to a pentagonal choir; divided into three portions by columns engaged in square piers; the centre was a hexagonal pit over the dungeons so that the prisoners tould hear prayers without leaving their cells; it is now in ruins. 557. To the style ogival primaire belong the choir and lower part of the nave of the cathedral of St. Paul at Liége; the choir and chief part of the transepts of Ste. Gudule at Bruxelles, 1250-80; great part of Notre Dame at Tongres; the church (fig. 249, width between the piers is 53 ft.) of the Dominicans at Gand, 1240-75, with a single nave covered by wooden ceiling (fig. 250.), on curves of 60 ft. radius; (both cuts from the Gentlemaa's Magazine for 1862), that of the Dominicans at Louvain, 1230-50, or later; the three-aisled naves and the transepts of St. Martin at Ypres, 1254-66, with one of the few rose windows, existing in Belgium, over the porch to the south transept; the choir of St. Léonard at Leau; Nôtre Dame at Dinant; Ste. Wal- Fig. 249. CHURCH OF THE burge at Furnes; the abbey and hospital called La Byloque at

DOMINICANS, GAND.

Gand," with an oaken roof not ceiled where spiders have never come," and with a remarkable brick gable to the refectory; the brick tower of Nôtre Dame at Bruges, 1230-97, said to have been about 420 ft. high, including the spire, till 1818, when 50 ft. were removed; the choir of the cathedral at

Tournai, 197 ft. long, 121 ft. wide, and 108 ft. (inside) in height, remarkable for its stilted arches and for the means adopted to strengthen their pillars; as well as the choir of St. Bavon at Gand, begun 1275 and not finished in the 18th century, with its opposite clearstories connected by iron ties. In the Netherlands there are a great number of large churches which have a singular identity of appearance in the interior, and at the same time a manifest peculiarity of character. This appears to be due to the employment of plain, well-proportioned cylindrical shafts for their piers; the style in other respects being an elegant Gothic. The prineipal examples are Nôtre Dame, and the cathedral at Malines; St. Paul at Liége; Notre Dame des Victoires, La Chapelle, and Ste. Gudule, at Bruxelles; St. Jacques, and the Dominicans, at Antwerp; St. Michel at Gand; and Furnes near Bruges.

Fig. 250.

558. The style ogival secondaire was chiefly employed by the ecclesiasties in finishing structures or in commencing others conceived on so large a scale that their superstructure belongs to a later period. The chief edifices of the style are the five-aisled church of St. Jean at Bois-le-duc, curious for the revolting obscenity of the large statues to the buttresses of the choir-it was commenced 1280, but evidently was finished in the latter half of the 15th century; the five-aisled choir of St. Sulpice at Diest; the church of the GrandBéguinage at Louvain, commenced 1305, noticed for the manner in which the twelve pillars that divide it into three aisles have been strengthened by iron bars; the contempora neous church of the Béguinage at Diest; the church at Aerschot, built 1331-7 by J. Piekart; and, finest of all, Notre Dame at Huy, begun 1311, with a splendid rose window.

To these may be added the cathedral at Saint Rombaut, begun about 1345-50; the n and southern aisle of Ste. Gudule at Bruxelles; the front of the cathedral at Tournai; Ste. Croix at 1 iége, the only church in Belgium, since the destruction of that at Lol that has the three aisles of equal height, and from which the architect is reported to h fled rather than superintend the striking of the centering to the vaulting, which in nave is corbelled out from the pillars.

5.59. Some of the finest structures belonging to the style ogival tertiaire are; great par Nôtre Dame at Hal, 1341-1409; the porch and towers, completed 1439, to St. Martin Courtrai, 1390-1439; Ste. Walburge at Audenaerde, rebuilt, except the choir, 1414-15 with a tower 295 ft. high, by J. van den Eecken; Notre Dame at Anvers, the only fi aisled church (except that at Saint-Hubert) in the country, which is really seven-aislet plan in the nave (the choir belongs to the preceding century, and the completion of tower, commenced 1422-3, by J. Appelmans, with the cupola and the Lady-chapel, to 5rst half of the 16th century); St. Gommaire at Lierre, begun 1425, and less than 250 feet long, with a high tower, finished 1455, but altered 1702; the po and tower of St Martin at Ypres, 1484, by M. Utenhove; the chevet of the cat dral at Saint-Rombaut, with 320 ft. of its tower, 1452-1513, which was to have b 600 ft. high, according to the preserved design; Ste. Wandru at Mons, which was bui ing 1450 (with aisles 1525, and nave 1580-9, by J. de Thuin and his son), and is suppo to have been designed by the architect of St. Pierre at Louvain, which was building 14 with later nave, the design and stone model for the intended colossal triple-towered faç is preserved in the town-hall; St. Michel at Gand, 1440-1515; Notre Dame at Mali about 1475-1550; the contemporaneous Notre Dame du Sablon at Bruxelles; the up church at Anderlicht, 1470-82; St. Jacques at Anvers, 1429-1560, with a tower, 14 by T. de Coffermaker; and the tower, 272 ft. high, of St. Bavon, 1461-1534, by Stassins, with that of St. Nicolas, 1406, by T. de Steenhoukebelde, both at Gand.

560. As works of the 15th century must be named, the great entrance and its t towers, with other portions, to Ste. Gudule at Bruxelles; the tower and eastern part Nôtre Dame at Tongres; the brick tower of St. Jean at Bois-le-duc; and the tower the church at Aerschot, said to have carried a spire 488 ft. high, that was replaced, 15 by the present spire, which attains about 320 ft. In the same style are the five ais abbey church (see Nôtre Dame at Antwerp) at Saint Hubert, about 1526-64; the br spire, 1524, of Nôtre Dame at Bruges, which is said to have been 422 ft. high, but lessen 1818, by 50ft.; the upper part of the nave, the chapels, and the vaulting of the cathed of St. Paul at Liége, 1528-9; the nave of St. Bavon at Gand, 1533–53, with an i railing as triforium, and having the clearstories tied together by iron bars; St. Jacques Liége, 1513-18, the best specimen of the style; with its rivals, St. Martin in the sa city, finished, 1542, by P. de Rickel; the brick church at Hoogstraeten, 1534–46; a the church of the Dominicans at Anvers, 1540-71. The cloisters of St. Paul, St. Barth lemi, and St. Jean-en-Isle at Liége are rather later than that of St. Servais at Maestric 561. In the 13th century commences that long series of splendid civil edifices whi Belgium possesses in greater number than any other country of its size-viz., the belfr the markets, the town-halls, and the club-houses. The most remarkable of the beffrois : at Tournai (the oldest), Gand (the original drawing is preserved) 1315-37, Ypr Bruges, Lierre (1369-1411), Nieuport (1480), and Alost (1487). The enormous ha now hôtel de ville, at Ypres, was commenced 1200, but not completed till 1230 in t right wing, 1285 in the left wing, and 1342 at the back; the water halle at Bruges w destroyed 1789, but another, which was attached to it, remains, with a tower, 1284-91, the priest Simon de Genève; the halle-aux-draps at Louvain was commenced, 1317, by S'evens, A. Hare, and G. Raes (supposed officers), and was given, 1424, to the Univers that, 16-0, added the second story. The halle, now boucherie, at Diest, dates 1946, a the halle aux draps at Gand, 1424, the last in the pointed style. The boucherie at Yp belongs to the 13th century; that at Anvers 1501-3.

562. The hotel de ville at Alost has the right flank, built in the year 1200, remaining that at Bruges, commenced 1377, with its rich ceiling, 1898, was the only edifice of class raised during the 14th century; that at Bruxelles was begun on the left or east sid 1401-2, by J. van Thienen, the tower was completed, 1448-55, by J. van Ruysbroc the right side was commenced 1454; that at Louvain was erected 1448-59, by M. Layens, and is unparalleled in any city; that at Mons was built 1458; the old part of th at Gand was begun, 1481, by E. Polleyt; that at Audenaerde was erected, 1527-30, H. van Pede, and 1528. a painter and a sculptor were sent from that town to copy, for t use of the architect, the two chimney-pieces and the parapet of that at Courtrai, bu 1526-7; and even that at Leau deserves attention. We refer our readers to the end Book III. for some further remarks on these very important buildings.

563. The maison des poissonniers and the maison des bateliers at Gand date in the f part of the 16th century. The poorter's logie (now école des beaux-arts) at Bruges w erected at the end of the 15th century, or a little later. The maison du roi at Bruxell

rebuilt 1514-23, by A. D and R. van Mansdale, D. de Wagemaker, L. van Bendeghem,

and H. van Pede, was much injured, 1695; and the Hôtel

da Frane at Bruges dites 1521-3. The steen (prison)

at Anvers was built 1520. The episcopal palace at Liége dates 1508-40.

564. According to a tradition preserved at Ypres, the timber of which the wooden houses of the 15th and 16th centuries was built, was procured from Norway; some of these dwellings remain in Anvers and Ypres. Two stone houses of the 18th century exist at Gand, and a couple more dating 1250-1300 at Ypres. One of the 14th is in the Place du Vendredi at Gand, and many brick dwel lings of the 15th and 16th may still be seen at Anvers, Ath, Bruges, Gand Malines, Tournai (fig. 251.), Ypres, &c. The Porte de Hal at Bruxelles, 1381; the Porte de Diest at Louvain (1526); the Pont du Broel at Courtrai; the Pont des Trous at Tournai (129-1300), with the keeps of the châteaux at Sichem and Terheyden close the list of remarkable works of ancient pointed art in this country, with notice of the Chapelle de la Vierge attached, 1649, to the southern or right side of Ste. Gudule at Brussels to balance the chapel, built 1533-7, on the left side.

Germany.

565. In accordance with the opinion now usually adopted, that Gothic art was received into the north of Europe from France, but that it was altered during the process of naturalisation, the usual division of the styles accords with that used in France. But the periods do not altogether match, inasmuch as while examples of pure first-pointed work occur in the cathedrals at Paris and elsewhere, 1163-1212, the German instances are, like those of Belgium, not earlier than 1225. It is hardly possible, however, to refute the Fig.251 documentary evidence for some buildings being very much

HOUSE AT TOURNAL.

in advance of contemporaneous structures in England and France as to style. This seems to be admitted by Dr. Whewell, whose valuable Architectural Notes on German churches, 1842, third edition, condenses into a few lines the account of the chief peculiarities of detail in the two classes which he observed in that country. He first suggested the fact that English and German architects, beginning from the same point-the Romanesque, and arriving at the same result-the complete Gothic, or decorated period, with geometrical tracery, made the transition each through a separate style; one of these being decidedly Gothic; the other, which he calls early German, rather Romanesque than Gothic. They have in common their slender shafts, clustered and banded, their pointed arches, and their mode of vaulting; but we do not commonly find, in the interior of the transition churches of Germany, the circular cluster of shafts, the arches moulded into a broad and deep mass of small rolls with deep hollows between, the circular abacus with its rounded upper edge, the simple lancet-headed windows, tall and narrow, and the peculiar line of open flowers which is used so profusedly in all early English work. Nor do we observe, on the outside, the dripstone to the window, the moulded or shafted window-sides or jambs, the projecting buttress with its chamfered edge and triangular head, or the pyramidal pinnacles of our early cathedrals. Vaulting shafts spring from a corbel, or more usually, from an end hooked into the wall; the arch is often a square-edged opening with no mouldings, though sometimes a rebated edge, sometimes a roll, is seen; the triforium is, in a large district, meant for use as a gallery by the bachelors; the fan-shaped window, a foiled horse-shoe arch; and arch mouldings with three bands, or two bands and a roll at the apex. The difference between early English and early German work is less obvious. The resemblance obtains not only in the general forms of the members and parts, but in the details also-the canopies, bases, profiles of mouldings, &c. The latter style, however, has double planes of tracery-i.e., two frames of tracery, one behind the other, in the same opening. After this general coincidence, the styles seem again to diverge, the later Gothic of Germany being quite different from the contemporaneous or corresponding styles of England, France, and the Netherlands; these again apparently being independent of each other. Nevertheless, a German author would inscribe at the head of this section the following table:

566. The earliest truly pointed buildings seem to be, the church of St. Mary at Treves,

1227-44, said to resemble in plan the church at Braine near Soissons; the choir of Afra at Meissen, 1235; and the nave of St. Elizabeth at Marburg, 1253-83, which F

bably was the first stance of the prac of erecting the n and aisles uniform height that is so co mon in Germany ( 252). The church the Minorites at logne was consecra 1260, and is said have been built

567. The cathed at Cologne, beg 1248, is held to o much of the plan that at Amiens, and the decoration to Ste. Chapelle at Par The abbey of Alt burg is said to be debted for its st to Cologne cathedr the choir at Meiss to that at Naumbu and Calmar to Stra burg; the churches Gruenberg, Nienburg an der Saale, and Wetter, with St. Mary at Frankenberg and at Me burg to that of St. Elizabeth at Marburg. In the 14th century. the five-aisled chur at Kuttenberg was indebted to Prague cathedral; the choir of the church of St. Mary Bamberg to Cologne cathedral, and (for windows) to the church at Oppenheim; and t churches of St. Mary at Rostock and Wismar to Schwerin cathedral. In the 15th centu the church at Steier borrowed from Vienna cathedral; St. Mary at Bernburg from S Nicholas at Zerbst and St. Maurice at Halle; Freiberg cathedral and St. Mary at Zwicks from St. Nicholas at Zerbst; and the church at Elten from St. Algund at Emmeric These cases of imitation may be deserving of attention.

Fig. 252.

568. The general character of the work of the first period is very much that of th French buildings of the style: but where the German work is plain, it is much plaine than the French; and where decorated, much richer. Its reminiscences of romanesqu art are more obvious in the profiles of mouldings, while the carved work in capitals almost an exaggeration of the crispness of the French work. 569. Amongst the remarkable buildings erected in the 13th

10

a

century may be named th old parish church Ratisbon, with man romanesque

detail

125063 or 1290 1300, a difference nearly half a century which occurs in th dates given by eminen writers to the whole, c to parts, of many Ger man edifices. The ver remarkable cathedrz (fig. 253), at Halber stadt has the lower par of the west front older than the rest of the edifice, which dates 1235-1491; its sectio (fig. 254.) is here given as being an instance of elegant proportions that enforce admira tion. The beautiful church at Oppenheim, dedicated to St. Catherine, is a Latin cros on its plan. The chancel is five sides of an octagon. As in many of the churches Germany, it has a second chancel for the canons at the western extremity, terminating i three sides of an octagon. The entrances are on the north and south sides of the tran septs. From a MS. chronicle of the church, quoted by Moller, it is ascertained that th

Fig. 253.

PLAN OF CATHEDRAL, HALBERSTADT

זי

ave and eastern chancel were begun in 1262, and finished in 1317. The western chancel, now a ruin, was consecrated 1439. The total length of the church, including the two ebancels, is 268 ft.; whereof the western chancel, whose breadth is 46 ft., occupies 92 ft. The nave is 102 ft. in length, and its breadth 86, that breadth comprising the two side aisles which are separated from the nave by clustered columns; the aisles have small chapels. The transept is 102 ft. long, and $1 ft. broad. In the western front, at the extremity of the nave, are two towers, standing on square bases, each of four storys, and crowned by an octagonal spire. Over the intersection of the transepts with the nave stands an octagonal tower. This building was erected for Richard of Cornwall, emperor of Germany, and has lately been restored. The church at Wimpfen-im- Thal, 1262-78, is recorded as built by a Parisian "opere francigeno;" the choir of Meissen cathedral 1274; the simple church of the Dominicans at Ratisbon 1274-77; and the choir of the cathedral in the same city, 1275-80. 570. The western portal of Strasburg cathedral was begun 1277 by Erwin von Steinbach, an architect before mentioned (par. 322a) who died 1918, leaving unfinished part of the second story, which was completed by his son Johann, who died 1339; the third story is an addition. The cathedral was carried on under other architects till 1439, since which nothing has been done towards its completion. Among the examples of pointed architecture, this is the most stupendous. There is a similarity of style between it and the cathedrals of Paris and Reims, except that the ornaments are more minute. The plan is a Latin cross, whose eastern end terminates interiorly in a semicircle, but on the exterior in a straight line. The length of the church is 324 ft., that of the transept 150 ft.; the height of the vault of the nave is 98 ft. The nave has one aisle on each side of it. On the north-west angle of the edifice, rises the spire, whose height has been very variously represented; the correct height is 466 ft., being greater than that of any church in Europe except that of St. Nicholas at Hamburgh, which is 472 ft. To a certain height the tower

Fig. 254. SECTION OF CATHEDRAL, HALBERSTADT.

square and solid, being formed by one of the vertical divisions of the western façade. Above the solid part, the tower rises to a certain height octangularly, open on all sides, and flanked by four sets of open spiral staircases, which are continued to the line whence the principal tower rises conically in seven stories or steps, crowned at the summit with a species of lantern. John Hültz, sen., Heckler, and John Hültz, jun. continued this fine tower, which was only finished in 1439. In the interior of the church, near one of the large piers of the transept, is a statue of the architect Erwin, in the attitude of leaning over the balustrades of the upper corridor, and looking at the opposite piers. The minster at Freiburg-imBreisgau, is remarkable as being almost the only large Gothic church in Germany which is finished, and has escaped destruction. It was begun 1152, as appears in the romanesque transepts with their external turrets; the nave, west front, the tower 380 ft. high, skilfully changed from square to octagon, with open spire, and rich porch below it, date 1236-72; the choir (see fig. 255.) belongs to the year 1513. The transition, which in France dates 1250, is seen in the west front, 1287, of the cathedral at Agram, where the choir dates 1305-19, with a later nave.

571. In the second period elegance and richness Fig. 255. were sought; the latter was obtained, but the former

was lost in a manner which may easiest be expressed in the statement that everything seems to be an addition as an after thought Decoration is spread on the work: witness the