crockets and capitals which are only single leaves glued to their places instead of the fre growing foliage of the previous period.

572. In the 14th century occurred the construction of the nave at Meissen cathed 1312-42; the tower and choir of St. Elizabeth at Kaschau, 1321; St. Mary at Prenzl

1325-40; the church at Friedeberg, 1328; St. Lambert at Muenster, 1335-75; the cho in St. Mary at Wismar, 1339-54; the five-aisled choir in Prague cathedral, 1843-85; tl

choir in the cathedral at Aix-la-Chapelle, 1353; and St. Mary Nuremberg, 1354-61, by G. and F. Ruprecht. To the end this century belongs the pentagonal church at Kirchheim-im-Rie with the convent's choir in the western portion.

573. The plan of the cathedral at Cologne (fig. 256. exhibits a symmetry not surpassed by the buildings ancient Greece and Rome. A church erected on the site this cathedral in the time of Charlemagne was destroyed by fir in 1248, at which time Conrad filled the archiepiscopal throne the city Before fine had destroyed the former cathedral, thi

Fig. 257

SOUTH ELEVATION OF COLOGNE CATHEDRAL

prelate had resolved on the erection of a new church, so that in the year following the destruction of the old edifice, measures had been so far taken, that the first stone

of the new fabric was laid with great solemnity on the 14th of August, being the eve of the Assumption of the Blessed Virgin. Collections were made throughout Europe for carrying on the works, and the wealth of Cologne itself seems to have favoured the hope that its founder had expressed of their continuation. The misfortunes of the times soon, however, began to banish the flattering expectation, that the works would be continued to the completion of the building. The archbishops of Cologne dissipated their treasures in unprofitable wars, and ultimately abandoned the city altogether, for a residence at Bonn. The works do not, however, appear to have been interrupted, though they proceeded but slowly. On the 27th of September, in the year 1322, seventy-four years after the first stone had been laid, the choir was consecrated. The works were not long continued with activity, for about 1870 the zeal of the faithful was very much damped by finding that great abuses had crept into the disposal of the funds. The nave and southern tower continued rising, though slowly. In 1437, the latter had been raised to the third story, and the bells were moved to it. In the beginning of the 16th century, the Dave was brought up to the height of the capitals of the aisles, and the vaulting of the north aisle was commenced; the northern tower was carried on to the corresponding height; and everything seemed to indicate a steady prosecution of the work, though the age was fast approaching in which the style was to be forgotten. The windows in the north aisle were decorated, though not in strict accordance with the style, yet with some of the finest specimens of painted glass that Europe can boast, a work executed under the patronage of the archbishop Hermann von Hesse, of the chapter, of the city, and of many noble families who are, by their armorial bearings, recorded in these windows. But with these works the further progress of the building was entirely stopped, about 1509. Fig. 257 exhibits the south elevation of the cathedral, in which the darker parts show the executed work. If the reader reflect on the dimensions of this church, whose length is upwards of 500 ft., and width with the aisles 280 ft.; the length of whose transepts is 290 ft, and more; that the roofs are more than 200 ft. high, and the towers when finished would have been more than 500 ft. on bases 100 ft. wide; he may easily imagine, that, notwithstanding all the industry and activity of a very large number of workmen, the works of a structure planned on so gigantic a scale, could not proceed otherwise than slowly, especially as the stone is all wrought. The stone of which it is built is from two places on the Rhine, Koenigswinter and Unckel-Bruch, opposite the Seven Mountains, from both of which the transport was facilitated by the water carriage afforded by the Rhine. The foundations of the southern tower are known to be laid at least 44 ft. below the surface.

574. To King Frederick William III. is due the merit of rescuing it from the state of a ruined fragment. During his reign nearly 50,000l. were laid out upon it, chiefly in repairs; and in that of his successor, Frederick William IV., 225,000l., more than half of which was contributed by the King, the rest by public subscription. In 1842 he laid the foundation of the transept. The choir is now finished. The late architect, Zwirner, estimated the cost of completing the whole at 750,000l. In September, 1848, the nave, aisles, and transepts were consecrated and thrown open; the magnificent south portal was finished 1859, at a cost of 100,000l. The north portal, more simple in detail. is also completed; both are from Zwirner's designs. The iron central spire and iron roof of the nave were added 1860-62, and the whole, except the towers, nearly finished 1865. The faulty stone, from the Drachenfels, on the exterior, has been replaced by another of a sounder texture, of volcanic origin, brought from Andernach and Treves.

The height of the towers when finished will be 532 ft., equal to the length of the church, whose breadth, 231 ft., corresponds with that of the gable at the west end. The choir is 161 ft. high. 575. The cathedral at Ulm (fig. 258.) is another of the many celebrated cathedrals of Germany: it was commenced in 1377, and continued, the tower excepted, to 1494. It is about 416 ft. long, 166 ft. wide, and, including the thickness of the vaulting. 141 ft. high. The piety of the citizens of Ulm moved them to the erection of this structure, towards which they would not accept any contribution from foreign princes or cities; neither would they accept any remission of taxes nor indulgences from the pope. The whole height of the tower is $16 ft. 9 in.; it was stopped 1492 because the two pillars under it, on the side next the

Fig. 258.

ULM CATHEDRAL

body of the church, gave way. Had it been finished according to the original design (still in existence), it would have been 491 ft. The exterior length is 455 ft.; interior, 391 ft. The nave and choir are partly built of brick. The nave is 146 ft. high, and has twelve

clustered columns bearing lancet pier-arches, without a triforium, flanked by double ais! on slender shafts. The main support of the roof is derived from huge external buttresse This building does not preserve the regularity of form for which the cathedral at Cologr is conspicuous, but the composition, as a whole, is exceedingly beautiful.

576. Ratisbon cathedral is another fine work, of about the same period (fig. 259). was begun by Andreas Egl, 1275, but left unfinished in the beginning of the 16th centur The west front is in the decorated style of the 15th century, with a triangular portal throwin out a pier in front so as to form a double arch wa The church is 333 ft long, and 120 ft. high. transeptal plan is only seen in the clearstory. Vienna, the cathedral of St. Stephen's exhibit another exquisite example of the style.

Th

A

577. The history of the collegiate church of St Victor at Xanten has been tolerably clearly writ ten. It is a five-aisled edifice without transepts with a romanesque tower dated 1213. The choir was commenced 1263, the sacristy in 1356 by J. von Mainz, who designed, 1368-70, the east part of the north aisle. The buttresses and vaulting were added 1417-37: a cessation of the work then occurred till 1487, although we find the names of the master-masons T. Moer, 'archilapicida,' 1455; H. Blankenbyl, 1470-4; and G., von Lohmar, 1483-7, as busy upon the nave; its windows were completed 1487; the south side 1492; its vaulting 1500; its buttresses 1508; the great window between the towers 1519, and the north tower, 1525, were designed by Johann von Langeberg of Cologne, 1492-1522; the sacristy And the chapter-house were designed, 1528, by Gerwin from Wesel; and the chapter-house with cloisters was completed, 1550, by H. Maess.

Fig. 259.

RATISBON CATHEDRAL

578. In the third period there seemed to be a natural and at first healthy revulsion; but it ended in being spiky, a term which is more justifiable than prismatic. Every thing that could be curved was bent or twisted; the most tortuous forms of the flamboyant system are common with truncated ends forming stump tracery; interpenetration abounds; and as a last resource of invention, dead branches intertwined take the places of mouldings and of

foliage. So that in the decline and fall of German pointed art, there was as markedly national a character as in that of the French or the English contemporaneous forms.

579. Amongst the structures of the 15th century (excepting St. Mary at Esslingen, which will be hereafter mentioned) were St. Catherine at Brandenburg, 1401, by H. Brunsbergh, with nave and aisles of equal height; the choir of St. Mary at Coblentz, 1404-31, by Johann von Spey; the church of St. John at Werfen, 1412; that at Weissenfels, commenced 1415 by Johann Reinhard; the choir of St. Reinold at Dortmund. 1421-50, by Rozier; St. Mary at Ingoldstadt, 1425, with nave and aisles of equal height, by H. Schnellmeier and C. Glaetzel; St. Laurence at Nuremberg, enlarged 1403, with a choir and aisles of equal height, 1439 or 1459-77, by C. Heinzelmann of Ulm, and Johann Bauer of Ochsenfurt, on the plans of C. Roritzer of Ratisbon; St. Nicolas at Zerbst, 1446-81, with a nave and aisles of equal height, and with a chevet having nine sides externally, by Johann Kuemelke and his son Matthias; the south-west tower of St. Elizabeth at Breslau, 1452-86, with a wooden spire erected in the latter year, by F. Frobel, zimmermann;' the church of the hospital at Cues before 1458; the nave and choir of the church at Freiburg an der Unstrut, 1499, by P. von Weissenfels; the nave of the church of St. Ulric and St. A fra at Augsburg, 1467-99; the brick cathedral at Munich, with nave and aisles of equal height, 1468-91, by G. Gankoffen: the choir of the minster (fig. 260) at Freiburg im Breisgau, 1471-1513, by Johann Niesenberger; and the cathedral at Freiberg, 1484-1500.

580. The church of St. George at Noerdlingen, with its three naves of equal height and

length, and a tower 283 ft. high, is extremely curious, because so many of its architects were engaged at other places. The names are preserved of Johann Felber, 1427-35, of Ulm, who built the outer church at Waiblingen, completed 1488; C. Heinzelmann of Ulm, likewise engaged at Waiblingen as well as at Landau, and, 1459-77, with Johann Bauer von Ochsenfurt at the choir of St. Laurence at Nuremberg, designed by C. Roritzer; N. Eseller and his son of the same name, 1454-59, both of whom were engaged at the church of St. George at Dinkelsbuehl, 1450, as well as at Augsburg and Rothenburg; C. Hoeflich and Johann von Salzdorf, 1457; W. Kreglinger, of Wurtzburg; and S. Weyrer, who finished. 1495-1505, the vaulting.

581. This passage from one building to another seems to have commenced in Germany during the 14th and 15th centuries. We find B. Engelberger at Heilbronn, 1480, Ulm 1494, and Augsburg 1502-12; H. Brunsbergh, of Stettin, 1401, at Brandenburg, Danzig, and Prenzlau; Paul von Brandenburg at Brandenburg, 1484, and Neuruppin, 1488; P. Arler at Colin, 1360, and Prague, 1385; M. Boeblinger at Esslingen, 1482, Frankfurt, 1483, and Ulm 1492; Johann. 1430, at Landshut, Hall, Salzburg, Oetting and Straubing. It is remarkable that in nearly half the cases (and the rest are doubtful) where the name of an architect is recorded, he seems to have come from another town to that in which the building he designed is erected.

582. Fig. 261 is a house attached to the rath-haus at Münster, and much resembling it

in style; the house dates late in the 15th century, or early in that of the 16th. We give a house in the Altmarkt-platz at Cologne (fig. 262.) for its very late date in appearance, but being entirely free from any trace of transition from 11th century work in detail, it is easily attributed to the early part

of the 12th century.

583. Amongst the structures erected about the year 1500 may be named St. Anne at Annaberg, 14991525; St. Katherine at Esslingen, by M. Boeblinger, who finished the church of

St. Mary (left 1482, by his father Johann); the latter building was stopped 1321, and recommenced 1406; it has the vaulting-ribs of the three equally high naves carried uninterruptedly to the ground; the tower, commenced 1440, is considered to be the finest in Germany; the choir of St. Ulrich and St. A fra at Augsburg begun 1501; the tower of St. Kilian at Heilbronn, 1507-29, by Johann Scheiner; the church at Pirna, 1502-46; the church with nave and aisles of equal height at Luedinghausen, 1507-58; the alterations and vaulting of the romanesque church at St. Matthias near Treves, 1513, by J. von Wittlich ; the parish church at Schneeberg, 1516-40; the nave and Fig. 262. porch of the cathedral at Merseburg, 1500-40; the church at Anspach with three western towers, 1530-50; St. Mary at Halle an der Saale, completed 1530-54, by N. Hoffmann, with four towers belonging to two earlier churches on the site; and the vaulting of the nave and refectory at Oliva, 1582-93, by Piper. The church at Freudenstadt, 1601-8; and St. George at Coblentz. 1618, are specimens of the zopfstil, as the German Gothicists designate work of the 17th century, whatever may be its parentage.

Fig. 261.

HOUSE AT MUNSTER.

Spain.

584. The medieval architecture of Spain and Portugal will only be divided because the political division exists. It will be necessary to remember that the districts of Aragon

Asturias, Biscay, and North Galicia were never conquered by the Moors; that the cities Burgos, Leon, Santiago, Segovia, Tarragona, Toledo, and Zamora, were freed from the in the 11th century; Lerida and Zaragoza in the 12th; Seville and Valencia in the midd of the 15th; and Granada on the 2nd January, 1492; that much French influence existed and that the romanesque buildings of Spain show a large reminiscence of the church in Northern Italy. But the remarkable similarity between Germany and Spain, in th progress of Gothic art, cannot be attributed to the employment of one or two foreigner: As in Germany, the late romanesque style was retained longer than in France; and i both countries the phase which is termed lancet or early pointed in England and Franc did not constitute the transition from their romanesque into their decided and well developed geometrical Gothic.

585. Stone was the usual material employed for ecclesiastical buildings in the reall Gothic or even renaissance style. The romanesque and the neo-classic builders em ployed granite or some of the semi-marbles which the country throughout possesses; wher the Moresque traditions of art prevailed, rubble work with brick binding courses anc quoins are seen; and the distinctive feature of Spanish brickwork consists in the formation of patterns by recesses and projections in total negligence of terra-cotia or moulded bricks. The diapering of some plastering should be noticed. Few examples of domestic architecture of any importance occur. The window with two or more arches carried on shafts, and forming the ajimez or aximez of modern builders, is almost universal.

586. Referring to the classification of structures by centuries for examples of the larger works of civil architecture. we regret that little attention has been given to the very interesting class of military buildings, whether fortified houses, peel towers, or small castles, which have escaped demolition. The destruction caused by the generals of Napoleon 1. has been followed by the results of the Carlist war of succession, and of the suppression of the monastic establishments; but Spain still possesses one characteristic in construction in the great width of many of the naves. Thus, the church of the dominicans at Palma is 95 ft. wide clear span between the walls; the cathedral at Gerona 73 ft.; that at Coria 70 ft. 8 ins.; that at Toulouse 63 ft., while the churches of Perpignan and Zamora are 60 ft. The width between the centres of the columns of the nave at Palma cathedral is 71 ft.; Manresa collegiate church and Valladolid cathedral (classic) 60 ft.; while Milan cathedral, one of the largest out of Spain, is but 63 ft.

587. Some pure examples of romanesque art date after 1175, such as a church at Benevento and the cathedral at Lugo; but the period of transition to pointed art must be placed much earlier. Thus the cathedral and St. Vicente at Avila, occupying in erection

Fig 263.

CATHEDRAL, TARRAGONA.

nearly the whole of the 12th century; the old cathedral, cloister, and chapter-house at Salamanca about 1100-1175; the cathedral at Zamo a 1125-75; that at Tudela ten years later; and the cistercian abbey at Veruela 1146-51, lead to such works as the cathedral (except the choir, 1103-23) at Siguenza; the cistercian nunnery of Sta. Maria el Real de las Huelgas, near Burgos, 1180-7; and the eastern portion of the cathedral at Lugo. The cathedral at Tarragona has a positively romanesque apse (perhaps 1130-50), while the rest of the building is early pointed, and may date 1175-1250. The west front(fig. 263) is partly middle pointed work. The central portion, dating in style late in the 14th century, although commenced about 1278, stands between the original ends of the aisles, apparently executed as above mentioned. incomplete false gable might countenance the idea that a foreigner, possibly a German, had been employed; but in 1375 Bernardo de Vallfagona was the architect directing native sculptors.

The

588. The cathedrals, commenced, perhaps, 1220 at Burgos, 1227 at Toledo, and 1235 at Leon, are in the advanced pointed style of the 13th century, while the cathedral and cloisters at Lerida, 1203-78, might belong, like the earliest parts of the cathedral at Valencia, 1262, to the previous period. It will not perhaps be ever possible to find documents that will contradict the assertion that the present system of placing the officiating choir in fixed stalls in the nave of the cathedrals was introduced at a late date; but those who hold that it was a very early system may appeal to the plans of the cathedrals, at Tude'a. 1135; Toledo, 1227; and Barcelona, 1998. The plans of those at Lerida and Tarragona are very similar to that at Tudela (fig. 264, part of the plan given in Mr eet's Gothic Arch. in Spain), which affords a good example of a building arranged accord