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austered columns bearing lancet pier-arches, without a triforium, flanked by double aisles on slender shafts. The main support of the roof is derived from huge external buttresses. This building does not preserve the regularity of form for which the cathedral at Cologne 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). It was begun by Andreas Egl, 1275, but left unfinished in the beginning of the 16th century. The west front is in the decorated style of the 15th century, with a triangular portal throwing out a pier in front so as to form a double archway. The church is 333 ft long, and 120 ft. high. The transeptal plan is only seen in the clearstory. At Vienna, the cathedral of St. Stephen's exhibits another exquisite example of the style.

577. The history of the collegiate church of St. Victor at Xanten has been tolerably clearly written. 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.

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Fig. 259.

RATISLON 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

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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 Joharn 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. Atra 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.

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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. Bceblinger 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

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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, 1.500-40; the church at Anspach with three western towers. 1.530-50; 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.

HOUSE AT COLOGNE.

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 of Burgos, Leon, Santiago, Segovia, Tarragona, Toledo, and Zamora, were freed from them in the 11th century; Lerida and Zaragoza in the 12th; Seville and Valencia in the middle of the 13th; 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 churches in Northern Italy. But the remarkable similarity between Germany and Spain, in the progress of Gothic art, cannot be attributed to the employment of one or two foreigners. As in Germany, the late romanesque style was retained longer than in France; and in both countries the phase which is termed lancet or early pointed in England and France did not constitute the transition from their romanesque into their decided and welldeveloped geometrical Gothic.

585. Stone was the usual material employed for ecclesiastical buildings in the really Gothic or even renaissance style. The romanesque and the neo-classic builders employed granite or some of the semi-marbles which the country throughout possesses; where the Moresque traditions of art prevailed, rubble work with brick binding courses and 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-cotta 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 I. 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 203.

CATHEDRAL, TARRAGONA.

nearly the whole of the 12th century; the old cathedral, cloister, and chapter-house at Salamanca about 1100-1175; the cathedral at Zamora 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, 1 103-23) at Siguenza; the cistercian nunnery of Sta. Maria el Real de las Huelgas, near Burges, 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.

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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 these who hold that it was a very early system may appeal to the plans of the cathedrals, at Tudela, 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 Street's Gothic Arch, in Spain), which affords a good example of a building arranged accord

ing to Spanish peculiarities: if the capilla mayor or chancel ever contained the choir, the transept must have been blocked up.

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589. Amongst the works erected during the 13th century, there are so many which exhibit omanesque work that this period might be said to be merely transitional, as illustrated in the church of S. Pedro at Olite; the large church of the cistercian monastery of Sta. Maria de Val de Dios, 1218, near Villaviciosa; and the bridge 1230, repaired 1449 at Orense in two sections, that nearest the city having three arches, each 36 ft. 8 ins. span; the other, 1213 ft. 6 ins. long, and 16 ft. 6 ins. wide, having seven arches, one of them being 82 ft. 8 ins. wide, and another 143 ft. 6 ins. span, and 124 ft. 6 ins. high. Other works to be noticed are the cathedral, commenced 1199, but continued very slowly until 1258, at Leon; it is dated 1230-40 by Mr. Street, in his work above mentioned, who notices that its construction, in a firstpointed style. was continued until 1303, that it failed, and that the outside or jamb-lights of the clearstory and triforium were filled with masonry, and that the south transept was destroyed for reconstruction about 1860: the fine cathedral, 1248-84, at Badajoz ; and

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Fig. 261.

PLAN OF CATHEDRAL, TUDELA.

the parish church (not a cathedral) at Figueras near Gerona.

590. The succeeding great division of Gothic art is much more distinctly marked and inore uniform throughout Spain, whilst at the same time it is even less national and peculiar. There are very considerable remains of 14th century works, though, perhaps, no one grand and entire example. They are all extremely simi.ar in style, and more allied in feeling and detail to German middle-pointed than to French. Two features deserve record-first, the reproduction of the octagonal steeple, which was a most favourite type of the romanesque builders; and secondly, the introduction of that grand innovation upon old precedents, the great unbroken naves groined in stone and lighted from windows high up in the walls.

591. As an example of the difficulty of classifying the buildings, it may be observed that while the date of 1400 is usually given to the church at Huesca, ascribed to Juan de Olotzaga, it is probable that his name might be attached only to the great portal that is romanesque, and cannot well be dated later than 1290-1300. It is pretty clear that it is almost all a work of the 14th century. The unusually good example of middle-pointed work afforded by the cloisters to the cathedral at Burgos should date 1280-1350 according to Mr. Street, rather than 1379-90, which is the period at which they are said to have been executed. The same author states that the round arches on clustered shafts of the porch or cloister on the south side of the church of S. Vicente at Avila might be supposed to be not later than the 13th century, were it not that a careful comparison of the detail with other known detail proves pretty clearly that they cannot be earlier than about the middle of the 14th century.

592. To the first half of the 14th century are due the west front of the cathedral at Tarragona; the cloisters of the abbey at Veruela; the east end, 1312-46 (decidedly late midale-pointed details) of the cathedral at Gerona; the hieronymite monastery of San Bartolomé, 1330, at Lupiana by Diego Martinez, now private property; and the church of San Justo and San Pastor, 1345, at Barcelona, which is an unbroken chamber 138 ft. by 82 ft. 9 in., and 69 ft. high. The widening. 1298-1329, of the cathedral, built 1058, at Ba celona, seems to have been begun in a first-pointed style, and to have been continued by Jayme Fabre, 1318-88, ia a second-pointed style; the vaulting was finished 1448. 593. Among the works dating in the middle of the 14th century, earlier or later, is the church of Sta. Maria de los Reyes, commonly called Sta. Maria del Pino, at Barcelona, which some date 1329-1413, but others 1380-1413. This latter date is possibly that of its tower by Guillermo Abiell; the church Mr. Street considers must have been consecrated

in 1353, not 1453 as stated by Parcerisa. We may also notice at Barcelona the church of Sta. Maria del Mar, begun 1328, and finished 1383 according to l'arcerisa, but 1483 according to another authority; the two-storied cloister of the collegiate church of Sta. Anna; and the crypt or panteon of Sta. Eulalia, 1339, in the cathedral.

594. During the latter half of the 14th century. mention is made of the chapter house, 1358, and north transept and cimborio, 1350-1400, to the cathedral. and the gate called the puerta de Serranos, 1349-81, at Valencia; the casa consistorial, 1369-78, with a new south front, 1832, at Barcelona; the collegiate church of Sta Maria de la Seo, 1328-1416, with another church apparently of the same date, but rather later detail, dedicated to Sta. Maria del Carmen, and 47 ft. wide, at Manresa; and the tower, called El Micalete, of the cathedral at Valencia. The tower is here mentioned as having been designed, 1381, and carried up to some height, by Juan Franc and N. Amoros before 1414, when Pedro Balaguer was sent to Lerida, Narbonne, and other places to find the most suitable termination that had yet been designed; it seems to have been completed 1428, and perhaps should be considered as belonging to the next century; as well as the celebrated hieronymite monastery, dated 1389-1413, now a barrack and parish church at Guadalupe near Logrosan, by Juan Alonso; the cathedral, 1353-1462, but altered 1521, at Murcia; and the cathedral, commenced 1397 at Pamplona, where geometrical traceries occur between flamboyant ones, all having somewhat of late middle-pointed character, though the date and the detail class them with the third pointed style.

595. To the first half of the 15th century may be ascribed the cloisters, 1390-1448, of the cathedral at Barcelona; the university, or rather les escuelas, 1415-33, at Salamanca, by Al. Rod. Carpintero; the dominican church of San Pablo, 1415-35. at Burgos, by Juan Rodriguez, now a cavalry barrack; the arcaded patio or court-yard, 1436, three stories in height, of the casa de la Diputacion at Barcelona, modernised 1597-1620; the nave, 1417-58, or later, of the cathedral at Gerona by Guillermo Boffiy (with details of late 14th century character); the hala dels draps, 1444, afterwards Palacio de la Reina and the residence of the captains-general at Barcelona (the four fronts modernised, 1844); and the towers and spires, 1442-56, by Juan de Colonia, to the cathedral at Burgos. To the century itself belong great parts of the cathedral at Seville, (fig. 265.), commenced 1401,

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and attributed either to Alfonso Martinez, architect to the chapter in 1386, or to Pedro Garcia, who held that post 1421. In 1462, Juan Norman was directing the works; but in 1472, they had progressed so slowly that he was superannuated, and his place was supplied by three other artists. Their disputes were referred to an umpire, Jimon, who became sole architect till 1502. The cimborio was completed 1507, and fell 1511, but was replaced by the present termination, 1519. The works by Diego de Riaño, 1522, will be mentioned at the end of this notice. The capilla real was completed about 1560, and the chapter-house about 1550.

596. To the latter half of the 15th century are due the erection of the cusa de moneda, 1455, at Segovia; the Castillo de la Mota, 1440-79, at Medina del Campo, by Fernando de Carreño; the church, 1442-88, attributed to Juan and Simon de Colonia, to the dominican monastery of San Pablo at Valladolid; the cathedral, begun 1442, at Plasencia, whose capilla mayor, 1498, was designed by Juan de Alava; the Carthusian nunnery, 1454-88, at Miraflores, near Burgos, said to have been designed by Juan de Colonia; the cloisters,

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