Page:A History of Architecture in All Countries Vol 2.djvu/96

80 80 POINTED STYLE IN GERMANY. Tart II, a direct lineal descendant from the old Roman basilican apse grown into Gothic tallness. Though common in Germany, placed either here or at the west front, I do not know of any single example of such an arrano-ement either in France or England. To the same class of square churclies with slightly projecting chan- cels belongs the Frauen Kirche at Nuremberg, one of the most ornate of its kind, and possessing also in its triangularly-formed porch another peculiarity found only in Germany. The principal entrances to the cathedrals of Ratisbon and Erfurth are of this description — the latter being the richest and boldest porch of the kind. One of the best known examples of the daring degree of attenua- tion to which the Germans delighted to carry their works is the choir (Woodcut No. 489) added in 1353 and 1413 to the old circular church of Charlemagne at Aix-la-Chapelle. As we now see it, the effect is certainly xanpleasing ; but if these tall windows were filled with painted glass, and the walls and vaults colored also, the effect would be widely different. Perhaps it might then be even called beautiful ; but with scarcely a single exception all those churches are now deprived of this most indispensable part of their architecture, and, instead of being the principal part of the design, the windows are now only long slits in the masonry, giving an appearance of weakness without adding to the beauty or richness of the ornament. The same remarks apply to the Nicholai Kirche at Zerbst, and the Betri Kirche at Gorlitz, both splendid specimens of this late exagger- ated class of German art. By color they might be restored, but as seen now in the full glare of the cold daylight they want almost every requisite of true art, and neither their size nor their constructive skill suffices to redeem them from the reproach.