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 rather an imitation of a foreign style, the earliest examples being in the Liebfrauenkirche at Trèves (1227–1243), and the churches at Marburg (1235–1283) and Altenberg (1255–1301). In the latter church is a French chevet with seven apsidal chapels. This brings us to the great typical cathedral of Germany at Cologne (fig. 48), which had the advantages of having been designed at the best age and completed on the original design, so that with small exceptions a uniformity of style reigns throughout it. It was begun in 1270 and apparently based on the plan of Amiens, the transepts however having an additional bay each, and the two first bays of the nave having thicker piers so as to carry the enormous towers and spires which flank the chief façade. The principal defect of the building is its relative shortness, owing to its disproportionate height. This has always been felt in the interior, and now that the lofty buildings all round have been taken down, isolating the cathedral on all sides, it has the appearance of an overgrown monster. The length of the cathedral is 468 ft., 17 ft. less than the cathedral at Ulm, the longest in Germany. The height of the nave vault is 155 ft., and as the width is only 41·6 (about one in four) the proportion is very unpleasing. There is also a certain mechanical finish throughout the design, which renders it far less poetical than the great French cathedrals. Where, however, it excels is in the extraordinary vigour of its execution, the depth of the mouldings, and the projection given to the leading architectural features; and in this respect, when compared with St Ouen at Rouen, about fifty years later, the latter (which is even more mechanical in its setting out) looks wire-drawn and poor. The twin spires of the façade rise to the height of 510 ft.; they were completed only in the latter part of the 19th century, and would have gained in breadth of effect if there had been some plain surfaces left. In this respect the spire of Freiburg cathedral, which is simple in outline and detail, is finer, and gains in contrast on account of the simpler masonry of the lower part of the tower. The spire at Ulm cathedral, only recently terminated, rises to the height of 530 ft. In both these cases the single tower is preferable to the double towers of Cologne, when elaborated to the same extent, as they are in all these examples; and perhaps that is one of the reasons why the spires of Strassburg and Antwerp cathedrals are more satisfactory, as the twin towers were never built. The front of Strassburg cathedral (1277–1318), by Erwin von Steinbach, is too much cut up by vertical lines of masonry, owing to the tours-de-force in tracery of which the German mason was so fond. On the whole the most beautiful of German spires is that of St Stephen’s at Vienna, and one of its advantages would seem to be that its transition from the square base to the octagon is so well marked in the design that it is difficult to say where the tower ends and the spire begins. The strong horizontal courses under the spires of Strassburg or Freiburg are defects from this point of view.

In domestic architecture nothing remains of the palace at Aix-la-Chapelle, but at Lorsch near Mannheim is the entrance gateway of the convent which was dedicated by Charlemagne in 774. It is in two storeys, in the lower one three semicircular arches flanked by columns with extremely classic capitals. The upper storey is decorated with what might have been described as a blind arcade, except that instead of arches are triangular spaces similar to some windows found in Saxon architecture; the whole gateway being crowned with a classic cornice. The palaces at Goslar (1050) and Dankwarderode in Brunswick (1150–1170) still preserve their great halls, and in the palace built (1130–1150) by the emperor Frederick I. at Gelnhausen there remain portions extremely fine and vigorous in style, and showing a strong Byzantine influence. The largest and most important castle is that of the Wartburg at Eisenach, which is in complete preservation.

To sum up, the German Complete Gothic is essentially national in its complete character. It has many and obvious defects. From the first there is conspicuous in it that love of lines, and that desire to play with geometrical figures, which in time degenerated into work more full of conceit and triviality than that of any school of medieval artists. These conceits are worked out most elaborately in the traceries of windows and panelling. The finest early examples are in the cathedral at Minden; a little later, perhaps, the best series is in the cloister of Constance cathedral; and of the latest description the examples are innumerable. But it is worth observing that they rarely at any time have any ogee lines. They are severely geometrical and regular in their form, and quite unlike our own late Middle Pointed, or the French Flamboyant. In sculpture the Germans did not shine. They, like the English, did not introduce it with profusion, though they were very prone to the representations of effigies of the deceased as monuments.

In one or two respects, however, Germany is still possessed of a wealth of medieval examples, such as is hardly to be paralleled in Europe. The vast collection of brick buildings, for instance, is unequalled. If a line be drawn due east and west, and passing through Berlin, the whole of the plain lying to the north, and extending from Russia to Holland, is destitute of stone, and the medieval architects, who always availed themselves of the material which was most natural in the district, built all over this vast extent of country almost entirely in brick. The examples of their works in this humble material are not at all confined to ecclesiastical works; houses, castles, town-halls, town walls and gateways, are so plentiful and so invariably picturesque and striking in their character, that it is impossible to pass a harsh verdict on the architects who left behind them such extraordinary examples of their skill and fertility of resource.

This development is largely due to the fact that all these countries in north-east Germany were connected and very much influenced by the confederation of the Hanse towns, and hence the similarity in the design of all their buildings. Although some of the earliest buildings date from the 12th century, the chief development took place in the 14th and 15th centuries, and in the 16th century formed the basis of the transitional works of the Renaissance. The principal Hanse towns are Hamburg, Lübeck and Danzig. The chief buildings in Hamburg were destroyed by the fire in 1842, and it is in Lübeck that the most important churches are to be found. The church of St Mary (Marienkirche), 1304, is the most striking on account of its dimensions, 346 ft. in length, the nave being 123 ft. high, with two western towers 407 ft. high. Great scale is given to the building in consequence of the small material (brick) used, and some of the windows in this or other churches are nearly 100 ft. in height, with lofty mullions, all in moulded brick. The Dom or cathedral of Lübeck, though slightly larger, is not so good in design, but has a remarkable north porch in richly moulded brick, with marble shafts and carved capitals. In the church of St Catherine the choir is raised above a lofty vaulted crypt, similar to examples in some of the Italian churches. The Marienkirche at Danzig (1345–1503), built by a grand master of the Teutonic knights, to whom the chief development of the architecture of north-east Germany is largely due, is one of those examples already mentioned as Hallenkircken. The nave, aisles, side chapels, transept and aisles, and choir with square east end, are all of the same height; as the church is 280 ft. long and 125 ft. wide, with a transept 200 ft. long, the effect is that of one stupendous hall, but as the light is only obtained through the windows of the side chapels, the interior, though impressive, is somewhat gloomy. The same is found in the choir of the Franciscan church at Salzburg, where five slender piers, 70 ft. in height and