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Brieg (1553), one is able to recognize certain ornamental details and a similar superposition of pilasters in several storeys to that which is found in various towns in See also:

NORMANDY

Normandy and on the Loire. In both countries the new See also:

style was engrafted on the last phase of the See also:

GOTHIC

Gothic See also:

period, so forming at first a transitional style, which lasted about fifty years. Thus the lofty See also:

ROOFS

roofs which prevailed in the 15th century are See also:

DEVELOPED

developed further, but with this great divergence in the two countries. In France there are rarely gable ends, in Germany they are not only the See also:

CHIEF (from Fr. chef, head, Lat. caput)

chief characteristic feature of the See also:

main front, but are introduced in the See also:

side elevations in the shape of immense dormers with two or three storeys and rising the full height of the roof, as in the castle at Hamelschenburg near See also:

HAMELN

Hameln. Throughout Germany, therefore, the gable end and the See also:

DORMER (from Lat. dormire, to sleep)

dormer gable became the chief features on which they lavished all their ornamental designs, the main walls of the See also:

BUILDING

building being as a See also:

RULE

rule either in See also:

PLAIN (O. Fr. plain, from Lat. plenum)

plain See also:

MASONRY

masonry, See also:

RUBBLE

rubble masonry with See also:

STUCCO (Ital. stucco, adapted from O.H.G. stucchi, crust, piece, patch, Ger. Stuck, piece, allied to stock)

stucco facing, or See also:

BRICK (derived according to some etymologists from the Teutonic bricke, a disk or plate; but more authoritatively, through the French brique, originally a " broken piece," applied especially to bread, and so to clay, from the Teutonic brikan, to break)

brick and See also:

stone. Other prominent features are the octagonal and circular See also:

oriel windows rising through two or three storeys at the corners of their buildings—rectangular See also:

BOW (pronounced " bo ")

bow windows in two or three storeys, which were allowed apparently to encroach on the See also:

PAVEMENT (Lat. pavimentu;n, a floor beaten or rammed hard, from pavire, to beat)

pavement, and octagonal turrets or towers instead of circular as in. France. In the vicinity of the Harz mountains, where See also:

TIMBER

timber was plentiful, a large proportion of the factories, houses and even public buildings, are erected in See also:

HALF

half-timber work with elaborate See also:

CARVING

carving of the See also:

DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door and window jambs, projecting corbels, &c. At Hildesheim, See also:

WERNIGERODE

Wernigerode, See also:

GOSLAR

Goslar, &c., these structures are sometimes of immense See also:

SIZE

size and richly decorated. Among early examples in stone, the See also:

PORCH (through the Fr. porehe, from Lat. porticus; the Ital. equivalent is portico, corresponding to the Gr. vapOi ; Ger. Vorhalle)

porch added to the town hall of See also:

COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne (1571), the projecting wings of the town halls at Halberstadt and See also:

LEMGO

Lemgo (1565), and the town halls at See also:

Posen (1550), See also:

ALTENBURG

Altenburg (1562–1567) and Rothenburg (1572–1590), are all picturesque examples more or less refined in See also:

DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design. In the last-named example the purer See also:

ITALIAN

Italian style has exercised its See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence in the See also:

PRINCIPAL

principal See also:

DOORWAY (corresponding to the Gr. Iran, Lat. porte)

doorway and in the arcaded See also:

GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery on the See also:

east front.

This same influence shows itself in the courtyard of the town hall at See also:

NUREMBERG (Ger. Nurnberg)

Nuremberg, where the arcades of the two upper storeys might be taken for those of the courts of the palaces at See also:

Rome. Amongst other 16th-century work there are two entrance See also:

GATES, HORATIO (1728-1806)

gates at See also:

DANZIG, or DANTSIC (Polish Gdansk)

Danzig, the Hohe Tor (1588), a See also:

FINE

fine massive structure, and the Langgasse Tor (1600), more or less pure Italian in style. At See also:

Augsburg, the See also:

ARSENAL

arsenal (1603–1607), by the architect See also:

ELIAS, JOHN (1774-1841)

Elias Hoff (1573–1646), is of a bold and See also:

ORIGINAL

original design, and the town hall has magnificent ceilings and wainscotting See also:

ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the walls of the principal halls. This brings us to the castle of See also:

HEIDELBERG

Heidelberg (See also:

PLATE

Plate VII., See also:

FIGS

figs. 78, 79 and 8o), which is looked upon by the Germans as the chef d'oeuvre of the Renaissance in Germany. As seen from the great court it forms an interesting study, there being the work of three periods: in the centre the picturesque See also:

GROUP

group of the older building (c. 1525), on the right the See also:

OTTO

Otto-Heinrichs-Bau (1556-1559), and on the See also:

LEFT

left the Friedrichs-Bau (1602–1607). Of the two the latter is the finer. The architect of the Otto-Heinrichs-Bau would seem to have been undecided whether to give greater prominence and See also:

PROJECTION

projection to his pilasters and cornices or to his windows with their dressings and pediments, so he has compromised the See also:

MATTER

matter by making them both about th'e same, and the effect is most monotonous. In the Friedrichs-Bau, which is a remarkable work, the pilasters are of great projection, with bold cornices and See also:

SIMPLE

simple windows well set back, while the See also:

TRACERY

tracery of the ground-See also:

FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor windows is a pleasant See also:

RELIEF

relief from the See also:

CONSTANT, BENJAMIN (1845-1902)

constant repetition of See also:

PILASTER (Fr. pilastre, med. Lat. pilastrum, from pila, a pillar)

pilaster window dressings. The gables also of the Friedrichs-Bau break the See also:

HORIZONTAL

horizontal See also:

SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky-See also:

LINE

line agreeably. A more See also:

minute examination of the decorative details, however, betrays the See also:

ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent of a See also:

PECULIAR

peculiar See also:

ROCOCO, or ROCAILLE

rococo style of a most debased type, which throughout the 17th century spread through Germany, and the repetition of the same details suggests that it was copied from some of the See also:

PATTERN

pattern books which were published towards the end of the 16th century, comprising heterogeneous designs for See also:

TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title pages, door heads, frontispieces, and even extending to new versions of the orders, which apparently appealed to the See also:

German See also:

mason and saved him the trouble of invention.

These books, compiled by de Vries and Dietterlin, emanated from the See also:

Low Countries, and their influence extended to See also:

England during the Elizabethan period. At all events in Germany it would seem to have arrested the purer Italian work, which we have already noticed, and hence-forth in the gable ends one finds the most extraordinary See also:

ACCUMULATION (from Lat. accumulare, to heap up)

accumulation of distorted forms which, though sometimes picturesque, disfigure the German work of the 17th century. An exception might perhaps be made in favour of the Peller'sche Haus in Nurem-See also:

BERG (Ducatus Montensis)

berg (1625), one of the best houses of modest dimensions in Germany. The See also:

FACADE

facade in the Aegidien-Platz is a fine See also:

composition; inside is a very picturesque court and See also:

STAIRCASE

staircase, and the painted See also:

CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling and the wainscotting of one of the rooms in See also:

woods of different See also:

COLOURS, MILITARY

colours, though not very pure in style, are of excellent design and See also:

EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution. Some of the most characteristic work of this type exists at Hameln, where the facades of the Rattenfangerhaus (1602), the Hochzeitshaus (1610), and many other buildings, are covered with the most extra-See also:

ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary devices, leaving scarcely a See also:

FOOT

foot of plain masonry as a relief. The See also:

south front of the town hall of See also:

BREMEN

Bremen (1612) is in the same style (Plate IV., fig. 70), relieved, however, by the fine large windows of the great hall and the See also:

ARCADE

arcade in front, in which there is some picturesque detail. Later in the century the degradation increases until it reaches its See also:

CLIMAX, JOHN (c. 525–600 A.D.)

climax in the Zwinger See also:

PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace at See also:

DRESDEN

Dresden (1711), the most terrible rococo work ever conceived, if we except some of the Churrigueresque work in See also:

Spain. Among the most pleasing features in Germany are the fountains which abound in every town; of these there are See also:

GOOD, JOHN MASON (1764-1827)

good examples at See also:

TUBINGEN

Tubingen, See also:

PRAGUE (Ger. Prag; Bohemian Praha)

Prague, Hildesheim, See also:

Ulm, Nuremberg, already famed for its Gothic fountains, See also:

MAINZ (Fr. Mayence)

Mainz and Rothenburg. In the latter town, built on an See also:

EMINENCE (Lat. eminentia)

eminence, they are of great importance for the See also:

SUPPLY (through Fr. from Lat. supplere, to fill up)

supply of the town, and some of them are extremely picturesque and of good design. Up to the See also:

PRESENT

present we have said nothing about the ecclesiastical buildings in Germany, for the See also:

REASON (Lat. ratio, through French raison)

reason that the period between the See also:

Reformation and the conclusion of the See also:

THIRTY

Thirty Years' See also:

War was not favourable to See also:

church building. The only example See also:

worth mentioning is the church of St See also:

Michael at See also:

MUNICH (Ger. Munchen)

Munich (1583–1597), and that more for its See also:

plan than for its architecture.

It has a wide See also:

NAVE

nave covered with a See also:

BARREL (a word of uncertain origin common to Romance languages; the Celtic forms, as in the Gaelic baraill, are derived from the English)

barrel vault, and a See also:

SERIES (a Latin word from serere, to join)

series of chapels forming semicircular recesses on each side, the walls between acting as buttresses to the great vault. The See also:

TRANSEPT (from Lat. trans, across, and septum, enclosure; synonymous terms in other languages are Fr. croisee, nef transversee; Ital. crociata; Ger. Querbau, Quersch&)

transept is not deep enough to have any architectural value, but if at the east end there had been only an See also:

apse it would have been a better termination than the See also:

long See also:

CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir. The Liebfrauenkirche at Dresden (1726–1745) has a good plan, but internally is arranged like a See also:

THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre with See also:

PIT (O. E. pytt, cognate with Du. put, Ger. Pfutze, &c., all ultimately adaptations of Lat. puteus, well, formed from root pu-, to cleanse, whence gurus, clean, pure)

pit, tiers of boxes, and a gallery, all in the worst possible See also:

TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, and externally the See also:

DOME (Lat domus, house; Ital. duomo, cathedral)

dome is far too high and destroys the See also:

scale of the See also:

LOWER

lower See also:

PART

part of the church. An elliptical dome is never a pleasing See also:

OBJECT

object, and in the church of St See also:

Charles See also:

BORROMEO, CARLO (1538–1584)

Borromeo, at See also:

Vienna, there are no other features to redeem its ugliness. The Marienkirche at See also:

WOLFENBUTTEL

Wolfenbuttel (1608–1622) has a fine Italian portal ; its side See also:

ELEVATION

elevation is spoilt by the series of gable dormers, which are of no possible use, as the church (of the Hallenkirchen type) is well lighted through the See also:

AISLE (from Lat. ala, a wing)

aisle windows. The portal of the Schlosskapelle (1555) at Dresden is a fine work in the Italian style; and lastly the church at See also:

BUCKEBURG

Buckeburg, in a See also:

LATE

late debased style, is redeemed only by the fact that it is built in fine masonry and that the See also:

JOINTS

joints run through all the rococo details. (R. P.

End of Article: RENAISSANCE ARCHITECTURE IN

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