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GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS, AND SPAIN

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CHAPTER XVIII.
GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS,
AND SPAIN.
BOOKS RECOMMENDED: As before, Corroyer, Reber. Also, Adler, Mittelalterliche
Backstein-Bauwerke des preussischen Staates. Essenwein (Hdbuch. d. Arch.), Die
romanische und die gothische Baukunst; der Wohnbau. Hasak, Die romanische und die
gothische Baukunst; Kirchenbau; Einzelheiten des Kirchenbaues (both in Hdbuch. d.
Arch.). Hase and others, Die mittelalterlichen Baudenkmäler Niedersachsens.
Kallenbach, Chronologie der deutschen mittelalterlichen Baukunst. Lübke, Ecclesiastical
Art in Germany during the Middle Ages. Redtenbacher, Leitfaden zum Studium der
mittelalterlichen Baukunst. Street, Gothic Architecture in Spain. Uhde, Baudenkmäler
in Spanien. Ungewitter, Lehrbuch der gothischen Constructionen. Villa Amil, Hispania
Artistica y Monumental.
EARLY GOTHIC WORKS. The Gothic architecture of Germany is less interesting to
the general student than that of France and England, not only because its
development was less systematic and more provincial, but also because it produced
fewer works of high intrinsic merit. The introduction into Germany of the pointed
style was tardy, and its progress slow. Romanesque architecture had created
imposing types of ecclesiastical architecture, which the conservative Teutons were
slow to abandon. The result was a half-century of transition and a mingling of
Romanesque and Gothic forms. St. Castor, at Coblentz, built as late as 1208, is
wholly Romanesque. Even when the pointed arch and vault had finally come into
general use, the plan and the constructive system still remained predominantly
Romanesque. The western apse and short sanctuary of the earlier plans were
retained. There was no triforium, the clearstory was insignificant, and the whole
aspect low and massive. The Germans avoided, at first, as did the English, the
constructive audacities and difficulties of the French Gothic, but showed less of
invention and grace than their English neighbors. When, however, through the
influence of foreign models, especially of the great French cathedrals, and through
the employment of foreign architects, the Gothic styles were at last thoroughly
domesticated, a spirit of ostentation took the place of the earlier conservatism.
Technical cleverness, exaggerated ingenuity of detail, and constructive tours de force
characterize most of the German Gothic work of the late fourteenth and of the
fifteenth century. This is exemplified in the slender mullions of Ulm, the lofty and
complicated spire of Strasburg, and the curious traceries of churches and houses in
Nuremberg.
PERIODS. The periods of German mediĉval architecture corresponded in sequence,
though not in date, with the movement elsewhere. The maturing of the true Gothic
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styles was preceded by more than a half-century of transition. Chronologically the
periods may be broadly stated as follows:
THE TRANSITIONAL, 1170­1225.
THE EARLY POINTED, 1225­1275.
THE MIDDLE OR DECORATED, 1275­1350.
THE FLORID, 1350­1530.
These divisions are, however, far less clearly defined than in France and England.
The development of forms was less logical and consequential, and less uniform in the
different provinces, than in those western lands.
FIG. 139.--ONE BAY OF CATHEDRAL OF ST. GEORGE, LIMBURG.
CONSTRUCTION. As already remarked, a tenacious hold of Romanesque methods is
observable in many German Gothic monuments. Broad wall-surfaces with small
windows and a general massiveness and lowness of proportions were long preferred
to the more slender and lofty forms of true Gothic design. Square vaulting-bays were
persistently adhered to, covering two aisle-bays. The six-part system was only rarely
resorted to, as at Schlettstadt, and in St. George at Limburg-on-the-Lahn (Fig. 139).
The ribbed vault was an imported idea, and was never systematically developed.
Under the final dominance of French models in the second half of the thirteenth
century, vaulting in oblong bays became more general, powerfully influenced by
buildings like Freiburg, Cologne, Oppenheim, and Ratisbon cathedrals. In the
fourteenth century the growing taste for elaboration and rich detail led to the
introduction of multiplied decorative ribs. These, however, did not come into use, as
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in England, through a logical development of constructive methods, but purely as
decorative features. The German multiple-ribbed vaulting is, therefore, less satisfying
than the English, though often elegant. Conspicuous examples of its application are
found in the cathedrals of Freiburg, Ulm, Prague, and Vienna; in St. Barbara at
Kuttenberg, and many other important churches. But with all the richness and
complexity of these net-like vaults the Germans developed nothing like the fan-
vaulting or chapter-house ceilings of England.
SIDE AISLES. The most notable structural innovation of the Germans was the
raising of the side aisles to the same height as the central aisle in a number of
important churches. They thus created a distinctly new type, to which German
writers have given the name of hall-church. The result of this innovation was to
transform completely the internal perspective of the church, as well as its structural
membering. The clearstory disappeared; the central aisle no longer dominated the
interior; the pier-arches and side-walls were greatly increased in height, and flying
buttresses were no longer required. The whole design appeared internally more
spacious, but lost greatly in variety and in interest. The cathedral of St. Stephen at
Vienna is the most imposing instance of this treatment, which first appeared in the
church of St. Elizabeth at Marburg (1235­83; Fig. 140). St. Barbara at Kuttenberg,
St. Martin's at Landshut (1404), and the cathedral of Munich are others among
many examples of this type.
FIG. 140.--SECTION OF ST. ELIZABETH, MARBURG.
TOWERS AND SPIRES. The same fondness for spires which had been displayed in
the Rhenish Romanesque churches produced in the Gothic period a number of
strikingly beautiful church steeples, in which openwork tracery was substituted for
the solid stone pyramids of earlier examples. The most remarkable of these spires are
those of Freiburg (1300), Strasburg, and Cologne cathedrals, of the church at
Esslingen, St. Martin's at Landshut, and the cathedral of Vienna. In these the
transition from the simple square tower below to the octagonal belfry and spire is
generally managed with skill. In the remarkable tower of the cathedral at Vienna
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(1433) the transition is too gradual, so that the spire seems to start from the ground
and lacks the vigor and accent of a simpler square lower portion. The over-elaborate
spire of Strasburg (1429, by Junckher of Cologne; lower parts and façade, 1277­
1365, by Erwin von Steinbach and his sons) reaches a height of 468 feet; the spires
of Cologne, completed in 1883 from the original fourteenth-century drawings, long
lost but recovered by a happy accident, are 500 feet high. The spires of Ratisbon
and Ulm cathedrals have also been recently completed in the original style.
DETAILS. German window tracery was best where it most closely followed French
patterns, but it tended always towards the faults of mechanical stiffness and of
technical display in over-slenderness of shafts and mullions. The windows, especially
in the "hall-churches," were apt to be too narrow for their height. In the fifteenth
century ingenuity of geometrical combinations took the place of grace of line, and
later the tracery was often tortured into a stone caricature of rustic-work of
interlaced and twisted boughs and twigs, represented with all their bark and knots
(branch-tracery). The execution was far superior to the design. The carving of foliage
in capitals, finials, etc., calls for no special mention for its originality or its departure
from French types.
FIG. 141.--COLOGNE CATHEDRAL. PLAN.
PLANS. In these there was more variety than in any other part of Europe except
Italy. Some churches, like Naumburg, retained the Romanesque system of a second
western apse and short choir. The Cistercian churches generally had square east
ends, while the polygonal eastern apse without ambulatory is seen in St. Elizabeth at
Marburg, the cathedrals of Ratisbon, Ulm and Vienna, and many other churches. The
introduction of French ideas in the thirteenth century led to the adoption in a
number of cases of the chevet with a single ambulatory and a series of radiating
apsidal chapels. Magdeburg cathedral (1208­11) was the first erected on this plan,
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which was later followed at Altenburg, Cologne, Freiburg, Lübeck, Prague and
Zwettl, in St. Francis at Salzburg and some other churches. Side chapels to nave or
choir appear in the cathedrals of Lübeck, Munich, Oppenheim, Prague and Zwettl.
Cologne Cathedral, by far the largest and most magnificent of all, is completely
French in plan, uniting in one design the leading characteristics of the most notable
French churches (Fig. 141). It has complete double aisles in both nave and choir,
three-aisled transepts, radial chevet-chapels and twin western towers. The
ambulatory is, however, single, and there are no lateral chapels. A typical German
treatment was the eastward termination of the church by polygonal chapels, one in
the axis of each aisle, the central one projecting beyond its neighbors. Where there
were five aisles, as at Xanten, the effect was particularly fine. The plan of the curious
polygonal church of Our Lady (Liebfrauenkirche; 1227­43) built on the site of the
ancient circular baptistery at Treves, would seem to have been produced by doubling
such an arrangement on either side of the transverse axis (Fig. 142).
FIG. 142.--CHURCH OF OUR LADY, TREVES.
HISTORICAL DEVELOPMENT. The so-called Golden Portal of Freiburg in the
Erzgebirge is perhaps the first distinctively Gothic work in Germany, dating from
1190. From that time on, Gothic details appeared with increasing frequency,
especially in the Rhine provinces, as shown in many transitional structures.
Gelnhausen and Aschaffenburg are early 13th-century examples; pointed arches and
vaults appear in the Apostles' and St. Martin's churches at Cologne; and the great
church of St. Peter and St. Paul at Neuweiler in Alsace has an almost purely Gothic
nave of the same period. The churches of Bamberg, Fritzlar, and Naumburg, and in
Westphalia those of Münster and Osnabrück, are important examples of the
transition. The French influence, especially the Burgundian, appears as early as 1212
in the cathedral of Magdeburg, imitating the choir of Soissons, and in the structural
design of the Liebfrauenkirche at Treves as already mentioned; it reached complete
ascendancy in Alsace at Strasburg (nave 1240­75), in Baden at Freiburg (nave
1270) and in Prussia at Cologne (1248­1320). Strasburg Cathedral is especially
remarkable for its façade, the work of Erwin von Steinbach and his sons (1277­
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1346), designed after French models, and its north spire, built in the fifteenth
century. Cologne Cathedral, begun in 1248 by Gerhard of Riel in imitation of the
newly completed choir of Amiens, was continued by Master Arnold and his son John,
and the choir was consecrated in 1322. The nave and W. front were built during the
first half of the 14th century, though the towers were not completed till 1883.
FIG. 143.--PLAN OF ULM CATHEDRAL.
In spite of its vast size and slow construction, it is in style the most uniform of all
great Gothic cathedrals, as it is the most lofty (excepting the choir of Beauvais) and
the largest excepting Milan and Seville. Unfortunately its details, though pure and
correct, are singularly dry and mechanical, while its very uniformity deprives it of the
picturesque and varied charm which results from a mixture of styles recording the
labors of successive generations. The same criticism may be raised against the late
cathedral of Ulm (choir, 1377­1449; nave, 1477; Fig. 143). The Cologne influence
is observable in the widely separated cathedrals of Utrecht in the Netherlands, Metz
in the W., Minden and Halberstadt (begun 1250; mainly built after 1327) in
Saxony, and in the S. in the church of St. Catherine at Oppenheim. To the E. and S.,
in the cathedrals of Prague (Bohemia) by Matthew of Arras (1344­52) and Ratisbon
(or Regensburg, 1275) the French influence predominates, at least in the details and
construction. The last-named is one of the most dignified and beautiful of German
Gothic churches--German in plan, French in execution. The French influence also
manifests itself in the details of many of the peculiarly German churches with aisles
of equal height.
More peculiarly German are the brick churches of North Germany, where stone was
almost wholly lacking. In these, flat walls, square towers, and decoration by colored
tiles and bricks are characteristic, as at Brandenburg (St. Godehard and St.
Catherine, 1346­1400), at Prentzlau, Tängermünde, Königsberg, &c. Lübeck
possesses notable monuments of brick architecture in the churches of St. Mary and
St. Catherine, both much alike in plan and in the flat and barren simplicity of their
exteriors. St. Martin's at Landshut in the South is also a notable brick church.
LATE GOTHIC. As in France and England, the fourteenth and fifteenth centuries
were mainly occupied with the completion of existing churches, many of which, up to
that time, were still without naves. The works of this period show the exaggerated
attenuation of detail already alluded to, though their richness and elegance
sometimes atone for their mechanical character. The complicated ribbed vaults of
this period are among its most striking features. Spire-building was as general as was
the erection of central square towers in England, during the same period. To this
time also belong the overloaded traceries and minute detail of the St. Sebald and St.
Lorenz churches and of several secular buildings at Nuremberg, the façade of
Chemnitz Cathedral, and similar works. The nave and tower of St. Stephen at Vienna
(1359­1433), the church of Sta. Maria in Gestade in the same city, and the
cathedral of Kaschau in Hungary, are Austrian masterpieces of late Gothic design.
SECULAR BUILDINGS. Germany possesses a number of important examples of
secular Gothic work, chiefly municipal buildings (gates and town halls) and castles.
The first completely Gothic castle or palace was not built until 1280, at Marienburg
(Prussia), and was completed a century later. It consists of two courts, the earlier of
the two forming a closed square and containing the chapel and chapter-house of the
Order of the German knights. The later and larger court is less regular, its chief
feature being the Great Hall of the Order, in two aisles. All the vaulting is of the
richest multiple-ribbed type. Other castles are at Marienwerder, Heilsberg (1350) in
E. Prussia, Karlstein in Bohemia (1347), and the Albrechtsburg at Meissen in Saxony
(1471­83).
Among town halls, most of which date from the fourteenth and fifteenth centuries
may be mentioned those of Ratisbon (Regensburg), Münster and Hildesheim,
Halberstadt, Brunswick, Lübeck, and Bremen--the last two of brick. These, and the
city gates, such as the Spahlenthor at Basle (Switzerland) and others at Lübeck and
Wismar, are generally very picturesque edifices. Many fine guildhalls were also built
during the last two centuries of the Gothic style; and dwelling-houses of the same
period, of quaint and effective design, with stepped or traceried gables, lofty roofs,
openwork balconies and corner turrets, are to be found in many cities. Nuremberg is
especially rich in these.
THE NETHERLANDS, as might be expected from their position, underwent the
influences of both France and Germany. During the thirteenth century, largely
through the intimate monastic relations between Tournay and Noyon, the French
influence became paramount in what is now Belgium, while Holland remained more
strongly German in style. Of the two countries Belgium developed by far the most
interesting architecture. Some of its cathedrals, notably those of Tournay, Antwerp,
Brussels, Malines (Mechlin), Mons and Louvain, rank high among structures of their
class, both in scale and in artistic treatment. The Flemish town halls and guildhalls
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merit particular attention for their size and richness, exemplifying in a worthy
manner the wealth, prosperity, and independence of the weavers and merchants of
Antwerp, Ypres, Ghent (Gand), Louvain, and other cities in the fifteenth century.
CATHEDRALS AND CHURCHES. The earliest purely Gothic edifice in Belgium was
the choir of Ste. Gudule (1225) at Brussels, followed in 1242 by the choir and
transepts of Tournay, designed with pointed vaults, side chapels, and a complete
chevet. The transept-ends are round, as at Noyon. It was surpassed in splendor by
the Cathedral of Antwerp (1352­1422), remarkable for its seven-aisled nave and
narrow transepts. It covers some 70,000 square feet, but its great size is not as
effective internally as it should be, owing to the poverty of the details and the lack of
finely felt proportion in the various parts. The late west front (1422­1518) displays
the florid taste of the wealthy Flemish burgher population of that period, but is so
rich and elegant, especially its lofty and slender north spire, that its over-decoration
is pardonable. The cathedral of St. Rombaut at Malines (choir, 1366; nave, 1454­
64) is a more satisfactory church, though smaller and with its western towers
incomplete. The cathedral of Louvain belongs to the same period (1373­1433). St.
Wandru at Mons (1450­1528) and St. Jacques at Liège (1522­58) are interesting
parish churches of the first rank, remarkable especially for the use of color in their
internal decoration, for their late tracery and ribbed vaulting, and for the absence of
Renaissance details at that late period.
FIG. 144.--TOWN HALL, LOUVAIN.
TOWN HALLS: GUILDHALLS. These were really the most characteristic Flemish
edifices, and are in most cases the most conspicuous monuments of their respective
cities. The Cloth Hall of Ypres (1304) is the earliest and most imposing among
them; similar halls were built not much later at Bruges, Louvain, Malines and
Ghent. The town halls were mostly of later date, the earliest being that of Bruges
(1377). The town halls of Brussels with its imposing and graceful tower, of Louvain
(1448­63; Fig. 144) and of Oudenärde (early 16th century) are conspicuous
monuments of this class.
In general, the Gothic architecture of Belgium presents the traits of a borrowed style,
which did not undergo at the hands of its borrowers any radically novel or
fundamental development. The structural design is usually lacking in vigor and
organic significance, but the details are often graceful and well designed, especially
on the exterior. The tendency was often towards over-elaboration, particularly in the
later works.
The Gothic architecture of Holland and of the Scandinavian countries offers so little
that is highly artistic or inspiring in character, that space cannot well be given in this
work, even to an enumeration of its chief monuments.
SPAIN AND PORTUGAL. The beginnings of Gothic architecture in Spain followed
close on the series of campaigns from 1217 to 1252, which began the overthrow of
the Moorish dominion. With the resulting spirit of exultation and the wealth accruing
from booty, came a rapid development of architecture, mainly under French
influence. Gothic architecture was at this date, under St. Louis, producing in France
some of its noblest works. The great cathedrals of Toledo and Burgos, begun
between 1220 and 1230, were the earliest purely Gothic churches in Spain. San
Vincente at Avila and the Old Cathedral at Salamanca, of somewhat earlier date,
present a mixture of round- and pointed-arched forms, with the Romanesque
elements predominant. Toledo Cathedral, planned in imitation of Notre Dame and
Bourges, but exceeding them in width, covers 75,000 square feet, and thus ranks
among the largest of European cathedrals. Internally it is well proportioned and well
detailed,  recalling  the  early  French  masterworks,  but  its  exterior  is  less
commendable.
In the contemporary cathedral of Burgos the exterior is at least as interesting as the
interior. The west front, of German design, suggests Cologne by its twin openwork
spires (Fig. 145); while the crossing is embellished with a sumptuous dome and
lantern or cimborio, added as late as 1567. The chapels at the east end, especially
that of the Condestabile (1487), are ornate to the point of overloading, a fault to
which late Spanish Gothic work is peculiarly prone. Other thirteenth-century
cathedrals are those of Leon (1260), Valencia (1262), and Barcelona (1298), all
exhibiting strongly the French influence in the plan, vaulting, and vertical
proportions. The models of Bourges and Paris with their wide naves, lateral chapels
and semicircular chevets were followed in the cathedral of Barcelona, in a number of
fourteenth-century churches both there and elsewhere, and in the sixteenth-century
cathedral of Segovia. In Sta. Maria del Pi at Barcelona, in the collegiate church at
Manresa, and in the imposing nave of the Cathedral of Gerona (1416, added to
choir of 1312, the latter by a Southern French architect, Henri de Narbonne), the
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influence of Alby in southern France is discernible. These are one-aisled churches
with internal buttresses separating the lateral chapels. The nave of Gerona is 73 feet
wide, or double the average clear width of French or English cathedral naves. The
resulting effect is not commensurate with the actual dimensions, and shows the
inappropriateness of Gothic details for compositions so Roman in breadth and
simplicity.
FIG. 145.--FAÇADE OF BURGOS CATHEDRAL.
SEVILLE. The largest single edifice in Spain, and the largest church built during the
Middle Ages in Europe, is the Cathedral of Seville, begun in 1401 on the site of a
Moorish mosque. It covers 124,000 square feet, measuring 415 × 298 feet, and is
a simple rectangle comprising five aisles with lateral chapels. The central aisle is 56
ft. wide and 145 high; the side aisles and chapels diminish gradually in height, and
with the uniform piers in six rows produce an imposing effect, in spite of the lack of
transepts or chevet. The somewhat similar New Cathedral of Salamanca (1510­
1560) shows the last struggles of the Gothic style against the incoming tide of the
Renaissance.
LATER MONUMENTS. These all partake of the over-decoration which characterized
the fifteenth century throughout Europe. In Spain this decoration was even less
constructive in character, and more purely fanciful and arbitrary, than in the
northern lands; but this very rejection of all constructive pretense gives it a peculiar
charm and goes far to excuse its extravagance (Fig. 146). Decorative vaulting-ribs
were made to describe geometric patterns of great elegance. Some of the late Gothic
vaults by the very exuberance of imagination shown in their designs, almost disarm
criticism. Instead of suppressing the walls as far as possible, and emphasizing all the
vertical lines, as was done in France and England, the later Gothic architects of Spain
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delighted in broad wall-surfaces and multiplied horizontal lines. Upon these surfaces
they lavished carving without restraint and without any organic relation to the
structure of the building. The arcades of cloisters and interior courts (patios) were
formed with arches of fantastic curves resting on twisted columns; and internal
chapels in the cathedrals were covered with minute carving of exquisite
workmanship, but wholly irrational design. Probably the influence of Moorish
decorative art accounts in part for these extravagances. The eastern chapels in Burgos
cathedral, the votive church of San Juan de los Reyes at Toledo and many portals of
churches, convents and hospitals illustrate these tendencies.
FIG. 146.--DETAIL, PORTAL S. GREGORIO, VALLADOLID.
PORTUGAL is an almost unknown land architecturally. It seems to have adopted the
Gothic styles very late in its history. Two monuments, however, are conspicuous, the
convent churches of Batalha (1390­1520) and Belem, both marked by an extreme
overloading of carved ornament. The Mausoleum of King Manoel in the rear of the
church at Batalha is, however, a noble creation, possibly by an English master. It is a
polygonal domed edifice, some 67 feet in diameter, and well designed, though
covered with a too profuse and somewhat mechanical decoration of panels,
pinnacles, and carving.
MONUMENTS: GERMANY (C = cathedral; A = abbey; tr. = transepts).--13th century:
Transitional churches: Bamberg C.; Naumburg C.; Collegiate Church, Fritzlar; St. George,
Limburg-on-Lahn; St. Castor, Coblentz; Heisterbach A.;--all in early years of 13th
century. St. Gereon, Cologne, choir 1212­27; Liebfrauenkirche, Treves, 1227­44; St.
Elizabeth, Marburg, 1235­83; Sts. Peter and Paul, Neuweiler, 1250; Cologne C., choir
1248­1322 (nave 14th century; towers finished 1883); Strasburg C., 1250­75 (E. end
Romanesque; façade 1277­1365; tower 1429­39); Halberstadt C., nave 1250 (choir
1327; completed 1490); Altenburg C., choir 1255­65 (finished 1379); Wimpfen-im-Thal
church 1259­78; St. Lawrence, Nuremberg, 1260 (choir 1439­77); St. Catherine,
Oppenheim, 1262­1317 (choir 1439); Xanten, Collegiate Church, 1263; Freiburg C.,
1270 (W. tower 1300; choir 1354); Toul C., 1272; Meissen C., choir 1274 (nave
1312­42); Ratisbon C., 1275; St. Mary's, Lübeck, 1276; Dominican churches at
Coblentz, Gebweiler; and in Switzerland at Basle, Berne, and Zurich.--14th century:
Wiesenkirche, Söst, 1313; Osnabrück C., 1318 (choir 1420); St. Mary's, Prentzlau,
1325; Augsburg C., 1321­1431; Metz C., 1330 rebuilt (choir 1486); St. Stephen's C.,
Vienna, 1340 (nave 15th century; tower 1433); Zwette C., 1343; Prague C., 1344;
church at Thann, 1351 (tower finished 16th century); Liebfrauenkirche, Nuremberg,
1355­61; St. Sebaldus Church, Nuremberg, 1361­77 (nave Romanesque); Minden C.,
choir 1361; Ulm C., 1377 (choir 1449; nave vaulted 1471; finished 16th century); Sta.
Barbara,  Kuttenberg,  1386  (nave  1483);  Erfurt C.;  St.  Elizabeth,  Kaschau;
Schlettstadt C.--15th century: St. Catherine's, Brandenburg, 1401; Frauenkirche,
Esslingen, 1406 (finished 1522); Minster at Berne, 1421; Peter-Paulskirche, Görlitz,
1423­97; St. Mary's, Stendal, 1447; Frauenkirche, Munich, 1468­88; St. Martin's,
Landshut, 1473.
SECULAR MONUMENTS. Schloss Marienburg, 1341; Moldau-bridge and tower, Prague,
1344; Karlsteinburg, 1348­57; Albrechtsburg, Meissen, 1471­83; Nassau House,
Nuremberg, 1350; Council houses (Rathhaüser) at Brunswick, 1393; Cologne, 1407­15;
Basle; Breslau; Lübeck; Münster; Prague; Ulm; City Gates of Basle, Cologne, Ingolstadt,
Lucerne.
THE NETHERLANDS. Brussels C. (Ste. Gudule), 1226­80; Tournai C., choir 1242 (nave
finished 1380); Notre Dame, Bruges, 1239­97; Notre Dame, Tongres, 1240; Utrecht C.,
1251; St. Martin, Ypres, 1254; Notre Dame, Dinant, 1255; church at Dordrecht; church
at Aerschot, 1337; Antwerp C., 1352­1411 (W. front 1422­1518); St. Rombaut,
Malines, 1355­66 (nave 1456­64); St. Wandru, Mons, 1450­1528; St. Lawrence,
Rotterdam, 1472; other 15th century churches--St. Bavon, Haarlem; St. Catherine,
Utrecht; St. Walpurgis, Sutphen; St. Bavon, Ghent (tower 1461); St. Jaques, Antwerp; St.
Pierre, Louvain; St. Jacques, Bruges; churches at Arnheim, Breda, Delft; St. Jacques,
Liège, 1522.--SECULAR: Cloth-hall, Ypres, 1200­1304; cloth-hall, Bruges, 1284; town
hall, Bruges, 1377; town hall, Brussels, 1401­55; town hall, Louvain, 1448­63; town
hall, Ghent, 1481; town hall, Oudenarde, 1527; Standehuis, Delft, 1528; cloth-halls at
Louvain, Ghent, Malines.
SPAIN.--13th century: Burgos C., 1221 (façade 1442­56; chapels 1487; cimborio
1567); Toledo C., 1227­90 (chapels 14th and 15th centuries); Tarragona C., 1235;
Leon C., 1250 (façade 14th century); Valencia C., 1262 (N. transept 1350­1404;
façade 1381­1418); Avila C., vault and N. portal 1292­1353 (finished 14th century);
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St. Esteban, Burgos; church at Las Huelgas.--14th century: Barcelona C., choir 1298­
1329 (nave and transepts 1448; façade 16th century); Gerona C., 1312­46 (nave added
1416); S. M. del Mar, Barcelona, 1328­83; S. M. del Pino, Barcelona, same date;
Collegiate Church, Manresa, 1328; Oviedo C., 1388 (tower very late); Pampluna C.,
1397 (mainly 15th century).--15th century: Seville C., 1403 (finished 16th century;
cimborio 1517­67); La Seo, Saragossa (finished 1505); S. Pablo, Burgos, 1415­35; El
Parral, Segovia, 1459; Astorga C., 1471; San Juan de los Reyes, Toledo, 1476;
Carthusian church, Miraflores, 1488; San Juan, and La Merced, Burgos.--16th century:
Huesca C., 1515; Salamanca New Cathedral, 1510­60; Segovia C., 1522; S. Juan de la
Puerta, Zamorra.
SECULAR.--Porta Serraños, Valencia, 1349; Casa Consistorial, Barcelona, 1369­78; Casa
de la Disputacion, same city; Casa de las Lonjas, Valencia, 1482.
PORTUGAL. At Batalha, church and mausoleum of King Manoel, finished 1515; at Belem,
monastery, late Gothic.
Table of Contents:
  1. PRIMITIVE AND PREHISTORIC ARCHITECTURE:EARLY BEGINNINGS
  2. EGYPTIAN ARCHITECTURE:LAND AND PEOPLE, THE MIDDLE EMPIRE
  3. EGYPTIAN ARCHITECTURE—Continued:TEMPLES, CAPITALS
  4. CHALDĈAN AND ASSYRIAN ARCHITECTURE:ORNAMENT, MONUMENTS
  5. PERSIAN, LYCIAN AND JEWISH ARCHITECTURE:Jehovah
  6. GREEK ARCHITECTURE:GENERAL CONSIDERATIONS, THE DORIC
  7. GREEK ARCHITECTURE—Continued:ARCHAIC PERIOD, THE TRANSITION
  8. ROMAN ARCHITECTURE:LAND AND PEOPLE, GREEK INFLUENCE
  9. ROMAN ARCHITECTURE—Continued:IMPERIAL ARCHITECTURE
  10. EARLY CHRISTIAN ARCHITECTURE:INTRODUCTORY, RAVENNA
  11. BYZANTINE ARCHITECTURE:DOMES, DECORATION, CARVED DETAILS
  12. SASSANIAN AND MOHAMMEDAN ARCHITECTURE:ARABIC ARCHITECTURE
  13. EARLY MEDIĈVAL ARCHITECTURE:LOMBARD STYLE, FLORENCE
  14. EARLY MEDIĈVAL ARCHITECTURE.—Continued:EARLY CHURCHES, GREAT BRITAIN
  15. GOTHIC ARCHITECTURE:STRUCTURAL PRINCIPLES, RIBBED VAULTING
  16. GOTHIC ARCHITECTURE IN FRANCE:STRUCTURAL DEVELOPMENT
  17. GOTHIC ARCHITECTURE IN GREAT BRITAIN:GENERAL CHARACTER
  18. GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS, AND SPAIN
  19. GOTHIC ARCHITECTURE IN ITALY:CLIMATE AND TRADITION, EARLY BUILDINGS.
  20. EARLY RENAISSANCE ARCHITECTURE IN ITALY:THE CLASSIC REVIVAL, PERIODS
  21. RENAISSANCE ARCHITECTURE IN ITALY—Continued:BRAMANTE’S WORKS
  22. RENAISSANCE ARCHITECTURE IN FRANCE:THE TRANSITION, CHURCHES
  23. RENAISSANCE ARCHITECTURE IN GREAT BRITAIN AND THE NETHERLANDS
  24. RENAISSANCE ARCHITECTURE IN GERMANY, SPAIN, AND PORTUGAL
  25. THE CLASSIC REVIVALS IN EUROPE:THE EIGHTEENTH CENTURY
  26. RECENT ARCHITECTURE IN EUROPE:MODERN CONDITIONS, FRANCE
  27. ARCHITECTURE IN THE UNITED STATES:GENERAL REMARKS, DWELLINGS
  28. ORIENTAL ARCHITECTURE:INTRODUCTORY NOTE, CHINESE ARCHITECTURE
  29. APPENDIX.