=> a os tik Ae ees oe ! nie F A tp 1 yy ! 4 ht Y= —e aE ee, THE UNIVERSITY OF ILLINOIS LIBRARY Oe) ERS bE w ra 4 | eandeacteons 6 2 romeancay 1s ARCHITECTURE in ‘its Development from the Origin to the present Fine Introduction to its History, Technics and Styles BY K. 0. Hartmann Volume IT Mediaeval and Renaissance With 377 Illustrations beipzis 1911 Translated by N. Clifford Ricker D. Arch. Professor of Architecture University of Illinois Urbana. Ill. 1912 i , € o ; oe 2 os Toh ] if 4 aie y ; ; ‘ ne ar { a + LS ae Jie hes ane yar! #aee 4% Vv, 4 . a ay BE eaulov 2 ue: afi bosebtenco- neitulote tis ait to sasoe edt. iy ‘Be as | seotas a dotdm + 2 heer ee mba IR t a: : F ISG gaat th WY) ete tat seid’ duis. im “esi Pays ee: autqivo® . -tnemenx0 - ~ afasavaom bin. aetitavoo saersttio otat bossa VI +S = e+ ies ee es 9one74, ery a esol ignated abasliedtall a bt Mes cavcl AnC teat tpalnderdia dt. LL Mae A a stveatbasoe + siiteavA .ynemieb visti * ee —_— =e ee bas (res3 twa b18 w, ~=----+~-- = isacat04 bas ateq? ae _beqgor8 betife bas easlq Viesasuok § .8 ie aE a er te ee ee ee abntb lind A --- alettqeod .ersbx0 to esidesd .asizstescol a ( -~~--- saytostidsrs twelv9se otiszod 4D. | yaa _ wtitaoG .elf{ed ystto eguttiswb .2908isa eetteasD ~ : ee geittetevins) efoodoe a&ih .estdts to motte ty Ron oe ee ee ee ee ee + = = (2028LI09 20 cy siateach .yasmie® .basfacl .eoand’ af esasaga0¥ sateq? bas vis¢t .abasfisdteli .basiaesdiwe bas ve “-=--- + gonsestensh edt to eqgtostidod 8 ai eftesd Iaxsqed uottelove (soitoteaih .1 asisbgo01g [sotadoed dns medeye Isiudounte sie -fou1tancs toot .Rafaetesi{a ,anottetauiont alist -tov1danoo snob .83 fosy .esariies Aeurtesat aot SO em ee we) emt elite eo) ne By meee AOE” ws | mma ee = ~~ ~ + = Sr9mtgert Lerutoatinor4-IIT Vi -rudoetidors a$déo bas aaniaLoo ,aabsoe) to auz0% ble i ed — ~” ~ - -_ - Deal -~ eal - - - - - cl ~~ -=--=--=-=+ gotsstoe5 bas sibsdetidoss [saresal evitsitoced .akatlicos .silew ,esoolt .eyswiised .fofsst099b asdoow ,emutqiuoe ([etasapno§) esis mf tere en, ee ee de Iii Decorative treatment -----+-=+=---++-+--- Ornament. Sculpture. Painting. Glass painting- - IV. Spread into different countries .nad monuments - - - Prance -----8s--=2#2e-++-+--+-+-+---e Netherlands -------+-++-+-+e+-+-- ee fnglend ----------+-4+- - ee ee eee Scandinevia ----- +--+ -- - ee ee ont Germany, Austria and Switzerland - - - - - - ar Italy -------+-+- $a. acing w haga i a aca } Spain and Portugal - -------+--- =! ee at B. Monastery plans and allied srouped buildings -------+- +--+ ---+ +--+ ms: ale Monasteries. Gastles of Orders. Hospitals - - - CC. Gothic secular architecture - - - - = Castles, palaces, dwellings, city halls. Portif- ications of cities. High schools (universities or colleges) ------------+---+-+-- Monuments in France, England, Germany, Austria and Switzerland, Netherlands, fFtaly and Spain- III. Architecture of the Renaissance - ---+--+-+-+--- General-basts -- ---- +--+ = = = = = = Se I. Historical evolution ------+-+-+e4+-+-+-e+4+- II. Structural system and technical procedures - - - - Walls, inerustations, plastering, roof construct- ion, internal ceilings, vaults, dome construct- TORO S.-H eke oe) eel eee = = “cf e = tii-Architectural treatment -------+-+-+----- Forms of facades, columns and other architectur- al members (=.= sse9+ MOST Ta Lees be ae eee IV. Internal architecture and decoration ------- Séairweys, floors, walls, ceilings. Decorative arts (flonumental sculpture, wooden decoration, intarsia, monumental painting, fresco, ssraff- ito, chia-oscure, srotesques, ornament) <- - - V. Architectural works --------+-+-+-+-- --- A. Church architecture -----+--+--- Ground plans. Superstructure. Monastery plans--- B, Secular architecture ------+--- te ie a oe Oe Se ) eat | eit 5A pares [stiaeot . ay gia rie i a eai8 me ‘palo yeaa Lastbgod. -elied god | es wpe set tet nm +09 enotseotlitio§ foe - rt eee so Btaegtwaom jaatiogai sso .TV --=- 2 =~ «=~, 90neesieneh ylisd 7 4 oor Soe e. —BOgssetaneh dail -=--=- + © - ~epnsaaisaeh etsd ~109. bas aiege? at sonsesisas® sat Yo siusostidosA «8 De mmm tit mye ew ee & Lebod aS = - + oiyte edt to etesd [sotaotatd bas Lexsa09 vias Outlet, elyta. .olyse samod-00019 .ooasgetsl4 tr tt mitt oop, sonsastaned dai (tet rt edaess008 snedtogwi, to} -- - = 90nett. at soneagetsash ods to sagtoesidows =. al haa ---- osiyte bos noitulove [sotroterh .1 _ -Hosq tied? bas sonseatcuef adsl bas daid ,ylrsi etree ee ee ew ~~ ~ (olyte ni gettixsil wahatilewb. ystO .elled ysiS .sedowd® .evsated® | eet ee ee + + Hedogmenom sastiogmi Seow WIT oe mee en te eee HH + = COKBBBtSASA yiasd meee ee te ee eee sonseetsash dari we tte eee “se -e ee + sausestenok ‘stad “sagoo asaxe® ae Sfidesctaht nl sds to sistoetidors Ss allel ee Rart P - -----+--~+-~-- slyse bas atesd [stome9 .T | eeec8 .aelqoeg atedz10n sad to anoftqesnos oA _.eisdoesidors -olyse sat to noitslove ot sot —-,adson (sistoetifots .tac08019 .noitsr009G . ytto .egar{iewb ,egsstsiS to sefttasrivosd _ ESOP a aay ete eseuod | dowade tastasto1d .sratossidars doindo offodssd - = - meee eee He ee eH CttoSstidors ) git bas esixtquoo taer9tiib odd at noituiova .IT . * \ ; Saar. 2. Se ee ee & & Hie BSAC EOS Li cee ane = a ie = + Sot -ebealredeel 52 RS 2 bre he thy erent At ~-~-- sotetan at Ropeeatepelty 4 : Ad ; ie ; , hia oT. ' o . J a A “i ek 0 ree ie 5 Ghateaus. Palaces. Villas. Dwellings. Gity architecture. Sity halis. Universities. bibraries. Hospitals. Mar- ket halls. Roggias. Fountains. Yonuments. Theatres. Fortifications - ---+r--+--=- - 2 er-- + - | VI. Most important monuments - -------+--+-+-- Barly Renaissance -----=--++-+-+-+-+-e+-e ~ High Renaissance- ------2f +7 ee - ee ee Late Renaissance- -------f-e--+--+-+-+-- ~ 2. Architecture of the Renaissance in Spain and Por- tugal ----2f - ee eer he ee er Ke er er He He ee General and historical basis of the style - - - Plategesco. Greco-Roman style. Style wuelino. High Reraissance (— p< wom i mm ee - = Most important monuments --------+-+-- 3. Architecture of the Renaissance in France - - - - I. Historical evolution and style ----+-+--- Early, bigh and late Renaissance and their pecu- liarities in style -------+-+-+-+e+--4 Chateaus. Ghurches. City halis. City dwellings- Ii. Most important monupents- ------+--+--- Barly Renaissance ---- ---\2*--+-+-+-+-+6 High Renaissence- -------+-+-*+-+----+e bate Renaissance- ------\-\-2+--+-+-+-6 4, Architecture of the Renaissance in German count- eT eet Rat koe eMart ta Ie ems a ar wh ie eee I. General basis and style ------+--+-++e-6- Art conceptions of the northern peoples. Bases for the evolution of the style. Architecture. Becoration. Ornament. Architectural works. Peculiarities of Ghateaus, dwellings, city BQOUSES eee an me ie oe ore ee ee Catholic church architecture. Protestant church SPCHLVeCUUPE oe Se me a me oe eel ae oe \/ II. Evolution in the different countries and the ROHGRER ES re rr ee a ae ecm en eee 1. Netherlands ---- 7c - 7-7 -e e-- e-- = - General- ---- - eer er ee er mr wm te te ee Renaissance in Belsium - -------+-++-+- Renaissance in Holland - -------+---- ) alsteo Abeainag A sontortansy o¥ .sottourseno9 enos2 .tasmtsort siyse oo nya sod ,soktouatenoo as yw, SEES Thien ; Li na eet <¥aem@T99 ak etaomanom tassrogmt teow .a_ rere Ha ci ee) peeieansiat, ee got tr tt = eee 8 ry — a elvte fas siued [soitoteid bassferened Saint Petey? ee EN Bet itthrtey | Tast2oqai teok sed Ugh ikea Mout pict Gene Ramet nebsue ,$ i : eat. elyte bas etesd isottoteid bas {s1en92 , / 5 ah aah: eet aboried sasV 19¢9i bas wsiised bia a ee me BS -- "~~ = 7)\7 ,. etcemunon sastiogme seoy ET eae eee Tree a ) mae er --- Lsteie bas aoivofove {sorvoteia A , Rk Aes 5 + 7 7 7 - -pomsaziaasd gid bas ylsai " a Shenre [77 7 tT ot etaeegoon Saatroqai teow .8 ., ins m, \ pot Ny, akes' aw may’ a : : : er salt i rpig Sages igs ws . RRS Shite "EL, | phot ” ett i ‘ ‘ ‘ ; ’ At ee a ee es wa wee Taran. Oe Wee the Pe er ee, ashe pa , ; . es Lagat re a: ae par ty he if he ” oe bene ‘seas 12 d + ay } ‘ Volibbesiugin Gaulle Ge Mc ie ee a at, me Some Sil ae war Pkav age vay gt bs iba i ee ae Ee ee Let os Way be (Pate by tn8 a 7 AS 7 om: ‘oy i si ry 3) oo he p A) F ry o eke : his aA Wie Nel, RAS a ® v . 3 © ae . Pint aD yoru hess eK gt ee. Pie Hay, oe oar a Sy se Nanak aioe bade harkens 2 hy ‘ c mM. y's Be A. B, RB, 6 Germany, Austria and Switzerland - ----- Historical basis, evolution and style - - - Renaissance in southern and middle Germany. Style treatment. Stone construction. Wood- en construction. bos censtruction. Half timber construction - ------+--+-+6 Most important monuments in Germany, Austria and Switzerland ------+--- oe ae Denmerk ------- ee ee er ee ee eee Generaleand historical basis and style - - - Most important monuments ---------+¢ SWSC Ge SR ree te Shihan ee General and historical basis and style - - - Barlier and later Vasa periods ------- Most important monuments -----=-++-+--s Bngland ---------+---+------e- Historical evolution and style --- —= = Early and high Resaissance - - + = - ==> Host important monuments -<-<-----<+-. y mle are ' QAUTORPTHORA! syRDEMAMOR <7: . K yeas” atest (sofmoterd bas is1en3) .D | P ete te mtd Yo bobavot oxtame We itnen® of? Stel ontsmel4esdD © SSeBedour-etd tu4 Lerwtowate ofdevomwt bus beatot [fen = dtasb edt .sigted est Ys si stetatem OF AQ00K9 Brorte ton oreW 210 ~'- Bew sifons edt doin nt .strams sat to notervib steasd¢xotan ‘s oF bel .yitmst L[syor off So ysteqorg stevisa odd as bassend “tb To taomestas baids ois OT .2etbtqua Tanretat teesse1n ont i enstioqgat .uoitsisqee edt beesso doidw (68) aubrev ss aateaty f selaceq gatdseqe asm7e9 sit to .Slxow edt to eiosetd sat ai ~bso9b eldsiseia to boiveg s bebssooue sieds .enewoH sdt wort -toetorg Juodiiw taomis exow ebasl detines9 edd dotdw ai ,eone staf s as beowommoo si ol .eetmene) astexot of ya1q 3s bas nok =smewon [xtrowoo sdt encitsa edt to anetserzin edd to toodaetto “10H dhid sdt to aomese biog add .(ebotdt¥) enero’ sag to ata, -ieiv .etod ofaswied'svisiminag afeds .Aivanibaeok sort ow ae ~ gent .yreddor bae sasvse1 dsviw saoxsea to abael aenoo sac had basfgaa bstewpaoo . (SI) (vbasmroll) sonax® oi vlomid toot gos s bebasol ituo® sastetb ef? at move vyOfeuit bas .(090t) rese8f bas yisdt sewol af wobkard bibaslde tue bovil=seode vyinisiaisa “sat vd .teo8 ettsne edt aevo bo1atseoe somedt .(O8LD) elite oad at .esimens (soretxs dttw efsetnoo bus asotanseerbd Lente “788 ent dtiw dtao! sat uf .e1edto acoms etayheM odd. dtiv tase -Gngtse Osdeintmibas dvtw bsdsee900%q won so84 TAS, Sit 40698 iaeanbasd aatiood’ oh ,d¢e96 (isos bontsse2 ducts idtaiv 3200 adil .qmese asituosg atedt 2028 albbim edd of eves <. ene EAN Gs 8 truth retained until death. An idealism produced this state system, and which never before nor afterwards had its like, & and that in combination with the deep religious inspiration gave to the middle ages their peculiar stamp. Its most visible expression was found in knighthood and the ecclesiastical hier- archy. Then commenced a period of high importance to the his- tory of the world and of civilization, which brought to the & German empire its period of splendor under the Saxon, Frankish and Hohenstaufen emperors, to the German nations #heiélimax of their power and their heroism. Tris period elso then found an expression in the architectu- re, which is to be counted with the highest works of the human intellect. Phere srose that national style of architecture of the North, later designated by the name of “Romanesque style”, indeed because it came from the time in which the German intel- lectual life received its basal impulses from Roman ciwilizat- ion, and since it was directly connected to the Roman antique, fostered and revived by Gharlemagne. But this appellation is so far insufficient, since even if many of its forms are pre- figured in Roman art and that of the farthest Christian Hast, the Romanesque style did not have its native place in Roman c countries, but where the German nation possessed superiority, in Normandy, Burgundy end Lombardy, and in its richest bloom in the entirely Germanic Germany. It would therefore be bett- er termed the “Germanic style”. Bor it is the german individ- uality, that appears in all its forms. The inclination pecu- liar to the german nations for the expression of racial pecu- lierities, for subdivision into regions and families, which in general were closed to the external world and permitted a com- fortable separate life, the unusual dissensions manifested in even the smallest matters, that were only restrained by the a all powerful idea of Christianity and the strong hierarchical - conception of life in the period, -- these basal tendencies of the Germanic and chiefly of the German national character find a speaking reflection in the Romanesque style, and indeed in its separate solution not only by races but also by countries, in the expressed avoidance of all similar treatment of details, in the infinite variety of architecturalpand ornamental forms, ww soeesa ui: ts ibtarhitins edt nk qifentt bes ) odd wod. . gotatvibdue ods .aamsloo bas atta to taemtse1t odd .aaia odd fo xbod evttne ed? .esbsost to aaifbasd edd bas .siisw add to | oe pene tite otut beqoleveb ean stutonxite ond Byrds mi tyne). BMeatéivak etslqmoo bas stedmom esi net shaper at rotsasn4 edd to aoitse19 erisae eds oonta. dt soeemiien ie Rais Ivey to shoes. wdtsa0 taebusqeb ase arct ee ee ee ALS Gibeniy nights Meee. ) Gk key ~ 19 Roman-Early-CGhristian basal form also returned the principal buildings of Romanesque church architecture, the basilica. In its further development may be followed the entire course of Bomenesaue art. The basis of the basilica was already prefisured in its most important parts in the Garlovingian period (see Volume 1, page 179); the arrangement of the nave, transverse aisle and choir in form of a batin cross, sometimes with the addition of a wes- tern choir, elevation of the choirs for the crypts, division ef the nave into middle and side aisles, the installation of columns and piers to support the longitudinal walls and ceili- ngs, inclusion of the towers in the building. (Pig. 1). The internal covering of the interior, excepting the apse, cover- ed by a half dome, was always accomplished by the open frame- work of the roof, or by a@ horizontal wooden ceiling divided into panels or coffers. Likewise in the Romanesaue period men adhered to this mode of covering, even if also in an ever more limited degree. (Fis. 2). (Pig. 8). But its small durab- ility and easy destruction by fre led quite early to the end- eavor to utilize for the basilicas the great advantages of va- ulting methods, for which the Romans had left excellent models in their architectural works, which in many places still rema- ined visible. Therefore men began in the course of the i1 th century (aside from isolated attempts at vaulting in southern France, already falling in the 10 th century, but remaining without further development) with the vaulting of smaller cha- pels and tomb churches, soon passing to the vaulting of the large churches, first in the side aisles and salieries, final- ly with advancing structural security, also in the middle ais- les. Thereby was introduced an impulse into mediaeval archit- ecture of high importance in the history of architecture. The construction of vaults powerfully affected the development of the plan, the treatment of piers and columns, the subdivision of the walls, and the handling of facades. The entire body of the structure was developed into an organism consistent in all: its members and complete in itself. Since the entire creation of the interior in ground plan and form was dependent on the mode of vaulting, to this was then teoda yeah ,Fosttaenis ens aleteinkes {Lut sd¢ bstove dt sv ae sv pen vd aelets edt Satameqe wort bedfuvees avidwl Sido eaw tI .etetq edt Qattosanos ea aedows serevedsets Ee xeboseivons asuo8 auotemun siedw .eonst atedtuoe af aom zz 916 stedT .noitoursenos to sbhom ait sididxs [Live etnoms ) ! ©) -egatblied Ls1t09: bas aedowio bemob bessloeitbanet o¢ sors doisde a1etgew sot sonsti0qmi: tsdaid ylotiakiak to ted. bed easmol ed? .etiuev eeo19 Yo aottonborsai edt ese atuotoett + “01 Betednofe duirsvoo rot esaesasvbe aieds besiago00e1 ybsstle ai @edt bovolams yievicaetxe bas , (GOL sasq .! smaflov sea) amo ~~ ed¢ To evootidois edd oul .eddsd edd 10% angtesb teers atedd / oft al .nottostreq seodaid trodt o¢ modt tidgord esas albbim | @e0md) bedots Saver tosttanoo of vino Sexvsmev asm botaea terit ') etinsy lomavd ows to uoktvosetetat edt wort anisivesr .atioav ia ydemed? .(68f .9f9 .f omyfov 992).ad&ted bas dtbiw Langs: to j ; ‘9a¢ to tsasmeansite sdt at eyed stsH0e o¢ batorites: easy asm 5 bas ofbbfm odt dtod bebivibdue od sesm dotdw ofat .aalq davorg aetsei ois of .asfiets shite sdt es few es .aslais satevensyit _ tose tend of .sleis elbbtm odd to dthtw edt ifsn beagtees saw ats eldbtm ods to ysd eno bodavos eeflats ebtea.sdt to eved ows | © deiutoetidors sepesnsmo® potoiadese: edt betsataiqo aud? val — 08 be2z29180710 fed etostidois edt astts yinO .(2 .at%) .moteave bi ‘baec01g oels divoa vent stadt ,Moftouritenos to ysiasoea ab s8t i edd 6&6 (3 .2f9) etlusv Loanst ddiw emoo1 w6loxastos1 teveo o¢ i ‘g sdf es eved tartivevy to sedmun emse sdt svisosa asisis 9bte | 4 syaowied gostieq s Ssiftwpos asia bavor edt bas .siere elbbia ' Kxewile dt astsotbat ybserls ovis sonsvbs aids tad .(8 .Bth) } atiae wet of teasl ta .t1e saceenemod to stagmqoleveb sat to > -eaottietopos [eotadses eff 10% .mottesup at si vtirsa aivre eid Buenos .usteye bedotitess sad moat mobes1l biswod beaasig E | sesoneugeenos gatmtsasess eti bos do1é bavor edt to Jasmaobasds % nsqsiar at seis odd dotdw at .dows to mol a a0t dowee oft al eal ;asae sev ativev stwoene blyoo eno Jedt of .asae sdt to gash” fe. f ron) ybtsora at aem ,asdaien (saps dsiw-edtbin snetettib to fo. aid qisdaeo dé SL eds Yo tisd terbteds at ybserls (sonsy% ato ows to anil Quiaivsy eds anteogmo Yo sedi ivisivat odd wborsat (G .3t8) dors besatog edt esw yosten? .eo1s sal bas sasmyolqws edi worl .esdostidois Levesibem osai 14- devoted the full attention of the architect. The simplest so- lution resulted from spanning the aisles by tunnel vaults with transverse arches as connecting the piers. It was chiefly con- mon in southern France, where numerous Roman architectural mon- uments still exhibit this mode of construction. There are ai- so foundiisolated domed churches and central buildings. But of infinitely higher importance for western church arch- itecture was the introduction of cross vaults. The Romans had already recognized their advantages for coverings elongated ro- oms (see volume 1, page 105), and extensively employed them in their great designs for the baths. But the architects of the middle ages brought them to their highest perfection. In the first period men ventured only to construct round arched cross vaults, resulting from the intersection of two tunnel vaults of equal width and height.(See volume 1, Fig. 123). Thereby men were restricted to square bays in the arrangement of the ground plan, into which must be subdivided both the middle and transverse aisles, as well as the side aisles. To the latter was assigned half the width of the middle aisle, so that each two bays of the side aisles equaled one bay of the middle ais- le. Thus originated the restricted Romanesaune architectural system. (Fis. 4). Only after the architects had progressed so far in security of construction, that they could also. proceed to cover rectangular rooms with tunnel vaults (Bis. 5) did the side aisles receive the same number of vaulting bays as the m middle aisle, and the ground plan acquired a perfect harmony. (Fis. 6). But this advance also slready indicates the climax of the development of Romanesque art, at least so far as its style purity is in question. for the technical acquisitions pressed toward freedom from the restricted system, toward the abandonment of the round arch and its restraining consequences. In the search for a form of arch, in which the rise is indepen- , dent of the span, so that one could execute vaults over spans of different widths with equal heights, men in Picardy (north France) already in the first half of the 12 th century bit on. the fruitful idea of composing the vaulting line of two cirecu- lar arcs. Thereby was the pointed arch (Fis. 5) introduced i into mediaeval architecture. From its employment and the str- s j a nas SMe ve % eer ¥ al by, ll 9 i y ai Pou ee wise won ‘p: besaninize athgeey: {emxot bas Lasutouste i 6 .okdto8 edt otat beassq slyte supasaemoh odd «sues 988 ofbbim evpssasmoh sit to ysivitos Ise siétns edt bidettatt s ai besbat .ytutaso dt Of oft to slbbim sds of +t sot lersme8 at sod .eneisaivoflis® edt to avebh edd oF asys “ab000! assy eft dnemgoleveb [smtol esp at sivta sucesnemat Pp eeenis di tetel yautase A .timit sewol edt es dsbisge 9d $b exwdaes asdvous visoisoe 193%8 bas xemifo ati bantestiésa vbe © .eletea aottiecert ott to ted .988dg tesl edd bedoses cals edt 9%s ebotisaq esidt .,softelove to saxnos edt of braast Ati¥ a) ame 2 | --bedetygaitatb od o¢ sioter asian Re PO OOLL o¢ OOOL mot? botvea ylase edt .7 yeas bas ¥V8e0 ,aoisoursenoa bet{vev to Baiantked .assrlbead pfs o(emgo2 baaole a enutites fataositod) OSLL of OGLE mort botasa tasd edT LIT A om to duemsso1t stsose yiisoiadoet .saitfusy yd beosfas4 a -(emrot bas atsdmem grsaaio bas sistas 19% - \oast ot ostt most (eiyte aoittensad) botseq etsf sd? ,ITI Seeders bas [uteos12 .atiney to taomtsexs e9xt fas esty gaoss2) . saelgottisq .etnoasia wom lo soneaseqgk .sa10t to tasmaoleveb Bk hk . .lmedeve aeertend edt to bas dow besaroa sds to vi a tasaqoleveb odd aboiueq sesdt Io eased ng notsetimil sds 10% _— -t9btanco qiteido at yasmish to sused edt at tas syogeasmor to . aoretiaealiaa »yiieeps soeq deed toa hitb esiatawos redzO0 .be th in be were oefh .niadaes dt EL edt to teFxeNO taxit sit toabas saz tae Swot ylIsubs18 beqoleveh sisds efyste obdto® 903 to wot Ae mics Isesd edt yistaso dé Sf sdt to elbbim ods (Lit a19d . sone | =a edb at oupasnemof [Lite bentcwen Saud¢oesidors add to 1ed098 mal: ot 7 yasa1e9 tol eetoneb elyta aotttensit siT .eaxvoo exit | # Yo omit bidasloe odd ui tetosied9 Laacisan est to xexito ss 4. © statextees s1evew wort bestt .etotsame: astuetensdol edt Ave) aie aloe ssp@ensmon .A en Maret We es. ooo eemdtp damoek dP 4.1 : (08. 2 soiioubdo:'enppennnod. edt to saemtse1t bas asiq edt ! ee ae sieisorsos tsdd speit aE. itr ey it 5 oe as ah. 7 a5 ’ A fc 5 d ah . oY SS Aes rey ».@ 7 wee 8 eh es ee 2 yA | OR exatanibed etl .moisulove svieasizo1g easltae1 2 at dite ybssils bsba9 botasg supasaswod sds sone19 to esoaivorg | _ bas. sottours agave to sitaleneedten Sit omits omse sds ts yasarsh of - 12 structural and formal results originated a new structural sys- tem:- the Romanesque style passed into the Gothic. The entire art activity of the Romanesque middle ages ended in a restless progressive evolution. Its beSinnings so back to the middle of the 10 th century, indeed in a limited sense even to the days of the Garlovingians. But in general. for the Romanesaue style in its formal development the year 1000 is to be regarded as the lower limit. A century later it also alre- ady attained its climax and after scarcely another century it also reached the last phase, that of the transition style. W With regard to the course of evolution, three periods are the- refore to be distinguished. I. he early period from 1000 to 1100 (horizontally covered basilicas, beginnings of vaulted construction, heavy and undev- eloped fomms). TI. The best period from 1100 to 1180 (horizontal ceilings replaced by vaulting, technically secure treatment of the tat- ter, mature and elegant members and forms). TII. The late period (transition style) from 1180 to 1250. (Strong rise and free treatment of vaults, Sraceful and richest development of forms. Appearance of new elements, particular- ly of the pointed arch and of the buttress system). Hor the limitation in dates of these periods the development of Romanesoue art in the heart of @ermany is chiefly consider- ed. Other countries did not keep pace equally. In certain p provinces of France the Romanesque period ended already with the endcof the first quarter of ,the 13 th century. Also even in Germany at the same time the elements of construction and form of the Gothic style there developed sradually found entr- ance, here till the middle of the 13 th century the basal char- acter of the architecturé remained still Romanesque in its en- tire course. The transition style denotes for Germany the la- st climax of its national character in the splendid time of t the Hohenstaufen emperors, freed from severe restraint. A, Romanesque Church Architecture. I, fhe sround plan. fhe plan and treatment of the Romanesque churches is so var- ied, that scarcely a single one bears all the characteristic éf ie Laecntpah ‘ko ystmiotten odd yd ekatbited teom [itte bad .exaem | bes ed ysu heebhat dofdu mort .etieqd avotnowisd svad seoarsd | “s7eB 10? suxt yineiootsxs9 ef etd? oaedos ([amton 8 bedatids _ -Ba00 bas yitselo dz0n asw “wotaye hesoiatesx” sat o19edw . vas in ) gatbiied dowsdo eds to m102 basoia sd? .bsgoleveb ylduetei ) atedtvoe ai sqe0x8) .extliesd belets sexdt edd yd bouret et | ance ai bavot yigo sts esotifesd belais elaate ,consd4 -{fq bagow oft af .(o487 ose beleia evil yesdo1sds yitavodahas ) doee of ofts1 otiatish s diiw behasiie sis anotansmib [ie aa sosBigutetse etsuoe edd af tins aaivtR eesm A .(% .ak@) r9dto -8019 sit .eelets set9vensas boa slbbia sdt to aoitooesxstar edt , edt dtiw etsaps stodo sdt ei tase odd no si BatatotbA. .aata etsupe s Snted eabie déaom baa atgos edt ao .929e asivotcopaes: eetsupe isievea saow edt biswod bas .oleis sarevenssd ois 28 mot doidu ,.(yasmte9 si. xte of serdd vilstaae2) baxttesa ot - Yo ddbiw edt tisd oviteos1 aslets-ebie sdf .elete slbbra sds ~etq7senaty odd ofai tase od Ss asaqo vsedst islets slbbim ont edt ai eeags sdfe sciisme ows yd bogaelas eve slut 6 es dotde ' asdoit al .eoleia shite edt Yo gioidsaimiss as Lisw atisogge =—e@9 tnd .bortreq espesnsmof tasd sdt at tusa ai gosouls .easig goisis ebie oft \botasq sapsensn0F otal edt at sommoo vilgtseq + eBPY) .2zolets. xiodo es asqeensxt Sit baoved Seyattaos cele e413 ) seqsdo Seaas11e yileibss io 19edmva.s alatisdiso done1d a® .(% wo dfe19q dofdw .oleis afodo sat shietvo0 bodosdsa astto axs ef » 89 edd etemine yidsitemes bus sistis evorsana io acitosis ont ) baa ettods eldvod (.(18f sasq .f empfov 904) .aoida0oqg n1982 i at yasmi1eS at 10990 yltaegoe1t [lite ealats sexevaneis oLduob os eved ted (8 .a2%i) .botreq SedemeseteR odd to suid vyiase ods en owedt bose ,godousdo yiote2sn0n 10% vlao moideotitdagt sisuni as ‘- ) mokenfoat od? .botweq otal edd at seeqgesit vilsubas® aisas | vesetoat diinm hatesit et gaibiiad sdé to seam sat at azewor to | 8% e%@nod ows 10 e00 Svieosr esdowds wsilemE .aottasdss ant : _» beasstoat af isémua edd eedorsdo watel tol :bo9 mietasw ond 32 tied? .eatn of neve eseeso aietieo at bas .e10m 19 evil of © wB190s Got qisommoo geo .olux-ediatteb on awollot zatque bas 9bsost aissasw add wo ons ,ovea sit to asitns ods 36 ig990 | dt meds ieleis seveveasts ‘ons wLedo aeented asltus edt ai ows u weds cgqate .@eldorg isoissse tastiogsi as svloe ye & | | — —_——— 18 marks. And still most buildings by the uniformity of their p purpose have harmonious traits, from which indeed may be est- ablished a normal scheme. This is perticuierly true for Germ- any, where the “restricted system” was most clearly and cons- istently developed. The ground form of the church building is formed by the three aisled basilica. (#xcept in southern Bhance, single aisled basilicas are only found in smaller city —andn¢ountry churches; five aisled are rare). In the ground pl- an all dimensions are arranged with a definite ratio to each other (Fis. 4). A mass Siving unit is the sauare arising from the intersection of the middle and transverse aisles, the cros- Sing. Adjoining it on the east is the choir square with the semicircular apse, on the south and north sides being a sauare as the transverse aisle, and toward the west several sauares are prefixed (Senerally three to six in Germany), which form >the middle aisle. The side aisles receive half the width of the middle aisle; they open at the east into the transepts, which as a rule are enlarged by two smaller side apses in the opposite wall as terminations of the side aisles. In richer plans, already in part in the best Romanesaue period, but es- pecially common in the late Romanesque period, the side aisles are also continued beyond the transepts as choir aisles. (Pig. 7). On Brench cathedrals a number of radially arranged chape- ls are often attached outside the choir aisle, which permit t the erection of numerous altars and remarkably animate the ea- stern portion. (See volume 1, page 181). Double choirs and double transverse aisles still frequently occur in Germany in the early time of the Rewetesahes period, (Fis. 8), but have an innate justification only for monastery churches, and they again Sradually disappear in the late period. The inclusion of towers in the mass of the building is treated with increas- ing attention. Smaller churches receive one or two towers at the western end; for larger churches the number is increased to five or more, and in certain cases even to nine. Their gr- cuping follows no definite rule. Most commonly four towers occur at the ansles of the nave, two on the western facade and two in the angles between choir and transverse aisle; then tb- ey solve an important statical problem, since they chiefly op- p | $f mtb Lsmbbet tanos odd ab gaftoe etfosyv edd to seurad sds ez0age te) busta 10 segs edi dasli yitasnpest coals yeat ts¥ .aotsoes _ * emt To eslaas odd ss ovle eomitsmoa .aidss sdt to eebire ens | patmreseb vitasbiv’.. .(@ bas 3d ,86 (SL .aoi® 002) .etqsensas Di “6 od¢ esw aiswod edt To saomtsest bas Saousanea1s ots at svie to qofees1zqxes Snivit 5 tol bos sositte supaexusoig 10% Satviade “sosatesat edt t9v9 .ysinstsetadD to s2bf Bntaiaas axsvsod eda isaosyloa « eeet: yiisvew eolaie slbbim bas serzavensat Yo aot -quelstetq gateeors edt .(Db .86 .@ .eat® 908) sreWOT anteszorD ; ‘yfetet go =. gu0nte ylasivottisa visnornsenos sis th Rattrag ovat asuist at olets ee1evensid sxitas ent 10 hateaoto odt ole ~s¢ wol yd beeoloas ef aids bas .(ytetydeerq) atedo beaiss sit ets tedel sdt at auop0 seosda iiedd.at .(iffeonoo): esbaitanl © / ebaq ,f emulov 202) :atestaoneot sait¢nassv9 sit of avoxeteas) «fs elbhim eis biawot atoob vd neqo tens .eexrweofoms darn (88r ~selisa sesdd a0: .estrefisy es betssxt vitasups1i es bas sle *edt Sae1 ssw .tiodo oft moit sriste autbaiw vd bedosor . got 6dt .“usiaotool” to omsal sit bevisoet yads doiaw wort .eleqeok 958)! tedt mort devine Bated (yxsllas boor) “ssasdeL" to mss TE : (88h .ar8 +>) eds) adsoned doavdo ferwd s es: tayt9 sdt to somattogmi sa¥ “aeattet edt va .yretavo dtiSh snd ot¢nt Yosd esok szieds besiss | “mea odd yd bebavot efoodoa yairdblind bebaetxe yfobiw bas [soe “a eco antiad paeith eds va ons ybauguss af yasdO se 18h10 anitord Be basd teito sit mo) beeoade viewtias saw etit sidawe af wots ‘ | asfete xtodo es eelets ebie sit to nottaunttnoo odt tf dtiw ))) “Bia yTev Fertt te nevis svew awobstw oad of 1 (okuw edt smr0t DY) sidiesog ¢esel: edt alfew odt aovssw os asb10 ni Sanotenamid Li | Sbte odd at ott yon? .ediuev ent to seunns snorse ent tentsas Yo eiiew yrotersels odt at bas .2208 sd¢ at .ovem edt to aliew “pet smse) oct 10% .(fGf okeq . smyfoy 908) .efets eibbim oat | 88 \behasi1s crew vou? .fisme vinetdiate efadiog sit sxe woe ten edt ai .ssofitesdenentaatvolis) bas asivaixrdd yirad odt ao fo eefeats toetsttib odd ot esonsitue staisqse es sbsosi areta =t9d> ab ylistoodes bes osfs 10 .a1ewos sbhaost ond odd neoRted _ Si \esfets shta oft To eabta ont at eitodo sfduob dtiw aedo " © .8¥em odd Yo alisw atedtion 10 wieiswoe sd¢ at 10 .ataeenstt ¥ _ bettino et sedousd> asiteiaS ylish edd to wotats okie sa? — 14 oppose the thrust of the vaults acting in the longitudinal di- rection. Yet they also frequently flank the apse or stand at the sides of the Sable, sometimes also at the angles of the transepts. (See Pigs. 17, 36, 45 and 9). Evidently determina- tive in the arrensgement and treatment of the towers was the s striving for picturesoue effect and for a living expression of the heaven aspiring idea of Christianity. Over the intersect ion of transverse and middle aisles usually rises a polygonal crossing tower. (See Figs. 9, 36, 44). The crossing piers sup- porting it are consequently particularly strong. Not rarely also the crossing or the entire transverse aisle is taken into the raised choir (presbytery), and this is enclosed by low ba- 2 lustrades (concelli). In their pbaces occur in the leter time (analagous to the Byzantine iconostesis; see volume 1, page 188) high enclosures, that open by doors toward the middle ai- sle and are freauently treated as galleries. On these sgaller- ies, reached by winding stairs from the choir, was read the gospels, from which they received the name of “lectorium”, the name of “lettner” (rood gallery) being derived from that. (See Fig. 162). The importance of the crypt as a burial church beneath the raised choir goes back into the 12 th century. By the influen- tial and widely extended building schools founded by the Bene- Gictine Order at Cluny in Burgundy and by the Hirsau congrega- tion in Swabie, this was entirely opposed (on the other hand with it the continuation of the side aisles as choir aisles forms the rule). To the windows were siven at first very sma- 11 dimensions, in order to weaken the walls the least possible against the strons thrust of the vauits. They lie in the side walls of the nave, in the apse, and in the clearstory walls of the middle aisle. (See volume 1, page 151). For the same rea- son are the portals strikingly small. They were arranged, as on the Barly Christian and Carlovinginan bastbhiees, in the we- stern facade as separate entrances to the different aisles or between the two facade towers, or also and especially in chur- ches with double choirs in the sides of the side aisles, the transepts, or in the soutbern or northern walls of the nave. The large atrium of the Barly Christian churches is omitted ae | ae, sh, +. 9a ibid batbtwbuts bods: aoqo Liewe s es aatemss (8b seq ais ais to débiw siistne edd of bexttera 10 ar9WOs axetaow we sv ylod edt .asvtk esw “setbaraa” to omsa sat fotdw of © aeitosifooe1 s alisoor somsatae ont ts ti ntdtiw beosla ate _ paedaampen -(@bL epsq .f omsLov 038) .eursdéaso rewi0t ofa Phetaiahte bebbe sas dotdw ot .azetle dgtd ens to aottsool saP . 4 vane raceane ody Ous sibsdsso ene .e9e0s shite rasif{eme oat at e186 bas ya1elo edd 10% rottstat sds to aoteivib sag ,essetsq ant S ehdbaattetan0 yitea |dd ai nevta febom edt wollot -elqosq sat 88m e08qe tnstottive sont? .(C2f eaeq .f omolov 902) .sorfi odd yd bearelas Yistydesiq sit ai yatelo edd to babumoo adit ts a -itas edt yd aomisemoe oele bas .Salaaory sds bas sasups riodo Tt odd mort asdet olate ae od Slwoo eteds .oleis serevenets 64 enh ei: -9vsa 3d3 ai asbsiveulsd yd siveaofons zsit0} > weds}. oxed bediicasb meseya dowsdo Laaibssianel siz esbitasd S -shabbliad doxredo supasaemoS anoms ensia [ertaso 18990 fey 64 a ‘dtgoe bas ylss1) estutagos arsdéuoe at sommes sxom sia aced® _ waqedo lemeitasd as ylteids betoeta .dtsom ott at osds (aoner¥ et To asdowsds es ,aedosgdo afam 903 edteod (eotreteisaed) af ) =0d en0d boliso-oz) dob edt 10% gisasds as 20 ,otdoluae? yok ” ~doe isigass odt ao boeed eadorudo detied .estustemeo at (ase is: ~tdasq edt yd bentslaxe o18 aodd bas buvoli visis1t s10m 918 99 \ i eogeg bas esiisavoo edd to enoiseiert bas agoté¢ibaoo tsluo De ohepsut ai. .b9e199909 eS a emfourte otf .S at Cinkktvans ssw ddaied af sedousde edd to gasaqoleveb odf | ite akddin yloitsas ilite botveq oupasaemef edt to awit viase ode gex. vesotiiasd asiteradS-onptias wol eyewie edt to adimil ods Pas) (pesot09: 03 miked enotenomth edd aesthora yodtaet adi ai Ms 7028 oft ai toods) uoteye hototasec1 edt Yo botasa gasd odd at Slats elbbi odt to ddkied oft .(viwtaeo da GL od¢ Yo ied bno d o04 soiws beaisiss ylisxene2 ativay edt Yo aataatacae add of © cotesve gate20r0 odd to sbie odd eotws gated eadd ,deda0exd oe wefleatt sbsa ster siuesen eidt baoyed tet acoasvbs s99 emert eidieiv.¢gino es anol of .gailies dt 26 sata etaaeo otah omeo aaatfie. asdeow Ladaosixod to toot re Se eal ie oP bitveaees tuodsiw teomis oat yd benimaesed yiisttmeaee at tleati stutourta an te *j ~ “AS 15 | almost without exception. The former portico (see volume 1, page 176) remains as a small open room inserted between the western towers or prefixed to the entire width of the facade, to which the name of *paradise” was given. The holy water ba- Sin placed within it at the entsance recalls a recollection of the former cantharus. (See volume 1, page 149). he locetios fhe location of the high altar, to which are added side alt- ars in the smaller side apses, the cathedra and the seats for the priests, the division of the interior for the clergy and the people, follow the model Siven in the Early Christian bas- ilica. (See volume 1, page 149). Since sufficient space was at the commend of the clergy in the presbytery enlarged by the choir square and the crossing, and also sometimes by the enti- re transverse aisle, there could be an aisle taken from the f former enclosure by balustrades in the nave. Besides the longitudinal church system described here , the- re yet occur central plans among Romanesque church buildings. These are more common in soutbern countries (Italy and south france) than in the north, erected chiefly as baptismal chape- ls (baptisteries) beside the main churches, as churches of the Holy Sepulchre, or as chapels for the dead (so-called bone hou- ses) in cemeteries. Parish churches based on the central sch- eme are more rarely found and then are explained by the parti- cular conditions and relations of the countries and masters c concerned, 2. The structure. The development of the churches in height was carried on in the early time of the Romanesque period still entirely within the limits of the always low antiave-Christian basilicas. Yet in its further progress the dimensions begin to increase, and in the best period of the restricted system (about in the sec- ond half of the 12 th century), the height of the middle aisle to the springing of the vaults generally attained twice the b breadth, thus being twice the side of the crossing square. 8B But advances fer beyond this measure were made finally. ‘The structure itself is essentially determined by the mode of fra-. ming of the ceiling. So long as only visible framework of the roof or horizontal wooden ceilings came into consideration, t EY vie iliasd ‘ssaanLos viet e108 bouot ogis 918 e1eds Benen lod ste) ylesidtue deer ofeis eibbim edt to eliew edd $6 Acilizsd e‘disdat8) eedorssio ositotvolisd edd oi ybeorls wd bess lass e1ew samulos edt ,(L6L obsq .f emulov :ioedatedé | jenemof exitas odd gniswh betsnimoberg eseds seveia Saorte end % el sig To noigsstedis edt besnitnoo opls tsY .boiseq supe ‘- tee ‘entintoo bas (oleits elbbim edd To eoxsspe eis Yo esfdas edd eedomnsis ‘neute) oft Sooms hevora ge1ti ef dotdw .wodt neewited “3b {doer0d ge dowsds yedds beyoudeeh sonte aaol edt ac besbnk ~oeaee anied (get etsq .t smetov see) BTS ae0y sat ni betsorb .. i? a -RiG 998) .eeontvong moxs? edt ak taeupest yflet eds of Ifet mofdoiq sedtons eslete odd to antéivev ent Aci® ~sudindeib yimtotins yiderslod ext bevisoss vino ton s1 seta a tinav éf¢ to ssdi0cque ex sweosd tug . [few sat to tdaiew bs a “#09 Fics) nedd gene t9iqg od? .s3f no sSnebneaeh esw dove 26 base +, ea¢ Ti olidw ,di oF benBiees beol edt oF déeusrde ni bacaess Pe 9G OF sew $i .3i mo hetees olete elbbita eat to sd loav tend xsl lene eas d4ocaue of bed ylao ti Ti neds .svieesu Siow shem sof ai beanatis sd o¢is teum sit tu8 .ofletse shies sds to eilsav é ‘to eredmen oad acefw .woddorq [axetoside ett o¢ Snibiooos m7 “ef 01g abigknetoes yd dacqane Snibvogeei109 besiupsa ifuayv eng : seooni eis mort Snibasixe .eteteslia 10 asia sdé 90 enoido asdni bas niew odd bosenizito eudT .19ig odd fe saad sid ett. (Of .2829%) .erstq bawogwos odé es {low es ,e19fo ots sets 10086 “oy Satta ia 2d ot omss oefs noftonu? feotiste sit moat ie beoaeiseqxe yeds Boidivey ai iffde Saionsybs aai¥ .xisy ¥ ¥é bevieosr eure eindogita eitdoe sdf .tnemtse1s tedoeia neve | to emsot ets bas edsogone to dosife Snigsnsstis {eox9etat edt et ~ndo odd entre) ,tnomdsexd oimisya Sos begamins oa &nilioo edd » eid doosreban yitusuees2 yaudaeo dé St 663 lo sipéostidoxws dow ) Pe. bed yilenigiso edd ,esoiliead dove to anid fpsv ’ sed #107 edt .1olsiedd bshosdat sisw so eeatliso nsbo “seaniliso edt of bigger & evino yltvenpsit edroaque edt eat ni esdowss eupeensmos to tnisdinsv tesiiass edt e ehuiisssebau dnobusaebat visiiine #6 so beivieo aew Slyse 9 tot renoinss beteiease ylobiw soidd oi omit emee odd # at ,(Se0r-e80r) yawi0 to dousdo yodds edd de ybaadae ai ba 0808 nested) eortg? Yo elsrbetidso sad ds esoniverg eurd® \\ ” | “i a, _—_ 16 there are also found more purely columnar basilicas, in which /Otne walls of the middle aisle rest entirely on columns. But. already in the Garlovingian churches (#inhart’s basilica at Steinbach; volume 1, page 181), the columns were replaced by the strons piers; these predominated during the entire Roman- esque period, Yet also continued the alternation of piers (at the angles of the squares of the middle aisle) and columns set between them, which is first proved amons the German churches indeed on the long since destroyed abbey church at Lorsch, de- dicated in the year 774 (see volume 1, page 182), being espec- ially frequent in the Saxon provinces. (See Big. 8). With the vaulting of the aisles another problem fell to the pier. It not only received the tolerably uniformly distribut- ed weight of the wall, but became a supporter of the vault, a and as such was dependent on it. The pier must then farést cor- respond in strensth to the load assigned to it, while if the great vaults of the middle aisle rested on it, it was to be made more massive, than if it only had to support the smaller vaults of the side aisle. But it must also be arranged in fo- rm accordins to its structural problem, when the members of + ctions on the pier or pilasters, extendins from the impost to the base of the pier. Thus oriSinated the main and intermedi- ate piers, as well as the compound piers. (Figs.10).11). On them the statical function also came to be expressed decorati- vely. With advancing skill in vaultins they experienced an even richer treatment. The entire structure thus received by the internal. alternatins effect of supports and the forms of the ceiling an animated and rythmic treatment. (Since the chu- ech architecture of the 12 th century frequently undertook the vaulting of such pasilicas, that orisinally had horizontal wo- eden ceilings or were intended therefor, the form treatment wif the supports frequently omits a regard to the ceilings. fhe earliest vaulting of Romanesque churches in the Sreat Stylé was carried oa as entirely independent undertakings at the same time in three widely separated resions; for example in Burgundy at the abbey church of Cluny (1089-1095), in the // Rhine provinces at the cathedrals of Spires (petween 1080 and Aa, betiias 8 no beesd 9168 meda to [fh .yuntaso dé sa “ terit ei geleis edt 30 10itedat hetsgnole sit es 18t a ods mort anteia eomidewoe .esious sereveneis Isaevee ya Feil to noivivibdve & beoubowa seedT .ereia sdt to enoitost a pv nedd ouew doidw ,ese1% 10 eyed etdexrsqess otot bailfeo ie eedorndo donst% exotesun tot es ,bewen desit gatblivd sdsz 10% a Ifede ow es ,Josqeot eidd af soitieoq otsisaqes & omuses tant ps lets elbhie ed? 102 seeodo esw siusv Iennyt edt ,redel 998 sor tasticcmi stom yiedinitni ,¢{sav eeor edd sven exedto ed? - sist -(80t esheq .f smufov 995) .t18 Ievesibem to sotdulove saa ‘y \S1bdoed idots doisdd 102 beiine yliséooitasg es ifseti ewode - abme tewol edi ot ferrsiensit ef bsol aailieo suitne sdt sonte nofsiteqes aiedd One sedéis cersvensis edt ,eont{£ asiov2 edz Yo teat yleattos yléusupeenoo bas .eefois shia edt ,elisw est ao Pi _Xvees yileceuow (fide sow edivey edt gexit FA .exeiq edd no et osls ei ydoredw .(.3% 52.6 of aw esoale sistaso ai) qeab bas -nduds bas eisia sis Io eeontoids yienibicertxe eds beateloxe 7 f ot bebseooxg nooe doedidows edt to exoveshss edt .ellew tas gaotte edd ylasiuoitisq bas etivev edi to sdatew end gouber im —3ipev Beomo ‘Isnékiro eid a0 .morteredd battigeex Jewrds obie A moss edt .ctivev Lenunt ond Io noidgoenretnt ond yo beouhora - seni, is 8i moidosersini aiedt sonte ,ceqil{e selt « miot esoil ae ‘emuloy e8@) .dovs bavor edt to mwoxo edt es tidied emee ofa ay 6 & nat sevrds sbie redee18 dom « esouborg eidT .(6St sbeq " -dh .redors Innoastb edd seis. oF ylleubsxs asked asm .seurdd eadotase edt doset sesds .yaodaso dé Sf edt to olbbrm see tuo Dna, hommoS eds Hsswot e201 Ji wud Jasnosiaod reks0!L ou Baw | 81s ‘eneds) edaeutisqmoo tigsy siT toys salt s to mot ens ak we besaresevese bas eeoif nfo1s nsewged aelaasiad [eotasdas edd (mea aod) bol lénd leds tedd o@ ,ebiswqu bellewe sien feedois sbie bid of¢ to motdingose1 al «(SL .829) .boowborq asw tivey Tr to soidoubes 1sg01g s 10% sefors niors eds to sonsti0g it to bas edt duode ts yasm1e8 at) bebiosb yllenii som .tin s1enp & Boose 8 ast at ybsorls oreeeh asmaol ot .yaedneo ds St ‘Med "basen od mort sivas ot eledoil 2 bas cork _ BwOID odd to snil edt adaomséasquoo fesnnut steseqse sdi a0 el &) is eda to noidgouber s nistdo of .dore beslice 10 asinoviotmee * 17 1100 and Mentz (begun 1081) and in Lombardy at S. Ambrogio in Milan and S. Michele of Pavia from the second half of the 11 th century. All of them are based on a unified system, in so far as the elongated interior of the aisles is first spanned by several transverse arches, sometimes rising from the pro- jections of the piers. These produced a subdivision of the ceiling into separate bays or areas, which were then vaulted. Bor the buildings first named, as for numerous Prench churches that assume a separate position in this respect, as we shall see later, the tunnel vault was chosen for the tléddle aisle, The others have the cross vault, infinitely more important for the evolution of mediaeval art. (See volume 1, page 105). This Shows itseif as particuiarky suited for church architecture, Since the entire ceiling load is transferred to the lower ends of the Sroin lines, the transverse arthes and their repetition on the walls, the side arches, and consequently entirely rest on the piers. At first the vaults were still unusually heavy and deep (in certain places up to 8.56 ft.), whereby is also explained the extraordinary thickness of the piers and abutn—- ent walls. The endeavors of the architect soon proceeded to reduce the weight of the vaults and particularly the strons Side thrust resulting therefrom. On the original cross vault produced by the intersection of two tunnel vaults, the groin lines form a flat ellipse, since their intersection is at just the same height as the crown of the round arch. (See volume 1, pase 123). This produces a much greater side thrust than a s semicircular or stilted arch. To obtain a reduction of the thrust, men besan gradually to raise the diagonal arches, Ab- out the middle of the 12 th century, these reach the semicirc-—- ‘le. On the separate tunnel compartments the line of the crown was no longer horizontal, but it rose toward the common vertex in the form of a flat arch. The vault compartments (these are the spherical triansles between Sroin lines and transverse or side arches) were swelled upwards, so that thel&wélled (bosom) vault was produced. (fig. 12). In recognition of the high in- portance of the groin arches for a proper reduction of the va- ult, men finally decided (in Germany at about the end of the 16 th century, in Norman France already in its secon@ quarter), ; CN pe ran ae 21 hse + See ee i F Pepa Mey hoy ee ar a ag - + it S A r as a a ia ms aa Sle “| Sa a” Le dpobely Pos: Ghee a Re —) i 7 my Q f Oe i‘ , : Jk ‘ ' ; A a ait: ‘b bnidostord aT SR nee outt mend icles 2 ae ry hey Tr 7 ee Ay 4 sdk fist to meteye ont seors sudT .beitios yienospeenco base asa i es ebasdio e{dstoval ylleisdonrte A . (GT .er8 998) .eedoredo Ri Wolk essibemiesni besiusv « Yo notsseeni edsé yd bsouborg fe sedge eat to duemaoleveb oft dtiw eeleis shia dhic odd : ‘Usiw sedossdo [lSdceesat oT -eeiss({se otnr bemrolt andd ie sia est Yo bainstiite s sovboxg eroolt sisibemistai sdt esits ed & toe: eth eit acswied benawd vedors sersvensit sdv bos et coe visoesn baifevel ody fmifw yset{ss edd Yo snoteiv :@ ts ed? "ed Ivey item sifbim eft o¢ sonsteiast obie s (Bot esd oda to tads esssaixorggs yoiaednr sit to @' Ibi ta ede to eilew hase eae sonte cedeggnd od rotate a ‘ i * LF ’ Sis 18 to construct them like the transverse arches as projecting di- agonal arches, combining them at the intersection in a boss. Thereby the bay was divided into a network of ribs, between which the compartments could be turned with uneaual and less thickness. These ribbed cross vaults (Fis. 13) indicates an extremely important advance in the entire structural system. Hrom its consistent use resulted most structural innovations of the transitional period and of all later mediaeval archit- ecture. With the introduction of cross vaults first in the Side aisles, then in the middle and transverse aisles, and wi- th the execution of choir and cloister vaults (see volume 1, pase 106) over the apses, and with the crossing was subsequen- tly completed the creation of the interior of the cross vault- ed basilica. During the entire Romanesaque period, the form of the pure b basilica predominated with lower side aisles, raised middle a aisle and widdows in its clearstory walls. (fis. 14). Yet ot- her types of plan were developed with reference to the treat— ment of the interior or for structural reasons. The crypts were quite early covered by cross vaults and always had aisles of equal height. (See ris. 82). In the little chapel of S. B Bartholomatis at Pederborn (Westphalia) of the year 1017, the first example of the entire coverins of an upper church by cr- oss vaults in Germany, these in the same manner and nanifestly under the influence of this crypt vaulting, are carried to eq- ual heights over the middle and side aisles. Thereby was obt- ained indeed aneknterior supported by piers but of equal heis- hts and consequently unified. Thus arose the system of hall churches. (See Fis. 15), A structurally favorable change was produced by the insertion of a vaulted intermediate floor in the high side aisles with the development of the upper stories thus formed into galleries. In thésehhall churches with gall- eries the intermediate floors produce a stiffening of the pie- rs, and the transverse arches turned between the different di- visions of the gallery with the leveling masonry above causes @ Side resistance to the middle main vaults. The impression $ of the interior approximates that of the basilica, but is inf- erior to that, since the upper walls of the middle aisle have i fe hh ee he lik | et, is Bee cae Rihs ', ieee noone “af, ae a uf “| ie ig jae é ms ‘ve j beri ii “pial, 286 a to of “ioe, par bat Tn w trelie 2 edd Yo. gioo1 8 “evede ‘elete elbbim edt to 3 fee adie ‘pot tteed bed Iusy sit. feud .8avs won.s betsexo Da (OE .bi cee ‘adadmorapudnts te Levbedts®) .2g bed di . to fuesaaleveb to eemoo Istesea eid? mort satastieG 4 ud dowudo edd to tad? .botseq oupeenemoR edd Io cottowidenoo 0 Bat si yileiosgqes .désa wea 8 tuo xouste sons7% at ent ae itedimi Jooribh s dtiw esomemmoo ylinebive 31 .esonivora ave sin even s to Sninnsoe edt dtiw ebodtem Ieautoesidois asmofh to ie rl gev Iennud 8 yd ,fotedo [fed befiso-oe ¢ .ofeis sfante ar oi foidy .eedo1s ser]evensit yd eyed ofai bebivibdee ef sada i <- even ed? -eanmuioo tied x0 eupitas edt edit exeiaq L[isw mort Be a: eexsyensxd & to noidseent edd soodaiw fue sstis odd de ebas —betevoa yltaenpest .moo1 1fodo bheris: ersupe 6 din tod .olete ’ ylass wiev du8 .seqe Isuosyloq Qninioios as bus .9m0b 5 yd boaoieveb oefs gaw yiudne> dt Of sad to baue odd sedis bas Pea. edd of emod ts omsoed noose stadt .dorsdo [led sdt to meteve -) pome7t 9 teow bas dévoe smertxe edt oi es [fen ee yellev ono - 3 buoyed es tiew es dition sid ogni bessuteneg eonedd moat bas 88 nks3s. goiteliss to aoisseent edT .aieg® ogni eesae1y9 edd a cit eed Sad atin betsous 10f1ssai sfd To dasmeex4s nisties 6 Sv eons stedivon bas eibbia az bedsnimobsag sotdw ,sayd asot doemevow Seigivsy odd e198 .eoiaeiis: suodtiw bus dtiw dsod i. beditoesb ybsesils eeig00 [amion edt hewoliot sflodw oad ao ee saistiopé Oi ,deswitwoe eat to nismob besiai{ szedée1 « okt oft sad yd bebivib eyed siuev oft .eooneglint enténssyS isbas bus ie Bid see) eemob ovituébneg yd herevoo ete esdois seisven eeudd 20 siedweets eovissmeds bentstnian esiusv Isanad oT 7 sta os Isfisvst sil iedtte etiusy fennss sit esdoundo beleis pay, nas tied ovad eolets obie edt 10 aoidoerth Lenibsdizaol ies pbia | edt to elfen edd senisas eteds enil awoid seodw ,etiv | eo pie nik 2ebsinevbs ¢set8 Bat baotts ydeseds .olets etxe © te tissv otsm ods to geuwid sbie eds isteneit ysedt as oth 8 8a eat) -psecciddud Bnivit ovtt el{ew [sate a ed (yay fenans sas bafesiq yd bentstdo ean 129 u at siedd yo bebessous noes Siew seed? .eslats sbie sag : fi Beot9 to soidgobs Sd% mogqsereds bas .soid se ihe _ refers © eibbim eca ot oss yifentt bus slets ebte | ne Levestben oda to Nsatetxeo ankessiont odd dsiW ¥\., i ie + oy aero ¢ .¢ ; ‘Pr elds: Meare eh ee ie tS pi an ¢ /4# 19 no direct light. To obtain a clearstory, men raised the walls of the middle aisle above the roofs of the Sgalleries, and thus created a new type, that of the vaulted basilica with sgalleri- es. (Cathedral at bimburg-a-Lahn; see Fis. 16). Differins from this seneral course of development of vaulted construction of the Romanesque period, that of the church buil- dings in France struck out a new path, especially in its south- ern provinces. It evidently commences with a direct imitation of Roman architecturel methods with the spannins of a nave wi- th single aisle, a so-called hall church, by a tunnel vault, that is subdivided into bays by transverse arches, which rise from wall piers like the antiaue or half columns. The nave ends at the altar and without the insertion of a transverse aisle, but with a square raised choir room, freauently covered by a dome, and an adjoining polygonal apse. But very early and aiter the end of the 10 th century was also developed the system of the hall church, that soon became at home in the Rh- one valley as well as in the extreme south and west of France, and from thence penetrated into the north as well as beyopd t the Pyrenees into Spain. The insertion of galleries again ga- ve a certain agreement of the interior created with the basil- ican type, which predominated in middle and northern France, both with and without salleries. Here the vaultins movement on the whole followed the normal course already described, wh- ile in a rather limited domain of the southwest, in Aquitaine and under Byzantine influences, the vault bays divided by tra- nsverse arches are covered by pendéntive domes (see Fig. 58). The tunnel vaults maintained themselves elsewhere. On three aisied churches the tunnel vaults either lie Barallel to the lonSitudinal direction or the side aisles have half tunnel va- ults, whose crown line abuts against the walls of the middle aisle, thereby affording great advantases in construction, wh- ~ en they transfer the side thrust of the main vault to the ext- ernal walls like flying buttresses. (Pigs. 59, 61). This eff- ect was obtained by placing the tunnel vaults transversely in the side aisles. These were soon succeeded by their intersec- tion, and thereupon the adoption of cross vaults, first in the Side aisle and finally also in the middle aisle. With the increasins certainty of the mediaeval architect in | i igs la hii | i $e vas eens ar ee Pa ee a a ( ; WV iC y ae ai . mie we” a hel Ne re - oi ig? shi 7 aN at ebte bas sdaiew be “oe eel edt of gaibnogesi10s bas ten besnituoo yllstenet asétef ed? .x9easol ylisunbsab bebtelae o1en stud .eelets ebte sat To elfen tetuo ot ni Ifeme _ tdait mib Isoiteym 8 dein bo{f{it yLineupsenon eew dosedo edt sata sn tdeii sidetove}? teom of? .websewgqu xesddsil ssdwomoe od BniawoTo edt to mutb: issosyioq edd af ewobutw edd yd bedes _ owed eid ai bevisce1 erswod sbte bas aisteew edd oviwedid tow evods Ifite tad .ehotaege etid-sole bas [[sae eine esitote 15 ,*bake tesusl odd yd inisoavs base sdbil oxom oben sisw joer edd p sdéiGbbosasseesw asco eissivoisaad .ewobnin bofauveo bas of ‘wolfe of t9h10 oi ,xswod Ifed 8s a& hebnetai .yiote Jecansqas ‘Igbimeaya to {soin09 .fied sdt to bavoe eft of saeaeesq eerxd - dotdw so 99 ,enote suo Io hetounteaoo ylevieesm yltnenpertt .eeritaqa evods seit yilenau coldsa Ifene .enusia Ieaoayloa 16 a1sspe 107 a 70% (Nt sRtF) .nottecimisd edt Sata10d .esbie saossliib sdé | -niewes Snibiiod edt to sebaisme: edt to Snitevoo Lentetxe odd | moo ybserls .etoor [ecinos bus qte .bsde .sidse edt san at be oe toe ar tea 8 dtiw .bofaeq setdeisd) yiosh supiias odd at nom pe Any meh -(bssf) Istem 10 estela .eolia CE ceaitetes sat Sninatbed edt of dididxe ehoitesw [eoindosd od? r /) .x0T Sas goksoutsenoo af eisblivd es to ydnisdveocy Sait winters on bad’ odw -varelo ert to yitetdo sedd nsve sisew svedTt ae yet eldetine soivise otni onided tetie yin .antblisd ot an 4] _=fevert been’ ot anfbiocos beebai ofw .eoisadosm to 9081 tusasm | stLfateeto qilepber® esw .tedtors of st¢ie SaitbLind sao woxt be -némiferq bas asia to deemetneins wh .skbeiwoad [soindost ber Upecnpal edd at dorsdo = 103 toefo1q edd to enotisinolso ys + stoi" of bisher suodéiw vitneuper® .beassoo0 seven bosbst en =f ,beseaemsoo etew esntbhiivd sas .STeppshs! e1]ew ensom eit ted *see80d issis sds .t48q dustiogmt seom edt dtiw ofux 2 28 boob nid in! ebatbitted edt bas beaaote od daow teom yforer soa t08 fo Atow 6 ean StuJouTte siz to soiteiqmoo has saewsarelos add | us Bo an aneath edd nt estosivocsat mort emit reset dovm s a not tae bi on seeded {tse ovenpe edd soidw 103 .neio: Savor’ i : + ns (ee =~ r ; y f i. é ow ll A ae eee Lets reds 4.) palais a Bisieins bed fvev emsced ewobsiw bas eyswio0b ts enoktoserssei siedT .edlogv ; Yo sofsesat ed? .eletea elbbim edt to elisw ysotexssfo dt ai Tr beqoleveb eew etniblind edt to noitosss edt a0l exedsords 20 vaulted construction appeared a reduction of the wall masses corresponding to the lessened weight and side thrust of their vaults. Their intersections at doorways and windows became gradually longer. The latter generally continued narrow and small in the outer walls of the side aisles, but were enlarged in the clearstory walls of the middle aisle. The interior of the church was consequently filled with a mystical dim light, somewhat lighter upwards. The most favorable light was furn- ished by the windows in the polygonal drum of the crowning to- wer. hikewise the western and side towers received in the low- er stories only small and slot-like openings, but still above the root were made more light and Sraceful by the larger sins- le and coupled windows. Particularly open wascarranséddthe u uppermost story, intended as a bell tower, in order to allow free passage to the sound of the bell. Conical or pyramidal spires, frequently massively constructed of cut stone, on which for square or polygonal plans, small gables usually rise above the different sides, forming the termination. (®is. 17). For the external covering of the remainder of the buildings remain- ed in use the gable, shed, hip and conical roofs, already comn- mon in the antique Barly Shristian period, with a covertae of tiles, slates or metal (lead). The technical methods exhibit in the besinnins the still fum- bling uncertainty of the builders in construction and form. These were even then chiefly of the clersy, who had no traini- né in building. Only after taking into service suitable lay ‘brothers for the erection of the buildinss was developed a per- manent race of mechanics, who indeed according to need travel- ed from one building site to another, was gradually cerystalli- zed technical knowledge. An arrangement of plan and prelimin- ary calculations of the project for a church in the modern se- nse indeed never occurred. Frequently without regard to whet- her the means were adequate, the buildings were commenced, in- deed as a rule with the most important part, the altar house. But not rarely must work be stopped and the buildings utilized; the enlargement and completion of the structure was a work of a much later time. From inaccuracies in the dimensions of the ground plan, for which the square still afforded a convenient vi rs » +Iq sit at ofgne tdsix end mott noissiasvy edd .stues9m to tray Psbueqeb oels com teds .notenJonoo Mie edinres eiif oft Sue ae | -‘poktontteaco edt ol .ednsibeqxe brs efoos svisiniaa yoy mo | dbbd Ootatetts yiisvberk ,anitest isotesse est 2atblind sds Yo y w .etivsv bas eisig to dnemtse1s 94% oF Hisge1 at snomqoleveb i. -gdse eds .s0eq Sasta0omi ysev 8 ak Sattasw ylesitas nesio sew edt yd bsbeol bas ecevicemeds ni yreed oe .ellsw sd .eistoarde -oitsbawot tasiotticest dove bed yileven .etiusv sit to eseean -dtee sldston seit .baporha sit no yldel? of tee besbar fas an and disidw to .noidoortenos sid Saiewh berasooocvbeerle etaowel syebot eoasbive biotite “Brewos enitaset” 3 Tae ia teaktens se¥ .boot ylteos esw ileeti L[etietag off =g8m od? .astiom sldawph bas eviazedibe ae sisossq ot wor boots -doila edd bottinxzed Sue Sosito bibnalgqe a hsonborg yiestT. at-old d@ gem bosiat sonsxt al .tetionr ot taemiaets baa acthivom vas ‘bas beaieth-esit « sey ,baenmoe te Ieisosam aidon sasi a bad SI98W YISIIAI00 sds HO vasmasd al tud jenodeemt{ Jddgorn yliese | snoiges aisties of vsde .sivd base snodebuse besoleo yiieido p «dion belseido assit » bettinveq satda eds ao ylisiosqes bas Ssintonite eno10g 10 benterh-eeaqe0o end esonivors sedé0 at dud “fies beines eaw yinozgsm gasifeoxe seom edt 24 .etds bsboloera “tne bane gined yd doidw to noitsaina sdt x0 .wottoussagos asl =99¢ [sioces s bossecas esnote otssmordoviog sie exisstaq soa Satan ok sdéton sad nt ywlisitssa es ifeow es .yistt oi soneaat 6a7 tol olna « es I[sinetvan tedved s esonn nom emote bsiraieep edi al .etedwem bsdisom bas erery ,eamuloo .edatbivom .esfaas -ofae esgo bas muts{uoisex sogo sii yiienoiesooo s9900 2atbhaod enh .f canfoV) .ekniblind to eoieswet asmof% wort awoad .asts | st sen bobastxe ylebiw sds 9d o¢ beovorg/eworsdash yrsV) .(a0L _ wtedxe edd at bsdxeent evedwitd asboow Ye. boinea eupesnemod odd | .#todene 197 bos seneeetc sad sdudiaseib of 1eb10 ait elfaw Len | -petqmil ts doxudo sit Yo gniblind seow.eds ab ness od oF Iiite un #ao bas .emtoW zs [atbediso eft to tiods teew sav nt .LaT-mr saqailoo edd od hel si e{nidt rSsdd0 Ast .atneanaon asdto yass iy _— ia Se > —— ears -Ingiat te dorsds nottebanot es Yo seWos Seow aedss0n sd To pee ag to sao yideetinsm osis esw tt bas .S8SL sesy edd at 46 _®,e0tneY at coors .2 to sewod odd Yo Let ons 101 enoaser tet arene vbseuls .noivouttenoo doind ons setwedid a1 unit of measure, the variation from the right angle in the pl- an and the like permits the conclusion, that men also depended on very primitive tools and expedients. In the construction of the building the statical feeling, gradually attaining high development in regard to the treatment of piers and vaults, w was often entirely wanting in a very important part, the subs- tructure. The walls, so heavy in themselves and loaded by the masses of the vaults, usually had such insufficient foundatio- ns, and indeed get so flatly on the ground, that notable sett- lemenits alreadyooccurred during the construction, of which the “leanings tower8” afford evidence today. fhe material itself was mostly Sood. Men particularly under- stood how to prepare an adhesive and durable mortar. The mar- ble in Italy produced a splendid effect and permitted the rich- est moulding and treatment in relief. in France indeed men h had a less noble material at command, yet a fine-Srained and easily wrought limestone; but in Germany on the contrary were chiefly colored sandstone and tufa, that in certain regions and especially on the Rhine permitted a finer chiseled work, but in other provinces the coarse-Srained or porous structure precluded this. As the most excellent masonry was ranked ash- lar construction, for the animation of which by bands and sur- face patterns efe solychromatic stones appeared a special pre- ference in ftaly, as well as partially in the north. In using quarried stone, men chose a better material as a rule for the angles, mouldings, columns, piers and moulded members. In the bonding occur occasionally the opus reticulatum and opus spic- atum, known from Roman remains of buildings. (Volume 1, Page 105). Very dangerous proved to be the widely extended use in the Romanesque period,of wooden timbers inserted in the exter- nal walls in order to distribute the pressuee and for anchors, still to be seen in the west buildings of the church at Wimpfen- im-Tal, in the west choir of the cathedral at Worms, and on m many other monuments. With other things it led to the collapse of the northern west tower of the foundation church at Pritzl- ar in the year 1868, and it was also manifestly one of the ch- ief reasons for the fall of the tower of S. Marco in Venice.* Likewise the brick construction, already native in Lombardy | ‘nae ~ ea + af aa nse -exeds ak. detiuddtes tin ean vito, Ben snode it 2o evods itiw Saisiconsed esis suor)HMen elisteh edt is gioiad [isw fevesibsm eff) .yistl asqqe Jo savscesidorseaia, rate to edd ssdt at .namoh-oppivas sdt woxd rettib yftet ‘gs bus .eni T@.1 of Of. gino to stated s ctiw bex aseb « ag ® eved eioiad fevesibem eds eLidw ..ent fe. ff of V8. Yo at ig 83.¢ \wedkid yidersbisnoe sas bas s0foo hsi-dsiwolley ,seddeil | “ede od¢ giR .(eo0d went O6.8 tuods bas Voids weak ST.A of Nga @onsdi0qni edd behsoer notvonadanos dotad baw saoste to nore 0808 ai .dtiok deid edt nf yiad .dcsisedem aniblind s e6 Boow . esew esfoiwsds edt dotdw aft .pstidnwoo ineostbs edd foe siventb ss 8d mi bennitmoo eetweiit ti: hoon to hesourteaoo yl{seresxe en Cee -eogs elbbhrm ae np Betssaxt yinorom sel. bsbmemmooes ybosaia bed susunnai¥ * 5a sbeto © seuo bextado .9.f .bhoow subdo “beaando?® to esodo “f Ney | .booe betesmieg sion emosed seve ysdt .(S8 .Bi8) fotasd nsissivoired ot asmeS sit Lisav (mottetaomsni0 siedtaon yd bomsot%ensxt bas od beyteoteq sew bas Sstsmixordcs asw sidswontan sas to m10% edt 0d boessg oom syOtsysn? .{uvtitused son tsefo teddisn od 6% to heed odd rol wiof eeod srespe sflamte otis to sorsoelLoe | +-n9q0 Yesaxtoimes s st ebie doss no To eidd aoifavor .oxnfoo " ~pnetxe anil bevane anttsocaue yizn0%se & yder9edw .ebiswan Bot | woredd benietdo sew eusT -{eteisee bus enoads o6% voensed be po later becomes ever lower, appearing finally as a plate edged by a deep scotia, from which the torus lying on the plinth pro- jects in a wide and flat form. A transformation of the base exclusively belonging to the Romanesque style was effected by the corner leaf, an addition at first like a block or knob, then ornamented in animal and plant forms of infinite variety, jy placed on the angles of the plinth (Wig. 20). -- It fisst app- pears in Lombardy, but already 50 years later is at home in G Germany and there forms a characteristic of the art of the 12 th century. With the dbedinnins of the 13 th century the angle ornament was supplanted by the annular moulding, projecting e- ven to the angles of the plinth. Fhe columnsshaft is mostly monolithic (made of one stone) in Germany, in this case being somewhat diminished, but without entasis. It there remains in general more slender than in Bn- gland and France, where as also in part in Italy, is preferred the construction in courses. The external surface is mostly smooth and seldom fluted, but usually in the later period is covered by zigzas patterns, strap, rope, scale and interlaced ornament. gccasionally occur knotted connections at the midd- le of the shafts of thin coupled columns. In Italy the colum- ns are usually twisted in the most varied alternation and inl- aid with costly mosaics. (Fiss.221, 69). fhe laterperiod enr- jched the shafts further with the column band, an intermediate shaped moulded member inserted at its middle, fisst occurring on the small columns and giving them a good connection with the wall, also later passing to the free supports also as a characteristic mark of the transition style. (Pig. 40). /y An infinite variety of novel forms was matured on Romanesq- “ue capitals. Originally imitated from antique forms in the © Garlovingian period (fis. 22), they ever become more permeated and transformed by northern ornamentation, until the Roman fo form of the unknowable was approximated and was perceived to be neither clear nor beautiful. Therefore men passed to the selection of the simple square boss form for the head of the column, rounding this off on each side in a semicirelésr open- ing upwards, whereby a strongly supporting curved line extend- ed between tke abacus and astrasal. Thus was obtained the cu if re oa 4 en of i int bath pied eid sabe taiaaad taker nibiave i te s nt besdioreq eid? .(A SS .2r%) .botseq 90 chivas mort ooitienert eff senasm lotedess ytiasd oat bas ‘Mowe oft to Jeoqmi e453 to oteups odd o¢ Sisde edt To 8 Sstine eoosiiwe sbietebas edd hae eelovioinsse od¢ ai ebsotie f diisow evolgdei seomis ss begolsweh tedt ,tnomsa10 toile t0% - -txewnea yidota ,éuemsace jnsiao bas baad eviteanikeat vidbid to | .» ybseris caw Istiaso soideso sdt .otex (lite Mi nev® .eorsd ee teetiaee .eaik ods baoved bas sbhie sids wo O808 sxoted bagot 4 --foy} meest ts cesenill eft io xi9edo nxeseow edt go yoamie8 ai thedeebliti ts fosdoi¥ .6 to dowde edt ni bus (SVL casa .f oma (motkyynest6ed ai besilewmten emeced sud (ts .ai8 -601+1008) -fdotes {fe bniteninob otedt .* yintaso dt It edz to eibbim eas — sbokreq eupesaaemon gasd ead to sais extsus odt Saranbh saistost 1 ett to bas soselA to t1s sdt to Ladgoso nofdeno bstase-is0t -wdea0d oded bayois aeikes aid Hi sdidragedoo edd ,onidh sewol te vitetresossedo isgiqao bebloi so begolisoe sdéd bos ,90n8 sedoxs doiad aemte? désom si .(@Y a8) -ewudosdidoss declaae z *e7q ydesils Iatiaso [sehiossasid eft bawet ybeouls ef sistosar | =taeo soidevo edt conat? ak = .(8.€S .Bi) .ybdredmod ai bowesit | tudaust betiseai edd sxsda sbesidewden yilevtor eax r9ven Ist ‘git aioli egefous odd 28 bedenimoberq sa00 10 bemstya 8 70 | | bedisoroe off .(A 28 .Bi%) .s0vsl yeteous beyotas elssiaso a teifea atedt of tgeze1q nedto. “eisitaso [soivoteta” ) ndiitetb bes notdstasesi1qes besosnnoo nt yiove etitne. ae aott $0, antunexes edd, dsc¥ ..enmsioo to, veizea sxivne. as isvo bed ; gs doold susnoe yveed sad tio soela edt ni reedeininib Istiaso _ » ebad ddiw Istiqso ed? .fied sehaete ais exyoce wx03 Isesd s SSI nods mort bebsscoue ese ¢1 378, eupneasmoS otsl. to x10 reat es (SS .ath) Istiges ceveel dtiw Lied edt yd bisnao . 98 BuOS \9dT.-> ,edetiass supzensmof To emo edd to eaede or tim bedsexs ,datd ydeeidinse yiteow ei Isiiaso eas 03 sifeox yd bedsxeosb ei si bas .eReibiuom saissogaue yl : yi 4 ~ sa. % aS b) é 7 7 2; 4 ’ : oe) S \ : . ae earth ay . “ . P A ey) : 7 a L® Y - ’ ‘ . “i we , ‘ ba a i. ae ys ees f . ft Lemtas bis eshte eupeed or to meilodays [soiveym odd yd be -»-9a2? bebtsse2 oo of O18 mt0% feesd ond Yo anoidamrotensisd Bh eaebit edt yasmis9 Yo enoisex owoe ai bas yfetI aI .istiaso ™ | Gotdavo ods. to Sen o63 ,gawines dt SI end Yo xesievp test ond a4: cushion capital, characterizing the best time of the Romanesaq- ue period. (Fig. 23 A). This permitted in a simple and esthet- ically tasteful manner the transition from the circular form of the shaft to the square of the impost of the arch, and it affords in the semicircles and the underside surfaces suitable for relief ornament, that developed an almost fabulous wealth of bighly imasinative band and plant ornament, richly permeat- ed by the mystical symbolism of grotesque Auman and animal fi- Sures. Even if still rare, the cushion capital was already found before 1050 on this side and beyond the Alps, earliest in Germany on the western choir of the Minster at Essen (vol- ume 1, pase 178) and in the church of 8S. Michael at Hildesheim (1001-1033; Fis. 41), but became naturalized in Germany from the middle of the 11 th century *, there dominatins all archi- tecture during the entire time of the best Romanesque period. As transformations of the basal form are to be regarded the four-parted cushion capital of the art of Alsace and of the lower Rhine, the octopartite in the region around bake Const- ance, and the scalloped or folded capital characteristic of English architecture. (fig. 79). In north German brick arch- itecture is already found the trapezoidal capital already pre- fisured in Lombardy. (fis. 23 8). In France the cushion capi- tal never was actually naturalized; there the inserted frustum or a pyramed or cone predominated as the nucleus form of the /9 capital. In Italy and in some regions of Germany the figure capitals enjoyed greater favor. (Fig. 24 A). The so-called historical capitals” often present in their relief ornamenta- tion an entire story in connected representation and distribu- ted over an entire series of columns. With the beginning of the last quarter of the 12 th century, the use of the cushion Capital diminishes; in the place of the heavy square block as a basal form occurs the slender bell. The capital with buds (Fis. 24 B) found entrance and soon became a characteristic mark of late Romanesaue art. It was succeeded from about 1225 onward by the bell with leaves capital (Fig. 25) as the last stase of the forms of Romanesque capitals. -- The abacus added to the capital is mostly strikingly high, treated with strons- ly supporting mouldings, and it is decorated by relief orname- “4 ‘ - , J x 1 *! 2 ot 7 Ligh of at vas wis, 1G ide + * 4 w 7 (S| glance nh sbowaseserdoelieyets: emae eft tHodk *® - to ewtol edd ai eamuloo edt wolfot yflieido sasia sat 6 basiand nsmr0h ak asigoitd ove .esedv0o ai shan ste .2988d Fs - exsape Yo sms yosoxeg ni dud .vietZ bas songs® atiylsxsa opie 30 bexetmedo déiw ietal .nis{o bus elamie yllenibino .aoitose - ere to aeksibbs edd dtiw yidnesosst oeis bas relkae bsvoo . dsntwsed seqgu a4 .exenie® edt at eomuloo elssit sebaete bas bobivom 10 woled beisimsio .evosds exsuoe s svisos1 yedt act j edi Ratyed) 10 bednensnto ylerex stom .evoD 10 e980 .eut0d tin ) 1 0ttH .amufoo edt to teadt of velimie istiaso ferwdtqluse nwo a beyisess osls seig sit noidouttenoo Eetisev to taemacleveb sat «80 hetostorq #i sort oltdw .snemtsexs vodoia yiantessiont as 4 +. 90) Med .eredesliq asingasst0e1 .eolbas ont ai bodasesi et]ew “880096 Seisvensid edd oF Rnibuoagesrioe .gnmutoo istasso-seadd jehpat (LD 848) .atwey edd to edie bee oe: i Feebobevosane oels tse suypeensmoS .ersiaq bae eamefon esbhbtesa ' eliew edt mort tootoro tens .eetoenoo ..2.t .ess0G0Ne a6 eled oe ~mem 20 [usw edt ti .edixn- tivsy odt to ateogmi edt svisosx bas aft dA .(8S .bf9 . meds rot bersos4c ton oxen reta ext toorsd _ BYOo ,ena0d of Hearvts1 10 nolsd beoubes y{no .elanmia sbam te - ,buewnwob dobre ois detatwih opfe 19esef yeds exedmsm 9620 10 =te¥09 20 bobivom yigesb .ebimsezyq le miro ead svad yilsart bas ’ a :taon {stnsmeni0 yd bs * ie bhp eat eteiq bine eaomploo sds mort dniei« esors edt of | pete / Spidns edt at commoo Jievidors bsbivom ent anivoss a Jom ean atas epteivehdns 19tdast oa eved ‘afise featetad edt , tome ts. hdl Mabviehaos srevsken hao worrel opines? f to i: 8 ddiw bemx0? retel .v9ns09 tawol beleved addin dele fs yiesem bd i) odd ts onl somidemos » ‘edd bebbs cele es seeds OT (VS .8rF) Jeexetat oredae has © .Bf8) \eevisom Lemtue bas tnsfa wort bsaolsysh okoiat Ladasmenso | one “baat gen 6 Mord beertl yisatine redtis ors dotdw (SE Revs -eonil ater afeds nf odereds baéanibrodwe yino 10 edd yd besosite sivelisw edt to staemsaers eviansiaxs yosv & -Sadords edt ni°besreeci eodesasg 10 esitslisa asamulos wove: ~setisifes to hestent aniaysooo ylfaubsrs bas (Ilew sat to a2 ~Meboow fstaosiaod tT .(@Of iatd ese) emutyotiag bslleo-es sug to efonsd at bebivif sebnof on 1s yods ,awo00 (Lide eaitieo necneee ers tad Peer enen paeterne? yive® sat nt as ,Bbeasitos i g iSesnisa Sas dtoome ) eds tat tw taendecets Sewsoesidow as evieoss terft e¢igsy od? mde ed% To aotsiens1s [suhbeia off .edta ¢foeav edd Yo nottibbs _ ,efittorg basccz0s oft o¢ neitosa e801 telueastos1 edt wort ed |‘ batior hetatog odd of bas eetenimob eyswle basor edt dotdw at + -efamsxe nA .8S sRiS Wort tasteqqs et elyse sottiensst sdt to ; onan bas emtot beitsv y1ev ddin esnoteved edt to i geyon i -2S .orf9 yd pevre % cat ted ,ifew odt Yo slbbim-edd ni sit ewobntw edt yasmie9 al 9 Sth ss o16 s0nest to d1sq TeeTs & Bos breldaH .ntsa® vist Sivalabs olderove? seom oft sivene Of “ebro al .sostave xSd50 | edt) edmst edt .sniasgo Lisma eleviseler s Adwords tahif Yo ‘no : sive ots (Qntasco wobatw 10 t0o0h sat anieolons esostrne [few " wdweels) \yllsateani ‘bae yilentstxs dtod yasmisd mi ,boyelae yi Y Avestan ‘wos gesla pew eweole edd 108 eeterreta vino ere err el ee8 ofsefsis as bedossa yiuse stino ets bis Sntbsel edt ntiw enisttsq bas eroloo sasastirs \ 28 variety. ost commonly are found the round arched friezes (see volume 1, pages 143, 157), both in their simplest form, only composed of voussoirs, as well as also with consoles, enclosi- ng mouldings and ornamental work. The arches are sometimes in- terlaced. The round arched frieze is indeed but seldom employ- ed in the interior (Fig, 63), but so much the more frequently on facades. Other and frequently recurring forms of friezes are:-- the Romanesque dentils (with dentils set diagonally), the billet moulding, the zigzag, roll, scale, chessboard, lozenge, rope and sphere friezes. (Wis. 27). To these are also added the ornamental frieze developed from plant and animal motives (Pig. 34), which are either entirely freed from a geometrical basis or only subordinated thereto in their main lines. A very expressive treatment of the walls is effected by the narrow columnar galleries or passages inserted in the thickne- ss of the wall, and gradually occurring instead of galleries, the so-called triforiums (see Pigs. 109), If horizontal wooden ceilings still occur, they are no longer divided in panels or coffered, as in the Barly Christian basilica, but are sheathed smooth and painted. The vaults first receive an architectural treatment with the addition of the vault ribs. The gradual transition of the ri- bs from the rectangular cross section to the compound profile, in which the round always dominates and to the pointed round of the transition style is apparent from Fig. 28. An example of the keystones with very varied forms and ornamentation is given by Fis. 29. In Germany the windows lie im the middle of the wall, but in Italy, Spain, England and a great part of France are at its o outer surface. In order to ensure the most favorable admissi- on of light through a relatively small opening, the jambs (the wall surfaces enclosing the door or window opening) are strons- ly splayed, in Germany both externally and internally, elsewh- ere only é@nternally. For the closure was glass now senerally employed instead of the earlier curtain or wooden shutter, and this quite early reached an artistic use by its composition in different colors and patterns with the leading and the true 2 ws ebotseq deed bas vines edt of .(88 ebsa seB) .knitaten seals ,fiome basor s ud besevos events teomfe exe egntasco wobaiw eda “ib s9,i) ,exswod edd a0 yiisiosaes .befauoo yisasups1i sxe yedP -wb) To noidgisent edt yd egntneuc stom to seads owt otak bebty “x8 gecanit as esif nedt anmafoo eltsil edt evodA .anasloo tas | evom es dti¥. .ifew odd to eesotoidt sai¢ne edt dduordt Bnibaag | =bivibdoe sts edmst wobutw edt .(O8 1828) notsourtenve suskelo | ~ Bo mottibbs edt dtin eqote si yifenretzs horseoss aedéte be | kw bedeiawst seve 10 .bemtok eats eolgne edt af enmutoo [leme ost. .etsnimoberg ebgwor sds hotdy at .redmsm goteolons as ad -qmi ed¢ Quoms .gedoqe to amiol wen heoubovsat botisq etsl edt “im Saoge .eobsenzo odd to eaeem yd teed edt moxt oaimoo seals ,@edots befioi bas soneesiod edt seve aoeso ylieaotesooo dot .do1s Ifctest ead oemaded tae Ievesthsm to sasnel{s tasnsmieq A -deonle yifenbers wsitel sds .dows bedntos ent yhlsiosase bus -t0l oefs esw sobi wen A .fo4s buses sda Bnisnelaaue vlextdas Gf Satfegqo sefvorio Jse1k & ee wobniw [eedw 16 S201 eat yd bom )eedays to eotoge, stil enmuloo fesaceni yd bebivibdse .iisw sad -$ tevo 10 eoldsd edt ni betneits yideisiera caw dotdw bas (et vale Cat aite «(16 .Bi@) .eooasatas odd sonsisne to noisvourtenc® eft o¢ Heteveb esw noitastsa tasyxP vines odd al .aistooq nism eds te seods yitetosase .eyawsoob | “si .asio1s bevoi yd hennsae seiwedil sas yeds ehoiiea geod bre gitsienes: yeds god .esfors Iioteid bae besgntog yd t¢aeq ak 180 -d0 of teb10 at .yerioob fendos sit seve [eantd édafarte & sved /=seas0 teifes to noisibbs oct t03 monsomyd relvoiiorase 8 otet ii apisits eliew sdt to eesavotds Isueunn od? .(85 .ac%) .ta9 B 8 ,beisome vidotup od tdkin bod to sen0k edd teadd o¢ bexive w “ehos aonmos veom ods dai |.edmse{i, odd to gatvelae beqsde-lsaned ) segede telebosioss {e1evee ai bobivibdss exe sesdt .tasatse1s to a diiw abasot so eomploo see sect si9w eetans soidtivess odd nt | ~tomoe evd? .(86 .8§) .saomdse1s beiasv dns redoix 10 siomie beeda-ao enusios bavow déiw eseotedle exsigq beSbs-sxsau0e set Riscnesdinenll at bownitaoo oeis ste iads bas .efagroa sis to edust 8 ‘bobasaveded ed? ,omiert 6 oti moneqayt edt boieoions ,se } DP nga; Speacietibe: ed¢ yd Isitoo odt to soneortingam eis bsonadas | sie toisedaue: edt ai beosia yidsxeterg neds sxew doidw ,eoudes oh dpeehhae no bbs medt 10O% tho howoliod .arsig e1supe ‘ae | -(8Y (82 .e8c9) .eoms Ms r i | ge eS ee a bs 7 - _ ed wales a7 Slass painting. (See page 98). In the early and best periods the window openings are almost always covered by a round arch. Phey are frequently coupled, especially on the towers, i.e. di- vided into two, three or more openings by the insertion of dw- arf columns. Above the little columns then lies an impost ex- tending through the entire thickness of the wall, With a more elegant construction (Pig. 30), the window jambs are subdivid- ed, either recessed externally in steps with the addition of small columns in the angles thus formed, or even furnished wi- th an enclosing member, in which the rounds predominate. The fhe late period introduced new forms of arches, among the imp- ulses coming from the Bast by means of the crusades, among wh- ich occasionally occur even the horseshoe and foiled arches. A permanent element of mediaeval art became the trefoil arch, and especially the pointed arch, the latter gradually almost entirely supplanting the round arch. A new idea was also for- med by the rose or wheel window as a great circular opening in the wall, subdivided by inserted columns like spokes or by ba- rs, and which was preferably arranged in the gables or over t the entrances. (fig. 31). Great attention was devoted to the construction of entrance 3) doorways, especially those of the main portals. In the early and best periods they are likewise spanned by round arches, la- ter in part by pointed and trefoil arches, but they generally have a straight lintel over the actual doorway, in order to ob- tain a semicircular tympanum for the addition of relief ornam- ent. (Fig. 48). The unusual thickness of the walls already re- guired, so that the House of God might be quickly emptied, a funnel-shaped splaying of the jambs. With the most common mode of treatment, these are subdivided in several rectangular steps; in the resulting angles were then set columns or rounds with simple or richer and varied treatment. (Fis. 32). Thus somet- imes square-edged piers alternate with round columns on the j jambs of the portals, and that are also continued in the arch- es, enclosing the tympanum like a frame. The laterperiod yet enhanced the magnificence of the portal by the addition of st- atues, which were then preferably placed in the angles of the square piers, hollowed out gor them add on small pedestal col- umns. (Pigs. 48, 75). a9 AM " ips 1 3 tat ie gs we “7 ; \ ity { 4 Peis 2a 4 Rs, é ee te i a see a ae ee i 3 t) ip. 8 3 eae or het Baer a rib Ya Bd EMTS asset" dened ett ais Beybded Lash Inossexe oat PZ eee nselo ed ot erudonide dosndo en3 to asly bawosh of4 “4 ie ods evods Sivis elbbim ad¢ ddiu svaa sit see on ‘bas do m0 ti@do oft .etqeenasd bas even to taiegors edd . bof tone edd stemins ¢edd .e1ewos Svieeen sdt base esata ond asin es amy onade fenisixe sdf .eenee s of ti neddaneste bas mefaseto 4 eakt belitorg ei 18dmem xeqqu eeodw .dénifa s dtiw esonemmoo Lind siitae edt bawoxe abnedxe ¢1 .efur s ee .ogad ofsth saz : doidw wd ,eciade Iisw woursa BnidosLorwqoseds ti svodk .anrb | bbe edi ai .aved odst bebivib o18 esostave [law lenassxs end beetenl .(Gb dd .66 2 .cd8iB) .ewobuiw ods eiI doidw to ef 7 ied aebusle beyolame ylsuenpert oefa e168 eaiase (law sit to a ot .eletiqso bus soesd diiw exedesliag to (8 .3i%) anwsloo goat edd mort x9ddawt ¢oefo1g eakate Ifew sat hoisea iet¢el sat Z ~baogee7109 necs ifaw sit to easadoiat eds sessaont eds bas a -tud edd odat aesq yedt vilect® .asaccawe Lenis¢ni sad of ont : ~a'100 toor sdt wols8 .essetio [sievsa yo brswas booubed esead i060. 918 aqtave {few odd ,asldsh benifont bas atisd edz sot no 189981809 yiseluoisisq of .eseinxt bedors bogot ads ctiv bes ee goeqs of? .(66 .ur8) .etndoetinors supeensmo8 Yo ors / zB istnositol 6 bobaetzs dowvio syoeensmo8 sit lo s0ivatni sittdas sad is¥@ -som [sietoesidors ads doidy vO ,djgemtsers snotdoviog betsatas =feost ehniiteo bre esostave Lisw eds bas. boxftesdama siew eyed © sAGS .at8) Lanisevos bssofoo ylsdgixd bos oxtferrtesasd) s bey b -soliadnemspso end overb sxe conildvo dosid vfieosy bas blod al “09 Bids veosiane odsusqse edt bus .alensa bas exetat edt Salm jeaoitesi bai vas duodtinw etoloo efomie ddiw hellit sys beacls Beuoce Io GHotsHInseo1g67" beiweotG edd nt ceiwedtd .zebsde to * ‘@) Boaphst oft .geiee aecdeq sit to stil edd a0 sidt@ sds work wage emse ond ni beseosxs ers yod? .tetde1 si enifebom on evad a “} otmdaye henties diiw best’saoténevacm: .esuemsnt0 sus e6 i]8KH » -tis eemeofons sit nt yldsebom begnsize ere yout bos eat lest bi } m0ae etree seds \ovoge1 aseh ed? .eawtostidois edt yd bebio “9 o tu0. bern0q 1x0leo Yo eenod misw odd rd to’ the ribs were arranged more richly subdivided piers, the doorways and windows were enlarsed, and the walls were reliey- ed by increasing the wall strips to stepped buttresses. (Fis. 23). But the round arch still continued in use, thoush it was supplanted by the pointed arch, especially in the arcades of the middle aisle, and also partly by the trefoil arch. (See the door closure composed of two quadrants and a semicircle in the round arched tympanum of Fis. 32). The latter found a fa- vorite place over doors and windows, and is especially common in blind arcades and triforiums, which enjoy sreat favor as an effective means for animatins the external and internal surfas ces of the walls. Also other forms participate in the Sseneral movement. The columns become more slender and are usually cou- pled, i.e. have a common abacus. On the low and deeply coved base the corner leaf disappears, since the lower wide torus projects beyond the angles of the plinth. The shafts receive at the middle the column ring. The heavy cushion capital is . && bes Ded tnekele exon bans sesdsil sid yd de08laer yileubeqa a to edfoviriors dtoome bus sionte evotosenen cif .elesiaso bud | © e0® ovoo bas bavow ud beeofons sas ewobnin bas asbsors ed | déiw bems0t bus bolitows vivesil stom .sexaew smooed eeoinioo ) -sopetb eid ni) bavor sud Yo elitorg Ons YLent@ .sovoo seqe6b Be -sov bedaiog odd dosonggs ot aviked ¢insv apoio sds to adiy Le | =G0\ edd .etivev ods Yo Baieter anowte ods dziW .{8S .pi) Ba :" \ ,$aeuoids coeeerssed edgy Bae tedxel smooed elisew sad oi ebaine ‘i ) base tedaid estiqe aewot edt aang edd at atlvav ett deviener (itte tad .aat 7 a sn q 7 : w We is ' ' ’ at oe x PS, a os \ a A Gee oe ae ode: d3fa s yd bnooee edt bas .wol s yd botevoo ei xtedo oct to: 37 the monastery church at Paulinzelle,(founded 1105), yet remain- ing in picturesque ruins, and the canons’ foundation at Haers- leben (founded 1112). Pure pier basilicas are the cathedral at Bremen (about 1050), the Liebfreauen crurch at Halberstadt ‘(besun 1135), and the beautiful foundation church at K6nigslu- tter (begun 1185), of which the choir and transverse aisle are already covered by cross vaults (without ribs). Aside from the cathedral at Brunswick (1173-1194), a vaulted pier basili- ca with restricted ground plan and still purely Romanesque fo- rus, a complete vaulting was first received by the buildings of the transition style, which indeed retained the restricted system of ground plan, and likewise the round arch in the por- tals and windows, but otherwise introduced the pointed arch and the decorative innovations:-- the cathedral at Naumburg with double choir (middle building dedicated 1242), the cath- edral at Halberstadt (1181-1220), the biebfrauen church at Arn- stadt, the cathedral at Magdeburg (begun 1209), whose structu- re already appears entirely Gothic, and the cathadral at Frei- berg-i-S, but of which only the famous “golden portal” with t the masterly and formerly gilded statues was saved in the Goth- ic rebuilding. Among the Cistercian churches erected in the ancient Saxon soil is most interesting that of Riddagshausen near Brunswick, dedicated in 1278} (Pig. 39). The outer aisle °, of the choir is covered by a@ low, and the second by a high sb- ed roof, so that the choir end shows three roofs like terraces rising above each other. In Westphalia the buildings take a course directed toward t the simple and practical, that first of all regards the fulfil- ment of the nearest needs, with solid construction and without plecing great value on ornamental accessories. The churches are mostly pier structures in hall form (with aisles of equal height, pege 12), with cross vaults, that occur very early in the already mentioned chapel of S. Bartholomaus at Paderborn, (Page GM). The cathedrals at Paderborn and Minden are cross- shaped hall churches, the former with rectangular enclosed ch- oir, the latter with a Gothic choir. fhe imposing cathedral at Soest was originally a pier basilica with a horizontal ceil- ing, but still received its vaults in the Romanesaque period. < Fi i) Ae rey oe ll ™ a ‘ es ae i \ : 2 r 5 POF 5 7 > : i a S » - } } Ag ms ‘ Br i, 7 a Pe ae , a) eG ROEE Lene oie: to aunt bittivd astisdatesW edt Snoms e Eat ‘te ab-pese) AsrdsseO ts fexbedteo ens sosla servi? eds ai > ode Sis oNIte Bateeots LenoYetoo dsiw sotLiesd rsiq bes lus if | wk aot ltasd wid) s seiwedit ,(158!-68Sh) sosendM ts Letbedeso | - -andd Soeottinasw sds .ctodo alivob détw mateya Oetotitesy sAt “ms bas .(sotliasd bsqsde~eeors) hawudi0§ at bfonte® .2 to do Mei fs doisdo yieteen0" etevee adv angtesb asioretei9 sit ano PERRET Ks ASS8I) bistask “pao egam0H ods aotke1 beageeld dotdw at ,880nfvorg eaiad oA? | =yhr0r gino {ioe seodw ao .softvasilivts bas tra ted bsaelaveb ~Gem08 TdQuo1d seiwextil .asttio evolvqoa base Safdefasolt detsat i aferel .tnemaqofeveb bibnelae taom esi Of srutoadidorts 3u0e89 : “velo ms bentdmoo s19w seesan Yd betovst vfsasleottisa siqosa ¢ / “(ae To sage oivio s dtiw yoasbxes avoigtier s to siutaa betes _ £bodms bas vsivitos ottets1a ebuawor beaesig Feds .atil aatyo isdaemunom yidagid to aduow ak asebt Larstoetidoxs Dastk att ba _ ~¢ stsb botieq ylise sod mort § .sa9matuos tasdora odt bas mrot | =febawot odt bas (860! suods) G-s-arudmid ge dorsd2- yedda add y wiletadsited dtod .(0b0f suods) saga ant blotersk gs doasdo te) -yiwo Saiatsmss1 ysbos .esot{tesd «sams loo euorosaa bas berevea, @atow tetdo edt yd beoudortat eaw botreq taed ed? .eatua at -. *' bas so oeM .821fG to afsibenitss sees edt .s18 sucesasu0R to _ *—aet odd din sonsbtoo98 at setinev' visrtiaa sxs yod? .emro¥ 7 ‘aostqod es betos19 s1sW sud .ovoaensmod odt to motaye veto a if @ i IsaSedéso sat .adteeb texit tateds af esotfiesd betevo9o viist pe “oT. mot aaiveres asi nt gaael ts emit ak a9ds0910 ga1rae to\{ - ‘ettase as to so8fq nt VI dofvatel to1sqme oat yd betos1s esw | BORE bas 080f neewsed (O30 bus 080% aeowted tiind) sautourte a ““{seeuq aa <9luditaey aveteew dtiw sotitesd beqade-es0%9 8 2s vb Venta) slets stbbim ont at aved aevee dtiw oven sars{ ¢ “detveunt offe2 oft 10t sosla (siaed 8 es sayxo ymoo1 8s . (Bb L§ wdtteeyv edt bas aateeoro odd tevo) arowos Iaotmob ows .oeu0k _ # 9d Yo selkas atedese sdt ni arawot stsupe aebnsle avot ba8 / ‘S0P © Loved bas olodttaev oat dsiw (SE .9f@) ofets sarevensid “'*) ei?! bas eeseam est to euotex0q0%10 add to giosed bas ytirefo - stem d bantst?s ei wotyesai 903 to sostis euotosae bas baste F stow Galusy eeo1l' SXF Lefarbdedd'so oe 4edto ous to eno 7 Hed aortas to {sibedtso si¢ mo adta soodtin besuoaKe {lk ‘ .* : Pes AYA 4d ; Sali A PRs ¢ Lam \ J ah, Pau Te? 38 Among the Westphalian buildings of the transition style stand in the first place the cathedral at Osnabrtick (1256-1291), a vaulted pier besilica with octagonal crossing structure, the cathedral at Ménster (1225-1261), likewise a pier basilica in the restricted system with double choir, the magnificent chur- ch of S. Reinold in Portmund (cross-sheped basilica), and am- ong the Cistercian designs the severe monastery church at Mar- ienfeld (1222). 3 fhe Rhine provinces, in which blessed region the Romans once developed their art end civilization, on whose soil only orig- inated flourishing and populous cities, likewise brought Roman- esque architecture to its most splendid development. Here in a people particularly favored by nature were cembined an elev- ated spirit of a religious tendency with a civic sense ef enj- oying life, that pressed towards artistic activity and embodi- ed its grand architectural ideas in works of highly monumental form and the richest equipment. From the early period date t the abbey church at Limburg-a-H (about 1084) and the foundati- on church at Hersfeld in Hesse (about 1040), both horizontally covered and specious columnar basilicas, today remaining only | in ruins. The best period was introduced by the chief works of Romanesque art, the great cathedrals of Spires, Mentz and Worms. They are entirely vaulted in accordance with the res~ tricted system of the Romanesque, but were erected as horizon- tally covered basilicas in their first design. The cathedral {fof Spires precedes in time, at least in its existing form.It was erected by the emperor Heinrich IV in place of an earlier structure (built between £030 and 1060) between 1080 and 1100 as a cross-shaped basilica with western vestibule, an unusual- ly large nave with seven bays in the widdle aisle (Figs. ra 43), a roomy crypt as a burial place for the Salic dmpertak house, two domical towers (over the crossing and the vestibule), and four slender square towers in the eastern angles of the t transverse aisle (Fig. 17) with the vestibule and nave. The clarity and beauty of the proportions of its masses and the grand and spacious effect of the interior is attained by neith- er one of the other two cathedrals. The cross vaults were st- ill executed without ribs on the cathedral of Spires. The rib- 2 . tile sariti' wh at to {atheddso edt at ativay baddig Piecseaadianss. miot edt mort beaimieteb od ysm dotdu ,eatt retal {8 eow aids tsdd sidedorg yidaid ei al. -totetedd bebmatat tong | stnollts Leibsiveo off .amr0¥ ts [exbsdtso sit m0 5289 add 02 4 .Stetoo1ta t9ilise as to sasiq af SGLI-f80f sort betoore aay - . ‘@o¢tiead beasde, Phe parish church at Boppard (about 1200) has in its middle a aible a pointed tunnel vault subdivided by cross arches. Opp- osite Bonn and on the other bank of the Rhine stands the beau- tiful church of Schwarzrheindorf (1149-1151), that affords an example of the generally common type of the castle and fortre- ss chapel, while it exhibits two stories On théssame sround a- rea, that*S connected by an opening in bhe ceiling. The upper story was intended for the nobles, the lower being for the ser- vants or even a tomb chapel. In Cologne, the ancient Roman ¢ Gity, several important churches originated with peculiar and the richest treatment of the choir and transepts. At S. Maria ey ae ere, ee ee ee ae ip he at fo Ot ie ° [ VA 7 iz > F besaotbeb) aidish .2 des19 bas (yastne0 da Sf sdt to tied Ba L ~idw.,msseya [sutaso sd¢ of e9¢amtxotaas asia iftods ads .(8Frt edd teee) eseqe nit stedéthi9t soafssesote sd¢ctovemra sds af ~ (S6L ogsq .f emulov 998 zwedslaged at ysivies! sdt to dowds | -(82.27%) efets ri0od> edt 2s bavo1s shnetxe efets shite sdd bas ® aatbLivd Ls12090 fsnoasosb s es yleritas erseqas ao9199 2 “u98 ai Zoibae 1tfodo batabaols ag vd C80 az dsbaetee asw taeda sS9YTD avofosge bas bihasiaa s asd dotedo ed? .axot isluotkot .YOSLl a9d%e tiivd .eane te aitin® .2 to doxvedo odd te setwexky to as{q bavo1k Lasusias eds aottyog aietese adt ai bosscae1 ei dididxe ewobaiw etl .eakoloD +8 eedowdo bewottasm sertt odd $L .{8B .549) otfL offs bane .Liolert .aet ona yen? Isiilvosg “a8 aewol edt to olyte aottiausré edt to aAsow feqtererg sdt ef -edoivsevomad dove ot eldteasoos viialuotéasa esw dotdw oat ~plbbin sit to lyse noitteasas edd Yo ekatdlind tetdo sax eA 78 isibedses tae1y edt Henoistaem 94 oF er— 32298 Yo bas aarae ~aed beqsda~eeors s {NE .OL .@ .eae® :Sacr-crer) -d=8-2990dKE J \ dotde at .slets ttodo reant bas gatbas «todos onuod dtiw sorit “S100 sia base #2do1s badatog eved amsinotiat ons sotra Lisa ads “80; Sae0itiagem odtv dtiw teddokod .aelets edie’ odd svods beunt “saomsaio Seeteit ens diiw beaquinos .aeauentaisd ge dsiedo deta -Atow is -20%9 ~9fes8 ga detanim ons .satdh seqay ant to Horsey sid af $d¢ ao aol esox% at beaaeiis sotliesd besiuey s .S6Ir ak beg { “29 ows bas elete tiod> e@ .seleta evit dtiw mateve Sstotagess “181% afd to anoitser19 tesd sas atiw beacaiosy at .siswot ads br Py . iy Se teatadesis 2 ts bas .8-i-S19diexl gs arotenim edt .d0i%0q _ =pasasmo8 eds od Qnofed [lise asrutouwte ong to egatantked edz DbtenGibenasewos si9seee ods bas slaie satsvensss sag .bot190 99 Yo bas .ytwwta9es dz Gh edt to tied tertt SdF MOXl .oteuta arsed / QVLl ak aubed .oawdoutse nietess stitas sag t9taain SrudasxtS } ce heep eiipamembnand adi Gf of¢ to slbbiw sdt Suods bedetatt baa ee | ; -88 .8i3 at betaoeenge Isti0q eldugob Dibiedteednees 903 Sfdtdxs eaarbitea syogensmoS sax aasafA al ~atse a6 dviw .esomsultat asitiss1 bas foaes® yd botsemiaa dove DGA edt Yo doundo sat .(@bOt boyaotdos) fos rako-wit: ofdsod edd To advow isatontaa owt odd satwodtid -slyte notete ws ivsG bas 19¢99 .22 to dovudo aa? -TedoBteKo yvsed bas tae «| 40 im-Gapitol (dedicated 1049), the church of the Apostles (seco- #éd half of the 12 th century) and Great S. Martin (dedicated 41172), the chdni, plan approximates to the central system, whi- le the arascofuthe crosscalsostermihate in apses (as at the church of the Nativity in Bethlehem; see volume 1, page 162) and the side aisle extends around as the choir aisle (Fis. 46). S. Gereon appears entirely as a decagonal central building, t that was extended in 1069 by an elongated choir ending in sem- icircular form. The church has a splendid and spacious crypt. hikewise at the church of S. Quirin at Neuss, built after 1207, is repeated in the eastern portion the triapsal ground plan of the first mentioned churches at Gologne. Its windows exhibit peculiar forms, the fan, trefoil, and the like (Big. 47). It is the prineipal work of the transition style of the lower Bh- ine, which was particularly accessible to such innovations. As the chief buildings of the transition style of the middle Rhine and of Hesse are to be mentioned the great cathedral. at Dimburg-a-L. (1213-1342; Figs. 9, 16, 37), a cross-shaped bas- ilica with round choir ending end inner choir aisle, in which the galleries and triforiums have pointed arehes and are cont- inued above the side aisles, together with the magnificent pa- rish church at Gelnhausen, equipped with the ri¢hest ornament al work. In the region of the upper Rhine, the minster at Basle, erec- ted in 1185, a vaulted basilica arranged in €ross form on the restricted system with five aisles, a choir aisle and two wes- tern towers, is recknoned with the best creations of the tran- sition style. Likewise the two principel works of the Gothic period, the minsters at Freiberg-i-B. and at Strasburgsvi-E., the beginnings of the structures still belong to the Romanesa- we period, the transverse aisle and the eastern towers of Frei- berg minster, from the first half of the 13 th century, and of Strasburg minster, the entire eastern structure, begun in 1179 and finished about the middle of the 13 th century, with the double portal represented in Fig. 48. In Alsace the Romanesque buildings exhibit the German traits, much permeated by French and Italian influences, with an earn- i) est and heavy character. fhe church of Ss. Peter and Paul at on 2 Pa ee . Z i i . \ g hs \wundaeo dt SE ode at betotaes gud SbhOl ait botsotbob .atedeok |. tvodstiwebsost st9eteew ast yd edcow nsoen? allsoox yianorte - \geiwiedt0 .eetrelisk bedous bavor at bebiviobdue sud aiswod -agotitesd tea) beasde-eaor0 yiteom ers .esdoisdo nsi¢eald odd ~idw asswded .atswos a1sde¢ew S1s8spDe OWS ,19WOd Bateao1o 6 Adin »atodo aslyzastoey déiw yitasuoex& .oots10q beidse s asl do 8 Ismins (utfoast dtiw sevowtesai sottatasmsaaio sasiasxul bas -sottasoxs: (8ISt) dosdysM .2 dowsdo yodds sd? .emt0t neaacd bas “ts setevadeit edd io anus ows oft Asvo eisW0ot ows asosiq yile -ds teentas edd vd bstinsesi1q ef sayt asitselap isuton sd? .ale 97.28 to dowedo Sevisesia [fow oat .1t97enhmeisslh to dowsdo ved ewdeD ga doawdo bedse1s yzyidoti eds bas .tbetedtoido’d te asirs. -tbk)oqiase stiap bozssaqs slyta noitieasxs edt dotdw at .aalt F Y -(S80L at anuRed esw -dpoet edt timseg saatdlind supesnsmoA .siasved baa sidswS al -e19 sit at eeol .sewoo Sutmxot~-alytce snsbhaeqsdat as to sotsin gsdoasds ods al .noté¢e1000b edd of agdd toiuedat edt to aotrs to elootos astorsterO bas usertS sad to sonauital addé obiadgo 00 .bettiwo yitasvpe1t ese ofets seteveasnd edt orstoetigdoss -gm ett sbieed ertodo sbte ows soaig of beAdtl agm visataoo oda bstoers atowos sds yd obie nistdess sd3 besteadams bas aLodo at eidon danods tnstisxel.s eiso90 noitetasmsanzo ods oI .sxadt -asones 0990189 sdt aatisvia eesadota s at emuot to aotaaezaxe “edied eis dotdw ,es1att asaud bas) lemtas [ntaishaow atin aot niemes ebatifes ont .aiodmye bawotorg as bebisks1 9d oF aq -» Bbebtosd anttilusy aswonmis 19¢8f 3 ¢s ylao :{staostiod yvitaom Siduob dttw seiftesd seba s .210deR0A ts Letbedtso sdf ods -t80 .e1ewod aretess owt bas siets sei9veasitd aisdeow 8 .a4iodo am tetsl asm sud .yistaeo dv If odt to Mad gerit odd mort as gpomet ef (SO0SI-O8Lt) antaisx® ts Larbsdteo of? wa Liudes do Oapden9808 .gsantafwoe L[utionst yd baatoebs sayio att ati tot ~~. -@edotsdo onoeensmod at yasate? dices toe ysto tesdoia odd at — J@°,(860L-080L) astemma: .2 --:018 esnemeaom sasstoaar teom 271 afolo dasottingsm 6 bas .day19 oldveb .aiodo efdgob déiw asia -tomea sdt bas .aeteants tsdq0 943 .dowsdo edt obiasd aatyi a9% * {few bas Loodoe ss21th eft wort beviasbh .(doosk .£) dowds wast - -atmemsmom asidsr2 ed? .(Sh .2f9) .ieta0q doty ati 10% awond bo i) he. w osatthenl .dnoasa10 to ezeadoia tse18 yd bedatuaatseih sas 44 Rosheim, dedicated in 1049 but restored in the 12 th century, strongly recalls Tuscan works by its western facade without towers but subdivided in round arched galleries. Otherwise the Alsatian churches are mostly cross-shaped pier basilicas with a& crossing tower, two square western towers, between whi- ch lies a gabled portico, Brequently with rectangular choir and luxuriant ornamentation interwoven with fanciful animal a and human forms. The abbey church S. Murbach (1216) exception- ally places two towers over the two arms ef the transverse ai- sle. The normal alsatian type is presented by the earnest ab- bey church of Maursntnster, the well preserved church of 8. F Biles at Schlettstadt, and the richly treated church at Gebwe- iler, in which the transition style appeared quite early (it was begun in 1082). In Swabia and Bavaria, Romanesque buildings permit the recat- nition of an independent style-forming power, less in the cre- ation of the interior than in the decoration. In the churches outside the influence of the Hirsau and Gistercian schools of architecture the transverse aisle was frequently omitted. On the contrary men liked to place two side choirs beside the ma- in choir and emphasized the eastern side by the towers erected there. In the ornamentation occurs a luxuriant though noble expression of forms in a richness rivaling the Barocco concep- tion with wonderful animal and human figures, which are perha- ps to be regarded as profound symbols. The ceilings remain mostly horizental; only at a later time was vaulting decided upon. fhe cathedral at Augsburg, a pber basilica with double choir, a western transverse aisle and two eastern towers, dat- es from the first half of the 11 th century, but was later mnu- ch rebuilt. The cathedral at Freising (1160-1205) is famous for its its crypt adorned by fanciful sculptures. Regensburs is the richest city of south Germany in Romanesque churches. Its most important monuments are:-- S. Emmeran (1020-1052), a plan with double choir, double crypt, and a magnificent clois- ter lying beside the church, the upper minster, and the Schot- ten church (S. Jacob), derived from the Hirsau school and well known for its rich portal. (Pig. 49). The Swabian monuments are distinguished by Sreat richness of ornament. In Hirsau w ee Pe teed bas .guileas4 .2 to doawudo edt INOL-980L af bhetos1e 2ey Yo doaudo a90t0m odd 296 40399 .2 to doasdo sat [8Ol-SSOr at te 4 ~io yodds sit yd bewolfot stow seo? .aotdszetaaes usaiid ods } . 9 edd yd beoasudtar ,SSS!I betelawoo das SSIL auged .nssaawil® -mo9 ‘eswitsdd .sidswe to sotliasd seatl odd .amao% ts [sibedteo ; yttewq odt eQ00led elyta aotdiansad adg of .batlusy ylesela s fortedeaga oat .(03 .af%) totaeduseM ta dotrebis¥ to Leasdo edt coals bas ,ouedo2e wsatth add adididxs sabwedtl aeagsdtisdo® vistisad Semiotansiad asses .(880L-AG0L) sonatsenod te asteania oi ,sidew2 ait anaoawdlos af bad sastoretes9 od? .otdtod ofnr ~mf Jeom tisdt siaoonstg aft dosadd fos miedéasW sasa dosdanord -tesnom sat to aslq sat svasmisd dduce at etuamelitea taacrog astasi9 baooes edt at bodiroeed yilut exom ef gaugidise to yr9 penedoies to buslet odt no eedoisdo yasmisds YO «(88 Lata) ‘sg ef dieslortil ta a9tania ett .b0i19q vires afé of Aatgaoisd (S.at8) (Lesxed0 to downto awsileme edt .soifiasd 19i¢ vleteta -sdasdotesh gs dowsds datasa ods af ,soiftesd asagufoo 3 gaied “tis of¢ t0990 ssdosG rs90 31Ndes19¢9q S49 md douuao add das LL -ge0 80 of oefe sie sitevsa atsdigoa al .atzoaqqr2e to sofrtsarzs entsotbensh sdt antsd mods Ynoms .eeietogate {ised gmos benoitd -[o 943 to sno .OLTL botsotdeb .aredensaed 1890 {819 ss dowsdo ~i¢feaets odd of . .atvsvs9 Yo aedousde betlasv ylatslqmoo teab -a9104 at blades? .8 to acits0a a9bLo edt berister 2h dotasa ao -: 902 .eagtneo dé Sf edd Yo tisd seqrlt sdt word anissd , ated | -billiat bas siisvsa at gts suoasnsmof to aotsse1o btbdasfae teaom | SafbLivd taxiit oeodw .2190msS 3s Isib6sdtseo sdt si yasmysd 91d a \e od ni ott s a9¢te bas soslq est aI » .8L0f at batsotbed ear | -fitl ak dbetsotbeb .aatbitud baoose gs betosia asw [50!f asey SCLl meowted betentaiqdo (LE .223) srutowide biidt Satteaize oA .tiodo efdv0b dtiw sotitesd betiusv beqsde-aeoto 6 as VSL bas _-{tud detaed? to asoaeyltat blotinsm besfagooe1: 9d ysm doide ao geom od¢ .oizsd Js tetenim odd of Jxon ,baslaesdiwS aT .ahatd ~téatm covert odd bus ast¢anim $3918 9d¢ 5918 eedoxudo tasd104gNF£ -d9 telozast09% dtiw 2anfhliud stoves bas sfamte .doitsS 38 19 ae Ce ee . | vee 810 + 9dt oF sautoetidors dowdo at s19dbs asontvoig astatesd ad? ge1dd déiw .slete aseveveaass suodsin asiq to cays asu1e8 déuos a te x Se ee PUTIN Fo rer eh NG Es ee Pees yr Sy 4d! te J oS ale at a, | x TAY e 7 , i th cis hah ln i AL ia | Trae i) } ts dowsdd sottsbagot ads base (390f debauot) dosdaatala ts dows’ ' Ach | . AZ was erected in 1059-1071 the church of 8. Aurelius, and beside it in 1082-1091 the church of 8. Peter as the mother church of the Hirsau congregation. These were followed by the abbey ch- ’¢ereh at Alpirsbach (founded 1095) and the foundation church at Bilwangen, begun 1146 and completed i233, influenced by the ec cathedral at Worms, the first basilica of Swabia, that was com- pletely vaulted. To the transition style belongs the pretty chapel of Walderich at Murrhardt (Fis. 50). The minster of Schaffhausen likewise exhibits the Hirsau scheme, end also the minster at Gonstance (1054-1089), later transformed éntirely into Gothic. The Gistercians had in Maulbronn in Swabia, in Bronnbach near Wertheim and Ebrach in Franconia their most im- portant settlements in south Germany. The plan of the monast- ery ef Maulbronn is more fully described in the second Chapter (gig. 186). Of the many churches on the island of Reichenau belonging to the early veriod, the minster at Mittelzell is a stately pier basilica, the smaller chureh of Qberzell (Big.3) being a columnar basilica. In the parish church at Reichenha- 11 and the church on the setersburs near Dachau occur the alt- ernation of supports. In southern Bavaria are also to be men- bioned some hall structures, among them being the Benedictine church at Pr#l near Regensburs, dedicated 1110, one of the ol- dest completely vaulted churches of Bavarie. To the transiti- on period is referred the older portion of S. Sebaid in Nurem- berg, dating from the first half of Bhe 13 th century. The most splendid creation of Romanesaue art in Baveria and in Mid- dle Germany is the cathedral at Bamberg, whose first building 29 was dedicated in 1012. In its place and after a fire in the year 1081 was erected a second building, dedicated in 1111. Mhe existing third structure (Pigs. 51) originated between 1192 and 1287 as a cross~shaped vaulted basilica with double choir, on which may be recognized manifold influences of Rhenish buil- dings. In Switzerland, next to the minster at Basle, the most important churches are the great minster and the Frauen minst- er at Zurich, simple and severe buildings with rectangular ch- oirs. fhe Austrian provinces adhere in church architecture to the south German type of plan without transverse aisle, with three ‘ed re ie meee ie Pee. pA et Yet) © eee Bee 4 bee ao. Ww ee ¢ . 7 ” ae, Oa . 168 7 r > iF es aa ¥ ‘ [ r* ‘ ; 7 oo a TT ,) <7 é £5 kee 1? ¢ a i ‘ - ot som oe 6 or ' : & sf bsseets vinota eds al .219wot shsost ows bas esaas atetess - -mteeat Iataomento bas feisdostidow sdd bas slettoa asamaloo -gau To eizon edd to soneuliat ads boeasrcxs visusuoe1t at tas -at asw (fSI2) a4uedeiae ts s9¢8c .8 Yo dowsdo sd¢ al .visat 19 ~oagve Io aoiésaisdis 9d¢ anogso astattecguoA noxaS vd bs0ubo1d -stimi dav0t ogis stadt .(exsta ows asewied eannlos owt to) sta ts doasdo yistesnom Iniktuasd off .astusonite todo at aos beoasultat sd ot exssqas .@0fl-Sath sfind .(dasmieter3) ssiosB e1ew adivysy beddta dota sdt:(83 .8f8 96¢) Loodoe uesith odz vd ei 318 supgensmot=neiiases4 to dsow tetdo s eA .fasdéei siiud se1dt yletese so .i1s2 ts LIetbeddso sidog ens batsaatesb 9d of “1q ton #906 tedd ,delats seresvensit ddiw sotitesd +wta belafs “019 saofiw .day1o bibnelge s bas .esleisa shite eit baoyed tosto | noisteasis edt of .aamofos sf{dyem dsibtigd s no tesa astivsy a2 Pe eo ae ee 49 />eommenced. Their normal churches were cross-shaped pier basil- icas on the restricted system, the side aisles continued beside - the choir square to the beginning of the semicircular apse of the choir and then closed square. The side aisles have galle- ries, and above these extended other galleries, in which are the windows. From the piers project half columns with capita- ls like corintbian in earnest and plain forms. In the cornic- es are especially fawored small consoles with heads of animals etc. Three towers, one over the crossing with a high pyramnid- al roof and two on the facade, animate the exterior of the ar- chitectural group. Senerally on the soil of northern France, Lombard are crossed with German influences. A rapid advance is made by vaulted construction. Already the church of S. Ge- orse at Boscherville, erected between 1154: and 1157, has in t the middle aisle a completely developed system of ribbed cross vaults. In S. Etienne at Beauvais (about 1125) the middle ai- sle is covered by round arched ribbed wrosbevaults. The chur- ch at Airaines (about 1130) already introduces the pointed fo- rm for the transverse arches. The abbey church of 5. Germer near Beauvais (about 1145) exclusively employs the pointed ar- eh in the vaults and the openings in the walls. They might already be assigned to the succeeding art period; except that the buttress system (see pase 79) is still undeveloped, since it is concealed beneath the roof. rut in the later monuments originating after 1150 was perfected that extraordinary trans- formation in construction and forms, with which the new system of the Gothic commences. IV. Etaly. Phe great movement in architectural history ef the Romanesa- ue period in the German lands of middle and northern Burope w was not transplanted in its entire strength beyond the Alps. Ttaly was already so richly supplied with church buildings, t that no such large field remained for the abtivity of mediaev- al art. bikewise the northern races affected Italian art in very unequal measure accorGing to the mixture of races, most successfully on the soil of upper Italy, already precared by the Lombards, and in the former Norman kingdom of the Italian South. &verywhere the German natural spirit, accustomed to | yf OR Pe oe ee CNS Rae ‘ al ne ene fsutittas biswod bent font bike fetstsa bas slomta ede ‘ “ya a détw supitas {em10t .6ertisseq oft osnit stil wan Sdiavo1d vol asl .t18 asig¢etad) ylis® dsiw bentdmoo bas tovsli saicase ~ofeesio eit dtiw beatdmoo amtot to sonsbauds bas tasmtseut at a8 Odat t1s to aoitason0o asiist] sdt ot asifvosg yousbust Ls’ -ait edt basd tedto odd so as taut .ynomisd stenusaot visme1txe ao betose1 azaidited astissl to eeeneawotosae sdail bas mobeg™) to estertoutte Azad bas sviceesm odd to dtaqe1te betosnaos sat -1sn0e80 sldei0vet teom sd¢ at baaldatron sdé ~iw omsioz asotitasd eda bowolLot eetouwdo edz eeeso taom ni to daemtsext se1t s dtiw evanis tey .28f1sif{se tuodttw 10 dt / 998) aefq bavo12 to w1ot-T sostoms ed? .mesaye bosointean sda _ -#ittei-geot edt ot bebnedxe ayswis toa asw (STI sa6q .f stiufov edg asvo “hil oat geono beleis cords 6° ‘shops tg efseanol ‘te e Se = eae € ay, 7 7 ; ; " %, he v8 ‘ P 4 br ; hd | inks or suas No. 56 of the architectural members to be decorated, while by the Gos- mati the figures were composed of very small bits of marble a arranged according to the general surface patterns. “~ Tn Sicily, that peculiar island so very richly equipped by nature, which was successively ruled by Greeks, Romans, Goths, Byzantines and Saracens, western art in the 12 th century and under the blessed rule of the Norman princes passed through a wonderful climax. In an extremely fortunate way were combined these traditions od the earlier forms of civilization in order to give to architecture their best, from the Greeks the spirit thinkins for beauty, that would create the art work for itself, f from the Romans the practical ground plan accordins to the mo- del of the basilica with horizontal ceiling, from the Byzanti- nes the advantages of the central plan, dome construction, and the costly facing with brightly colored marble slabs and splen- did mosaics, from the Saracens the luxuriant and purely decor- ative use of arcade construction, the stalactite pendentive (: (see volume 1, page 209), and the splendor of color poured out over the entire interior. The Normans then completed the arch- itectural creations so produced in their sense py the addition of towers in their facades and their monumental: architectural treatment. The magnificent Martorana at Palermo (fis. 71) has already been mentioned (see volume 1, page 194) as a purely By- gantine church; nearly allied to it is S. Giovanni d’Fremeti (founded 1132) as a church with five domes, yet with a substan- tial approximation to the western basilica, by the arrangement of the building as a nave with transverse aisle and three aps- es. Phe palative chapel constructed in the royal palace at Paleruo, famous for its strong interior (1129-1140), is a thr- ee aisled columnar basilica with a high dome over the crossing. Fhe pure basilican type with horizontal ceilins is represented by the cathedral at Cefalu, datins from the first half of the 12 th century, whose western facade with vestibule is flanked by two massive and entirely Romanesque towers, by the cathedr- al of Palermo (1169-1185), but o®iwhich only the crypt, the internal columns, the choir apse and the detached double tower, now belong to the Romanesque structure, and by the cathedral of Wonreale (8274-1189), a three aisled cross basilica with ‘3 4 he “7 A eos lo éosnunom Insdtoqmt: teow bas bevaerero seed sist .feta0g ~isis9\ to [sibsddso edt mo es .esas afodo ed? .elysge neclidi® “18 odd difiw eobsoris Doild osteiaesoagsio edd estididxe saga om dott yloweasxe odd yG (SY .arB).cehso dose Snidoonastnt eedo -iguoe eniuaes io sseie woke baer8 8 ei sOfastHi sdt Yo eoteeom -89 eat, 180% .beouboaq sobaeice evoledet bos eseninutassso nae dd o¢ awond sageo tedeiolo supseludoig tadd eeil oels Isabedd @) \8ebsoxs beduteg bas enmuloo befquoo. ddiw. (ISSI-OOSL) bison ~8 To doss10qmi: Jeom eds ret yd oets sud .teshreL odd vino ton ¢ io evisde sdz io soasoitingsm sit yd yisdI ni exstetiofo {is essqinoe, sit to yiosed edt fae eotssom ddiw bisdak enmwioo- sda ar, . -eiesiqad. tisdd to noisssxe08b ber . ; | -fekuti09 bos sisa® .V ~efnedd, ed euletdoe AneK detasae sds. to &nibnuet eds s9edtA ~1ytens baoysd betsasenseq esonizg ofdsokietV oetseiadd .onbsm -f eumdov ese) exooll edt daiw edeatuon bisd vests bas .seens ~ig2s0 .soed io amobaatd nsigeitdd edg¢ bobayot (S08 SOS eeksa | -déton edt [is yfasen bezivamoo doidw ,noge174 bos exteval .of '- oW sstedtekot benidmoo.t169 nz bne., sinentasa sdt to tled are | ft .ytfevitio. Io kniscold edd .emobtatd sacds to seta odd dtiW -id9% tied? bus dinon; odd wort eqooli eds to noteinaxes esolamos -igen 8 sogu besetne nisoe .(O@8S guods) shecsid biswot dasmex beebal .das odd at beeecrgxs seiwsXil asw doitdw .sousvbs Lene 2h. .dnemgolevebh saengnxsq bans sext 8 o¢ dddvoad son. asw eit _ + “8e eupeeasmor sda nt oela .eoke eibbim sad sa1oisd omit ong af ni ylosivottuse ,esoneuiini abierol no snobasaeh st esw bois _ efaseq oef{s .c0ner§ aisdduos Sooostbe edz moxt sivesem taou8 Pe abiaeb leiene2 edd nt bestndgonss seniseuoe & ,goftistasnseio bas tnemtseid Leintostigess ont oi asristenog & oiegae oad to .ssdeem end to anoideler sas od &uibroDOs Bee hea -ed8id%8 Boidwooxe edd Io bas ee soins oda. eetetetieinsrocl m6 tnebaeqeb ylesisas [1rs2 Lind»padtesvedat oof . (EY .3t%),cbefof mi eonsl6 si sits 2 | ‘vowadsubanal bebeed ys bestaswsnto eiediaso sidsiisasa d3in es NERA | (+e9d0%8 sodeest0d enti dotdw AY i oe ann ¥ Ve A Py ' ee et ee ef od lee Se RUA « favecon inudireseos ews dydeesd einditeev nusseow » a stew edostic seodw .emiok gas deinoo¥ fas namied: .busamod so _ @ Ratbivih eobsoss toi ea? .coleis evit.nt begeraie vi garb. - _ weiq xotad beretesia Lencksdoo no sean setwdssnes aoivesni ont a Pa 57 si, western vestibule between two towers and a richly decorated “~ding is arranged in five aisles. The four arcades dividins t portal, the best preserved and most important monument of the Sisilian style. The choir apse, as on the cathedral of Paler- mo, here exhibits the characteristic blind arcades with the ar- ches intersecting each other.(#ig. 72). By the extremely rich mosaics of the interior is a Srand show piece of Senuine south- ern cheerfulness and fabulous splendor produced. Near the ca- thedral also lies that picturesque cloister court known to the world (1200-1221) with coupled columns and pointed arcades, n not only the largest, but also by far the most important of a all cloisters in Italy by the magnificence of the shafts of t the columns inlaid with mosaics and the beauty of the sculptu- red decoration of their capitals. . V. Spain and Portugal. After the founding of the Spanish Mark (province) by Gharle- magne, Christian Visisothic princes penetrated beyond the Pyr- enees, and after hard contests with the Moors (see volume 1, pases 203, 208) founded the Christian kingdoms of Leon, Casti- le, Navarre and Arragon, which comprised nearly all the north- ern half of the peninsula , and in part combined together. W With the rise of these kingdoms, the blooming of chivalry, the complete expulsion of the Moors from the north and their reti- rement toward Granada (about 1250), Spain entered upon a nati- onal advance, which was likewise expressed in the art. Indeed this was not brought to a free and permanent development. As in the time before the middle ages, also in the Romanesque pe- riod was it dependent on foreisn influences, particularly in great measure from the adjacent southern France, also partly on Lombard, German and Moorish art forms, whose effects were sometimes recognized in the general design and construction, sometimes in the architectural treatment and ornamentation, a according to the relations of the master, of the architect, a and of the executing artists. Still entirely dependent on Moorish eft stands the churca of S. Maria la Blanca in Toledo.(#is. 73). The interesting buil- the interior lengthwise rest on octagonal plastered brick pie- rs with remarkable capitals ornamented by beaded bands, from which rise horseshoe arches. ‘rare beet visv gon bas hieiels eemds & a8 e200: stead ead 2 ~») seudd Yo tedtie eseienoo eid? .siedo bus oleis sexevenexd ~ 900 to 10 eeleis eda to eexe sit ao antvl eoxs (evit mobfse) ~elets sbie sit Sninoisdnoo ya hewret .efais atodo a dtiw eege _ «Sato Qnisteths1 5 yd aofenetss asi bas, tioeds sibbia ons bavors «doe Letene® etds mort anivettib esitiastinosd .eleasdo to of s etd Sninistes yd eedousio deinsa® edt yd awode yino sxe ome ; (S882 sbsq .f omulov) eabie edt anos eotsaoqg. botiors Len19dxs -ts elbbio ofg ot eteeiag 103 1fefo dbid 5 to nokdasent sit vd “ays esidd (eiedourse edd oF basket al ~ .forxs0019 10 ofsx0dmtd) | -ando {Led erg .eodosundo Ifed elomte edt +-:bednesex9c82 ste es 3 -snosinod oaf .esoiitesd bedivev edd dae ,esineliek sdiw eedo 5 **mpliin® 2) .eetousdo wet a stud ai bawot ef gnrfliss ssboow Is | “sa onbeonsmoR seshio es yosentA .(sivose® ni: oxrnsnod .2 bas © ebte bas elbbiw edt ot etivev leness vd housvoo sx)ew esnible e eid ni saemyolame bhowok siivev teanud tied ceils orsdw .esleis : ~feivibdoe sft smeo 19467 seonet) aredduoe mi es eofeia sbie _ «- ond Yd aysd edd TO oniseVOO sit neds .eodore sexevensid vd nO ~fs olbbim ott oi neat bus eelets: eshte odd at dextt etiusv ee 1 -od nf noteetiabs onibnt? yifeni? noiveusdenco beddia sad .este + +eieem Yd adit oft to sonenimoug islssisasa ntiw teemooleved bL ; ~),edff ofd bas estdteacy. .esnemenro okassol .ers7e bsiossds to : sno bas sxsupe afodo ctin cotoundo [lad betivnev fennut sdd of x edd esisel{es dsiw seodt of .snnn10eD Js atae¥ .2 edno0led sece wifesenanod ob) (obsitnsd): obs .2 to doisdo exemindtia seer “tel sit \edusensid bre oven befeis oeads ddiw .C381t betefamoo “Oiddinw efeie stoi: .pelete obia edt. baoved ast gnigostorwg 193 _ Olt teow sored Jaei8 8 fdtw ofudivesv bas .afeaedo to sflouio | -wte sd? acon fatnemsnro bewsolvos bee eewsete! yd benobs vi (@bIL betsotheb) xoad se oxobtel .2 Yo dowwdo betnaiss viasli Sf edt ol .eelets ebie ocd 10Ot adinuev azoxe bevolgre visors esotiiesd betisev esore emoe becsnigino estagsaso dt GL bus dad ‘bas evetq bebivibdse yilsoisesxisne déiw etnemunom ¢asdy0ami se et dsow feito s es dotdw booms 1oLsouidenoo hetivay begoleveb ~=« Setevensad dtiw (OSD sedis) souswsisG to Lerbedtso (bio) efis > 8wod Batesoro dota y1ev bas siodo Isaqstaa .(4T 249) olais -19W0y Bntecoro edd to dnomteets ioia yiasivoisisa 8 hoe .sle 58 The Romanesque churches as a rule are based on the form of the batin cross as a three aisled and not very lons nave with transverse aisle and choir. This consists either of three (: (seldom five) axes lying on the axes of the aisles or of one apse with a choir aisle, formed by continuing the side aisle around the middle choir and its extension by a radiatins cire- le of chapels. Peculiarities differins from this seneral sch- eme are only shown by the Spanish churches by retaining the e external arched portico alons the sides (volume 1, page 172), by the insertion of a high choir for priests in the middle ai- ye sle, and a particularly rich treatment of the crossing tower. (Gimborio or crocero). In regard to the structure, three typ- es are represented:-- the simple hall churches, the hall chur- ches with galleries, and the vaulted basilicas. fhe horizont- al wooden ceiling is found in but a few churches. (S. Millan. and S. Borenzo in Segovia). Already the oldest Romanesque bu- ildings were covered by tunnel vaults in the middle and side aisles, where also half tunnel vaults found employment in the. side aisles as in southern France. Later came the subdivisi- on by transverse arches, then the coverings of the bays by cro- ss vaults, first in the side aisles and then in the middle ai- sles, the ribbed construction finally finding admission in bo- td development with particular prominence of the ribs by means of attached stars, lozenge ornaments, rosettes and the like. To the tunnel vaulted hall churches with choir square and one apse belongs S. Maria at Corunna, to those with galleries the Sreat pilgrimage church of S. Jago (Santiago) de Compostella, completed 1188, with tnree aisled nave and transepts, the lat- ter projecting far beyond the side aisles, choir aisle with c circle of chapels, and vestibule with a great porch most rich- ly adorned by statues and sculptured ornamental work. The sin- ilarly arranged church of S. Isidoro at Leon (dedicated 1149) already employed cross vaults for the side aisles. In the 12 th and 13 th centuries originated some cross vaalted basilicas as important monuments with energetically subdivided piers and developed vaulted construction, amons which as a chief work is the (old) cathedral of Salamanca (after 1120) with transverse aisle (fis. 74), triapsal choir and very rich crossing tower, (gh eae RN ees ond of sebie neecxie dtiw sesia tend — ox0f to fosudo noitebaget edd yew selimie 8 nl .edesaed banon “10% deisooM esor9smen vawot hemob sviessm seodw ai .bsnwors ek ~do heasde-eeo1s heteool yiinlisussd ea? .eonstasoos bavot as ~86 y{bso1d & esd eseas seid? dtiw elivA 3s stasoiV .2 to dow -d109 sbso1s a8 bas esewod wol ows dséiw,ebsost sisdeen beaoleyv «e{stioq eldgob boausoluoe yidoin yrev s bas .medt asewsed oot ~iq odd yd svode ess esonondini naeddaon beseerqx€ .(6T 22%) 5 VS ee 4 | - i f; ~Saose11ef to Jexbedéso teav edt Yo ootdouxdenoe timev bas 49 ©” betsaisisao geri ti yeoege svil déiw sotlfeed beasde-ssoxo & Ba019 odd at bexsiissoeiads ybsetls bas yagtaso dt Sf edt ai 49 doengoleveb ead lo easte teed edd esdoxs bedaios base adi Clyde ouoseasmos deinsae edt lea ag gasensiyd sdt ao betqnoco osls sig esoada sisixsast ~d9 aéiyzost091 1isad io snwooos no eedoisdo neiousseid ade yd gedloul esd elqusxes 10t es .eleasdo ebie selugasioss bus tio” ~1d0 odd io enkiesb Leataso edd yd bas, (S8Li-O6ih) eodsed tesa edt ci-bemsa ed of ai dotdwe nome .(eselomel) eadatard netted wade Isnokyfoqg s ,(OGIL) sivoac’ assem xvid ersY ad dnea servit -aewod [isd sysupea Ons eoxus setds dédin sebiea eviews Yo sucto /3%8 Supesnemok odel Io aeneiq wode sesnit sd¢ oF . (89 -2t9) te olds .2 io ssdt siamsxe 10} es .ereteiolo gmoe oels bcolfsd ~fitom Istnemsate bas aedors belied deisoow dotew co .e800fo01849 : “d2 viev 6 Ojai vmI0t evidsi00sh suoesuewoh déiw beaut sig usy ‘ * ,woisgssiasmsato io elyie oatmrs s88 .ed8 see osik # ¥ odd si sonebmecebhsi Leotgiloa avi bagissdo seart lagusi108 & mo sonebneqe’ exidne ni bexrisneo 348 edt at duo .OSLI 18S¥ ~$@ 2d09N0n0m Tastiogmi deom eti cA .eonsct nvedeen bas nised | -ddeo Joetons eds --1928 boisec eupssnsmo® odd wort batesb IL ~wiwsnse do Sf edt to elbbtm sag moat Saigsb ,sadmiod io Lexbds -idd ai §nibae soiliesd xeta besiuev L[eneud bas beieis ssxdd s - 03i0 Satbastxs ellew Isorsdie fstnawelstad cin bas esaas 90 enekadelisn io noiegexqmi edd eousm Ji Jans o8 Toor sds evods - bagore dotdw oi SOIL wk sLivd <1sKoat te downdo ‘ertsiame? ea? | to eleis ne ehastxe exndonite eveloua yxode ond Isnogstoe as Gotan 8 ai beeolone bne sins Jeans » siaiw joeied cane 59 that rises with sixteen sides in two stories, flanked by four round turrets. In a similar way the foundation church of Toro is crowned, in whose massive domed tower numerous Moorish for- ms found acceptance. The beautifully located cross-shaped ch- arch of S$. Vicente at Avila with three apses has a broadly de- veloped western facade,with two low towers and an arcade port- ico between them, and a very richly sculotured double portal. (Fis. 75). Expressed northern influences are shown by the pi- ‘Y er and vault construction of the vast cathedral of Tarragona, a cross-shaped basilica with five apses; it first originated in the 18 th century and already characterized in the cross ribs and pointed arches the last stage of the development or the Spanish Romanesque style. Separate places are also occupied on the Pyreneean peninsula by the Cistercian churches on account of their rectangular ch- oir and rectangular side chapels, as for example Las Huelsas near Burgos (1180-1182),and by the central designs of the Chr- istian knights (Templars), among which is to be named in the first rank La Vera Cruz near Segovia (1150), a polygonal stru- cture of twelve sides with three apses and square bell tower. (Fis. 76). To the finest show pieces of late Romanesque art belongs also some cloisters, as for example that of S. Pablo at Barcelona, on which Moorish foiled arches and ornamental moti- ves are fused with Romanesque decorative forms into a very ch- arming style of ornamentation. * * Also see Fig. 86. Rortugal first obtained its political independence in the y year 1139, but in its art continued in entire dependence on 5S Spain and western France. As its most important monuments. st- ill dating from the Romanesque period are:-- the ancient cath- edral of Coimbra, dating from the middle of the 1 th century, a three aisked and tunnel vaulted pier basilica ending in thr- ee apses and with battlemented ekternal walls extending high above the roof, so that it makes the impression of a fortress. The Templars’? church at Thomar, built in 1162, in which around an octagonal two story nuckeus structure extends an aisle of equal height with a tunnel vault and enclosed in a polygon of sixteen sides, and the three aisled hall church of the Cister- ; Fue boobet ‘gedé " (egstesarny sosdoolh te exetoveseid p aasovansne eas to ebie tess edt no eleqedio t6ivbnetosy Len < baided eaigl eleie aioio Isnoayiog 6 dtiw eetaniniss sud .ole a sai ak Sidsod to efiert [seed odd edicidxe ybserls tads . seeds 4 eae sROET ORE SEOD bedivev bas eedous hesniog | : 5 -bosigaa .1V asin ‘goxssea00 edg metlfil edvd aamioK offy S50l asey sds al ~qas0 dse78 eid doodvebas sonext nisddaon mort si9ibioe 006,03 seen blows Sota soxeC-olsah odd betenpn0o .baslaaB ogni nobis - basl edd bebivib bas mob&nti eid to neteesesog dood .egnitesh - dnee noiteluqog svites edt elidw .Vilidon gemuoll sad anome ~s1ed? sOonepecd Ouse enoattio bedshuidwe te notdteoo edt agar -sibod odni noiveinbs dnsot exsmioK edd to saudostifiors edad yd 3 ~98e% odd tebne ebatx yasm to estaedo beoneiasoxe sisedd dud ba iz is) " busses agiw bas sindoetitious to elyds eviten edd io nord ‘ -befnsno seiwieddo enokéibnos ane nigensetis ntin emstioe naciliesd sommes ylewotvesq oA eee) 1eWwOs SatezorD beaoleveh yianorse bas seiaefle .edz0g | bio al .ousdat odd 10% bentstex oels eaw (8S caso tf omutov : eat yd bease1roni yitss1s ,yarelo sit sot sosae sbivosa o¢ 49 7 G M8 1f000 sid ovek nom .sasnttaeo ont wort ednom lo Snidoolt - edt Yo nottsunitnon s etkl erases tt fads og) dignel Isuenny ‘ 86 Snibne asivgnstoes s ditw (elets seievansud sd¢ booyed even ‘ -ensad edt 6. (xN -8i%) .eleaedo io ques &¢ guoddin bas .olya 2 4 to elbbim edd yitsen os herisleneas stolteseds ase eleis eevey ddiw begasats esw il .even betsenols doum yrev seitwexil snd edd brswot bekisfas wlieiened .esgeenead entdootora yfknowwe a 10% eleqsdo sviso9e1 e1sdd ot 19590 at .oleis shia s yd aiodo |. -npeT% -efeaedo nsioxster® ett ai es eustisa sbie tnideridsetes wont ebteh .adoeansid odd ni bedneras exe eelets sasdd y line | TayTO edt .eoeinn ld eae to eones ling Qninimisteb seiwxedio sat iyi .betsimo ton g1ew et fi ~ex doids ‘yllevenas stiw entged (19 ORY leki®) exydourte ont q 10 woseuo aem104% ead ssdts bebivibdue .e78iq yvsed bas ell I yomuse ‘Uibatdéade dtiw ,codotsdo ileme aot ylislvoisasa el soe mrot seow .eenote (isms Yo eeetvoo at qu biel eteia xoTG: eetrelied edt of Baniceao ed? .peaydotorc noxs® blo bin s ste notteeni eda ¥d emutroitas to 1stoetedo ets bet rhs A , i + ‘bist se a ee iat re eae | 60 Gistercians at Alcobaca (1148-#228), that indeed shows the us- ‘oual rectangular chapels on the east side of the transverse ai- sle, but terminates with a polygonal choir aisle lyins behind these, that already exhibits the basal traits of Gothic in its pointed arches and vaulted construction. VI. England. In the year 1066 the Norman duke William the Gonqueror with 60,000 soldiers from northern France undertook his great camp- aign into England, conquered the Anglo-Saxon king Harold near Hastings, took possession of his kingdom and divided the land among the Norman nobility, while the native population sank into the position of subjugated citizens and peasants, fhere- by the architecture of the Normans found admission into Bngla- nd, but there experienced changes of many kinds under the reac- tion of the native style of architecture and with regard to o conditions otherwise changed. ee fhe previously common basilican scheme with alternating sup- ports, galleries and strongly developed crossing tower (see volume 1, page 175) was also retained for the future. In ord- er to provide space for the clergy, sreatly increased by the flockins of monks from the Continent, men gave the choir anu unusual length (so that it appears like a continuation of the nave beyond the ‘tramsverse aisle) with a rectansSular ending as a rule, and without a group of chapels. (Pig. 77). The trans- verse aisle was therefore transferred to nearly the middle of the likewise very much elongated nave. It was arranged with strongly projecting transepts, senerally enlarged toward the >/ choir by a side aisle, in order to there receive chapels for establishing side altars as in the Gistercian chapels. Prequ- ently these aisles are arranged in the transepts. ‘Aside from the otherwise determining influence of the Cluniacs, the cryp- ts were not omitted. The structure (Pigs.773, 81) begins with unusually thick wa- lls and heavy piers, subdivided after the Norman custom, or p particularly for small churches, with strikingly stumpy round piers laid up in courses of ‘small stones, whose form recalls old Saxon prototyves. Phe openings to the salleries approxima- ted the character of triforiums by the insertion of a middle ian neds evods. ines es hohe. a .e9to1s déin amuloo | 8a Lievesq vleviesfoxe seonie elstiaes edt al .elesbedtso i pov beblot 10 hogolieoe eit ot Skueio sis ai says noldepo ~iw ebevor yveeh .t1s seiland to oideisesosredo o@ , (eT abe) - utinliveque o¢ betseas1 sts ted .ebasd Beshix bas edenk dé Mort eeis eamuloo ifed aehbaelé .(28 .229) .zedors edt ezolone veds sonte ,Conetiogmt leiysouise suodsiw niswea tud ersia eas wo besevos e1s eoleis sbie sat ylao -etinsy spore on sioqane oels. esimsiie® edd .etivev fonaes Wad yd comigemoe x0 eeor0 ~tbot enrol isio siess desodsis taf -holiopadeaoo neboon diin ~isod eved Ils eedoudo feiigad edd .roidouttesop bedivey asso to Isibeddso eit To soidqeoxe ond ddéiw) sdoiliso neboor Iesnos | bh _ 9d -bebiie bas besniea yibibnsloe nedte e1s doidw .{msdauG 4 ‘#® diiw yisis2 siom ,esoxvloimea [fet s ai asco viteon elssrou . sbisocgseih aedd munsqmys ett iiors betniog beses10ab Si iag anteeoro svieesm edd yd betsoisod ef notseo1gmi. LéanecsusssdP, ~iise istgoziaod s ai bans saige tvodtiw aedeninasd gadd .29n08 “9518 yllenoisqeoxs Stow a19wos aasceew il ,etnemelsisd to eo ‘ yedd .sousvesqas oil-sesast0t ewes odd svad asda dotdy bet | fouog lisme « seolone bas obsost srt boovsed tecdwemoe voefoua q f ; > a | a eee.‘ ~o19dy ,6olete obte offs sbieed beostg s1as. yout 10 meds assuded pret bemtetensss ei 190 eqseqcseth yleaitas sore, odd xedtio vd % ,bsord sa? .débiw erisae edd anivquooo ooitseg sonsadns na | w bedsexd sesio ,swobniw dae eyewsoo0b edz Yo eerpeoloas basor aoe ai (68 -2£9) enmuloo ilsd asbwele Saféuoo yltaeupsat ditty -{s .sottelisa. bsiows bas egiuse Ilew &nitostoig déiw soitenid bas ebasd Ietgosisod begseget itiw astio bas takdootoxg yLendes | ._ to exednon sussIOgnL Jeom eas HIOF .6samelssted Satgworo eas (08 82). soneissags ferenes edd al .sassostidoss Leoistxe ons 4e 23 bas blod 5 exsw eiiow [sausostidors SifesasmoRedailgng edd 7 to. eeeesm edf .aoivestqmi yxb bas sieves s ogis deuods .bas a. -a3 beisoetorg ufpnonte ods yd beeofone esol mesa garbfigd edd P 7em08 si ydousdw ,émenignoo sid no eleabedieo add nedt .etqsens ' ogi uo hoouborq eougem ent io sostis yveed edd bedsivio tedw ‘4. | ddaxot eliso. rofiedad odd seiwodid .eextoe suoddin asomoy. ‘a8 eds ed rereia yousde yléuenibiosidxe edi yd noieesi0x5 omer wyhattiees. aaskis vievieuloxe deomis’+-ednemens9 to sao dasbaga 5 98t bae Beven .e1838 8iforse sevowiednt bas boomsib .ebasd ae -oisail gud bemesioe ei sidd --(bR (89 125th) eats Dem Ae ane een 61 column with arches, and which extend above them in the great cathedrals. In the capitals akmost exclusively prevails the cushion type in the change to the scalloped or folded capital (Bis. 79), so characteristic of English art. Heavy rounds wi- th frets and ziszas bands, that are repeated to superfluity, enclose the arches. (Fig. 84). Slender half columns rise from the piers but remain without structural importance, since they support no stone vaults. Only the side aisles are covered by cross or sometimes by half tunnel vaults, the galleries also with wooden construction. But although their pier forms indi- cate vaulted construction, the English churches all have hori- gontal wooden ceilings (with the exception of the cathedral. of ,2 Durham), which are often splendidly painted and gilded. The portals mostly open in a full semicircle, more rarely with a Quite depressed pointed arch; the tympanum then disappears. Pnesexternal impression is dominated by the massive crossings tower, that terminates without spire and in a horizontal seri- es of battlements. If western towers were exceptionally erec- ted, which then have the same fortress-like appearance, they project somewhat beyond the facade and enclose a small porch between them, or they are placed beside the side aisles, where- by either the porch entirely disappears or is transformed into an entrance portico occupyins the entire width. The broad, r round enclosures of the doorways and windows, often treated w with frequently coufled slender half columns (fig. 83), in com- bination with projectins wall strips and arched salleries, sl- ightly projecting and often with repeated horizontal bands and the crowning battelemnats, form the most important members of the external architecture. In the general appearance (Pigs. 80) the Bnglish-Romanesque architectural works make a bold and ér- and, though also a severe and dry impression. The masses of the building seem less enclosed by the strongly projectins tr- ansepts, than the cathedrals on the continent, whereby is some- what obviated the heavy effect of the masses produced by the towers without spires. bikewise the interior calls forth the ‘same expression by the extraordinarily stumpy piers; by the a- bundant use of ornaments-*almost exclusively zigzas and fret bands, diamond and interwoven scrolls, stars, waves and the like (Bigs. 78, 84)-- this is softened but little. py ee Sam ylqmuie yIev ste uénomouns odd astiitw to soesi “iq eds of .etivev fonnwd One aliaw oisla .ereia basor yomute ~:booled siyse asmict-deifaa® heaoleveb eft lo eedougdo Isatent agra bebastxs as diiw (GS8Ol-9T0L) aetesdont® to Isabsdtso eds f 2 ts [sabediso edt shomrclenest bane berosee2 visassoest rt8essl dao besbai doidw Yo .bofisq omee sdt moat daitsb .visdretaed | 904 bas aiode sdt Yo séaeq sistaso .(S8 .ar%) gayto boszk ods . ¥£3 to {srbddteo oft jotsmex stutourte agro edt to er)Tos | _,-98¢ to sfamsxe Intituesd s ebiolte [lite doidw ,(avii-Ssop) “a¢ Gsiets se1dd esti af yrutneo dt If ett to sivte aamsol dota ito gud .esbsois baild bos emnisotias .esinelias dtiw erasene ferbsdiseo sit :tlindes yfinshive ei sebeost sit no bee seiwrs sibbin edt nf. axeia bavet eeonw .S60L bebasot .astesonolD to: / j.-msib Isecoloo emuees bosbhat tayso sdt ai vilatosaes base efsis Beansi{a ylbosas .(890!f testis) dotwao ts Lexbeddtae edd sersts io sottqeoxe sedi dtin bevisesia [fon bas enoigeemib teeta diin i ‘64a To Wobniw oidtoS Iles ons to bas slets olbbta asteal saz “(88 185%) donosodssisq Yo [subedtsy ens :(S8 .8i5) . sbedat (BAF esiditixe yLeiwa senw seid row boieoant oe ,(SerreOary? ) ofets efbbin' eat ai tntftes noboow taetons edi vo siyse asutoll ia! 0 dud .eoleis ebie sit nit etivev endto beddia yvaed end bus ent bus. do10q sonsitue edt to ebeinesao seexg ont yd shsost edt Wh -Bnoitqsonoo wen Yo noievevnt edt wode ybssals eodors batntog stile dtiw sxstouise e .maddieN ds doveds yedds sid af seiwedtd oo eit .elisteb Besse1t yidots bus essia bavgor .edcooqus tnitends -ot tgiw eedoundo ssesT .ytiona ett nt bedaseervasd tre cswr0l v ~sosisitse siom 8 stem (.o%e retesonol9 ,mecafaW ge) ersta bas «tet \eenilies Istnosiuod iistt dtiw yLfsntesar noteeoremt eso + ,feteemoniW ss) eteta bebivibdue donm od¢ dtiw elsabsittsdo eda _ ws0igiso tesel 38) se5ds conte .(dbvoxodveteS bas doiwio¥ , yf 5 tet sis fo easiq sit yd 10d bersgsia esivev ods vost (yil og bebessora (B8rr-SeOr) medavG to fsxbstseo boteoosr edd yfan qtbbin 94% bersvoo oats si rene meveye B8H Yo noissiawoo sid .. BES) Sotaedzs on? | .C8V L828) Letfuev eeoso beddia yd slates | Bab oda To. eseasm [enusonode esi To notetwibtse sis exolls (08 8 Lead eektieh one aReRT pied 4 atetbedtee dard re Sars ies 4 te va r 4 ¥ 62 &£é@ fhe oldest structures, as for example the chapel of 8. dohn in the Power at London (Fis. 81), erected by the military arch- itect of William the gonagueror, are very simply treated with stumpy round piers, plain walls and tunnel vaults. To the pr- incipal churches of the developed Enslish-Norman style belons:- the cathedral of Winchester (1079-1093) with an extended crypt, later frequently restored and transformed; the cathedral: at ¢@ Canterbury, dating from the same period, of which indeed only the grand crypt (Bis. 82), certain parts of the choir and the towers of the Norman structure remain; the cathbdral of Ely (1082-1174), which still aBfords a beautiful example of the rich Norman style of the 11 th century in its three aisled tr- ansepts with galleries, triforiums and blind arcades, but oth- erwise and on the facades is evidently rebuilt; the cathedral of Gloucester, founded 1089, whose round piers in the middle aisle and especially in the crypt indeed assume colossal diam- eters: the Cathedral at Norwich (after 1096), grandly planned with great dimensions and well preserved with the exception of the later middle aisle and of the tall Gothic window of the f facade, (Fig. 83); the cathedral of Peterborough (Fis. 77) (1140-1193), en imposing work, that must purely exhibits the Norman style by its ancient wooden ceilins in the middle aisle and the heavy ribbed cross vaults in the side aisles, but on the facade by the great openings of the entrance porch,and the pointed arches already show the invasion of new conceptions. i bikewise in the abbey church at Waltham, a structure with alt- ernating supports, round piers and richly treated details, is Norman art represented in its purity. These churches with ro- und piers (at Waltham, Gloucester etc.) make a more satisfact- ery impression internally with their horizontal ceilings, than the chathedrals with the much subdivided piers (at Winchester, Rly, Norwich and Peterborough), since these (at least orisgina- lly) lack the vaults prepared for by the plans of the piers. only the imposing cathedral of Durham (1093-1128) proceeded to the completion of its system, when it also covered the middle aisle by ribbed cross vaults. (Wis. 78). The exterior (Fis. 80) allows the subdivision of its structural masses of the Bns- lish cathedrals to plainly appear; the Salilee chapel (fis. 84), om ; “ouutoesivens oupaensncindei teat lo sosia wode s ef joie fis Aine | «8iyte eddeSaisivedsoeteto _~| eedoqudo nemiot sid to emedoe [eteme® sit oF ahoisasoxs eh -siqnef eft ot hedinoes ensic [artnso emoe bencitaem 6d oF e848 ‘ddiw dose fodmasissok has shhiadmsd se eedousdo dros sat .e9 _ meT odt es Ifow a8 .eleie aetuo me bos essoqaue Lenrestni itbie _ 9100 8 ,G6it betoete .(ioxsto etyre¥ 1.28) nobsod ni’ forndo |la 3 od enmpfoo snot Io esietq bHboweamoo sehasie asiw sasdoncse aaly | ; r fiviftaod sid ofnt eviweitd .seiois hetatog bas edie ont saogane yd qyidnebive .hbetertense ylase dows betntoa edt esdorndo even + ett ai yloo seqit te bosbat .enstoweset eds to sotstsibem eft ) (ot bexedbs:ylusit (live yllsotenizetosrsdo cee efiaw .eebsors =feo ds Sf est to wadisep deel sdt oi tu". etnilieoo seboow ans «fem emit eins te ybserfs tana ,08 Sf omso snokievonnat eas vine _ © gfdeishienoo: ends .bosfand ni botase sidso® sts otnt hacecas * .Whamdeg ai seds seiid¢see ie : -Sugdoe7Tinows wisose supasnamoh .8 } Isditesizelooe nf eaoixssai Yo enottsero beers ois aobress ~iquooo botwsa suseenswok sdoe to sasdéoséidows isivose edt .t18 _ ,boiseg t8ilsse ed¢ ni deaol ts ,notty0q geohom yisv s vino es beaisoos if .biswno yawinso dt SI saa io eibbimw edd mort god 2 bas ytio To sonsvbs eat yd sonatacani goiesevons yisastenoo evorenua bebasol bed ybasuls exsmoh eff .eandcetidors efteso , at Yiteinoidrsa .¥ne0rs8 toeions to ites edd go etasmelészoa Re “18 vitetuket) sséeso es terri .220ntvorg eduaell bos snid& ond Paes .© suyfov 652 :equs0 yrstilia beiiisacl Liew bas bedaes 8 fugou bevineb s1]ew ednomsivtse seeds moat asdd bas, (888. eodnal ,8nkof08 .gever? .syotdasd§ .stasM .ayudesad®) esitis “hove od eomitemoe sey ysm mond al .(.od9 anudeneaes .weecsd -bia ds teddooioss keidoosising edesite sdgiside wgstieo besic . trowsen yeloxerti e@ sefwiedio odd To tdebim odé oi ealsas ta | to giseite som0% 63 ,etedienp teeblo edd to eyelis edt to ‘bedsnisiae eeisio Isvesibes yfase deom t98 .qmso osmoh eda -x8 410% as .Beoni1g sig yO enolishouol toeatbh ads so1k sbies) ~tee Ifeme wort (il yinel yd sxodusG I ysoeh yd zele00 olqme ~10vet aetie. Ho é40e Leiagenbui +0 {sina Iboings as to ataemold Spe oad ve i oo ‘ y ‘ oe ad ee -. > Se ae se co ww a : 70 bloom about 1200, and upon a general architectural: activity, that may worthily stand beside those of the great periods in the history of art. Tt was infallible, that just France, where the powerful move- ment produced in the West by the crusades found its inspired supporters, where the reform movement initiated by the Walden- yoses and Albigenses took its start, also was earltest affected by the revolutions, that occurred in the 12 th and 13 th cent- uries in the relisdous domain and in the entire mode of thous~ nt of the western peoples. In unexpected measure had the cra- sades enlarged the intellectual horizon, a forgetting of the national frontiers, produced a reciprocal: approximation and thus aided a certain international feeling, that could not ha- ve occurred earlier. This was supported on the one hand by the international orders of monks, who had meanwhile attained to high power, and on the other hand by western knighthood, b bound together in common views and endeavors. But all were u all. were united by the ecclesiastical bond sgast by the church around all Christendom,and the supremacy of the papacy, that reached its highest power about the end of the 12 th century (under Innocent III, 1198-1216), the rule of the successors of Peter over the kings of this world. Under these circumstances there naturally fell to the clergy, as representatives of the hierarchy, the most influential role in the society of the time. Beside it stood the (secular) kn- ighthood entering on its greatest climax in the 13 th century, and the ecclesiastical knightly orders, who joined together according to monastic laws and rules of life as faithfuboChri- stian warriors in the combats woth the infidels and for the protection of the church. But to these were added as other i important bearers of civilization, the united citizens of the free cities, who attained to great power, sometimes entirely independent of the authority of the state, especially in Gern- any, the Netherlands and italy, and in their prosperity bloss- omed a rich intelbectual and artistic life. They soon appear- ed as owners beside the ecclesiastical and secular founders of eghurehes and monasteries, since they required more spacious ¢ churches by the rapid increase of the inhabitants. The common week nfracroenues eidisiv .bod io esevol ysiol. yd Vritsqaorg iisds 8 eeentsers Sonesioani edt to notssotbhnt os miot biwode ted @ “9x8 90% ydereds JuG .¥sSiO Tieds Io aotdibaoo gotdetagolt bas _ witeido ean botieq expesasmoa oft at tadt .etatbliud to aottno * fo-ebasd ons odat beeeeq .eisitowd aeteiolo sds to ristis as ! ~m199 of ,OGSL goods sons1§ af .semttow bas esvossidore islpose .eesbol satilind edd ai betian yedT .O06L tuods tecdsl ts yas “eye eit bas .kaidvow Io enoitibnoo edt begnes1s si1)9eNW doidw at “f .footes e at es benisel baa. dd2uss sisw m6 seid to esixed _-anoenote bas anozaa oid beetagmoo ylteido gebbol anrbhirtud sa® “ope1t oele tud .antblind Lexbediso ¢sert 2 tuods beitdse exes . 6 ber1w990 dokdw niddiw .emoitsicooses evienssxs bext08t vitse < -9t bedstsese 18% moxi aeaiarow Yo y{sasnos1% a9 tangas 38ig8e% edd to esnottekif{do eid betelusex etosatnos asstiaW * -B00L£8 “098 S19" nomyentyet edt To adiow edT .asostidows base sxsawo | ‘bos .teteam sit ad weds nevis ,etxsm sdiniteb yo T0ol beanwO 7 sbisq e*eseem ons of .emi0t s7e Ie uotsuosxe {yte1s. eds sub “S ROO Bteitis ens devs \hetudiatse ed oF ti egw boxrsteot even < ated Das yeiienoeisa wieks avin baworwseqed sda ni borss980R walvoe yd L[atsomem tneaeaied 2 vovleemeds of bsauane bas .cower ti ‘stedt ao anottcotioeant Lexwtossidows bas taigis od¢ to eowsg | mort ex ot bovisse10 avettxs to sense evoremun sid ¥S .adtow -e8s to tesrstai vievil ont S8fq200ST Ow eos sibbsm otal ads - © ho.) oo -etetteasas tied? bas ezetasm add ni sigosq aafdae ‘ | Tatonee JOIIQ DO QAuGsnsHel 35 Jom otEds .QBRT, (a8 foa\a we: * a ete Ady, WO Beiny sft Aodde to .wepbol Quibliwd ats Yo yicmasea ae “@ HOMMStaog«e IaveHeg soarg a i 499898 AomAed Lo exssssoono . Tost SWOY odd SS sholedussS stonthxodus dtdan .moqgu dSobiesh enw gamed ASAMOTOD .Qtuseot2 30 segbol qusitud ea Yo stonivena _ sAstighs sft co no HSbYesb enw eisdsont2 dotaw gaomo .85488, ban -1uq attr bevisce1 tis fevesthen Yo hotysa bnosee edt aatwodtd ee cae st - > ae ‘ aN ¢ : AA OP a fle leila heieby bealekecous: to sease — sz0dw o¢ ,2bling at bevertss offs nemesisxs vedso ont as Lleyn ts edt at asdd boesorgxe yLfaao1se e10M neve notifies wort s10q_ 71 sense of the citizens tended toward a monumental expression of their prosperity by lofty Houses of God, visible from afar, +t that should form an indication of the importance, Sreatness a and flourishins condition of their city. But thereby the exe- cution of buildings, that in the Romanesque period was chiefly an aifair of the cloister brothers, passed into the hands of secular architects and workmen, in France about 1250, in Gern- any at latest about 13800. They united in the building lodges, in which were arranged the conditions of working, and the mys- teries of high art were taught and learned as in a school. fF #he building lodges chiefly comprised the masons and stonecut— | ters settled about a great cathedral building, but also frequ- ently formed extensive associations, within which occurred a resular transfer frequently of workmen from far separated re-. sions. * Written contracts regulated the obligations of the owners and architects. The works of the journeymen were acc- ounted for by definite marks, given them by the master, and »,cut in the different dressed blocks, the stonecutter’s marks, (Bis. 94:), which were asol introduced by the casters in their arms and seals. In the cities the masons and stonecutters as well as the other tradesmen also Sathered in suilds, to whose thorough training, carried out as in the buildings lodges, is due the careful execution of art forms. To the master’s pride here fostered was it to be attributed, that the artists now a appeared in the foreground with their personality and their names, and ensured to themselves @ permanent memorial by sculp- tures of the artist and architectural inscriptions on their works. By the numerous names of artists preserved to us from the late maddie ages we recognize the lively interest of the entire people in the masters end their creations. * On April 25, 1459, there met at Regensburg a great general assembly of the building lodges, at which the union of all st- onecutters of German speech tn a great general organization w was decided upon, with subordinate divisions in the four great precincts ef the building lodges at Strasburg, gologne, Vienne, and Berne, among which Strasburg was decided on as the capital. bikewise the second period of mediaeval art received its pur- port from religion, even more strongly expressed than in the : +; i. 2 ‘a +4 _ ie ¥ I ‘s mc 1 jl ry ‘ “ a Dey Lay ee ry fed i) RAN es og. Meal 1c es : a B uy abe - ob4 é ik Ay * Pe, ow aed, ' 7 ; = e i Rotieasl. evtsae. odt bas bagm odd ,marotfoass0 ed ,ao1 s hasdhie adi gi bebescove agtotteym sd? .bedsataoberg qu daives: edt One .609 déim noingamoo (satstat ad¢ no nottedt ~elte1 evisasigai as done aaidatt. -Beeneuotoeuoo IsuGivibat Ye | beviogsib sew ,8edoquds eupesnsmod sdt to qaomted sdt at aoito OF .o49w atovssbas ssodw .eoiteslodve ait to ydaosolida ads vd avods, .betaeae1q yloutvib es dowdio sdt to gaatdoses sad svotg ~miot to motaye a at aods xit of bas ,matoi¢ias Leubividbat Les eddbim t9tei od3 to sawtoesidore eds aids to aaiwsttd .a6is ~¢ae2etqs1t to bliow 1ege1q ed? .nottoslier biviv s 69v¥f% 29%s 26 begoloveb aay asveve Leistivisea saidtna ang ,O9J18086 softs ~Leuret s bas GoLtou1tedoo sid wort sonegpea Sigia at bevtweb . ene oidw .ytigalo Jesdaid eit of b9inrs9 wal é 2Of1qge9 LIsanoetsa {ls oebuloxs bas aot Ay e10m i pbaee bas sigsosdidois ai maseve eidt atdsiw tay bad i" % 0 Sakaatsed tdQile « sldtdqsoisg et anittataa bas sistalooa sousiseqgs Livi o¢ saoo o¢ ssw dadd .yousdast Batdastites sede +=s¥teedo Ratvol odd .botweq Bartwoliolt sds io soneitdas edd dain $2 eds to ofbSim od3 tuode ybsorls oels to - e130 io aoks ot misfo Sdt obam bad asw bonrsal sastrogm: yeov viutaso At m0 beesd soneioce & edivaslodoe sdt to yiorsoom sdt oF seoago “seit Io woitsvisado dgvo10ds 6 to afdt Saad of one .9908 b1eqke Selle ostandmab dedi .Ratleet auotatles ylassb edz tnd) jag “veiled s1om ifLtve exew nem mods vd Beonesliat toa aew ,sate Ps dotdw .leffed Yo yonevist etsautzotay ted? .etoted asds gat ch sel eid to wwod edd siden evijne af Qaisfakooa1 ,nor¢oma to _ bedose1g ase sf. 23 cenit to Aisa 29009 rrhiedaate euId 8 1056 a fore: doidn eeeablod 's af .vecttizose eden of aaonsuilliw bef wbiviont ns tleasi aot davot oals si :eedustbaiA oa ot bab Somat 8 io ssbt adit doidw at ,motagexgxe ofdeters bas dtte te sdgiow edt wort Bossi 991% od zoiv 1 8 820748 aud? .eaosa edd at belesids arssqas beebat ro vende! a vd 5 alla Oe | Re ae : t 4 gh si (oid vlottasrar ae ces, pe ssoaensmof | a“ Hone eae it asm doidw bas ,bof1eq supeenamoS odd ai tae - “dtaeb edt sf{oosq edt at bsovborq .aldteaoa asbheauio sat shen | eee Wsvs 16 ak siwFo9didors dorsdo mt Boiactines oais asi’ it hae BeueLoveb 316 Yo sivse bovieeaos paentonis ue 72 Romanesove period; for in an infinitely higher degree the chu- rch, by Catholicism, the mind and the entire intellecual life predominated. The mysticism succeeded in its highest develop- ment in the Romanesque period, and which was perfected in med- itation on the internal communion with God, and the giving up of individual consciousness, finding such an impressive refle- ction in the harmony of the Romanesque churches, was dissolved by the philosophy of the scholastics, whose endeavors were to prove the teachings of the church as divinely presented, above all individual criticism, and to fix them in a system of form- ulas. bikewise of this the architectwre of the later middle ages gives a vivid reflection. The proper world of represent- ation departed; the entire strultural system was developed as derived in rigid seauence from the construction and e formal- ism carried to the highest clerity, which banned-oli! Giversit= ies and excluded all personal caprice. And yet within this system in architecture and still more in sculpture and painting is perceptible a slight beginning of t that refreshing tendency, that was to come to full appearance with the entrance of the following period, the loving observa- tion of nature. Yet also already about the middle of the 138 th century very important learned men had made the claim to oppose to the monarchy of the scholastics a science based on experience, and to base this on a thorough observation of nat- ure. But the deeply religious feeling, that dominestedithat time, was not influenced by them; men were still more believ- ing then before. That unfortunate fervency of belief, which made the crusades possible, produced in the people the depth of emotion, recognizing in entire nature the power of the cre- ator, a true Christian conception of life, as it was preached by the newly founded and influential Order of Franciscans; it was also manifested in church architecture in an even unequal- led willingness to make sacrifices, in a boldness, which yiel- ded to no hindrances; it also found for itself an individual artistic expression, in which the idea of a Christianity stri- ving te free itself from the weight ef earth and toward heaven indeed appears chiseled in the stone. Thus arose a new, pure- ly theoretically conceived style of art, developed with the m ; ala Kid ie) 5 j tt } va bat uu : bis i ve wh > i, re ‘e it hentai Sebicbaive’ ylsiitas bos (aetoBi Bio {saotsen sdt most Py suidinkaves to motnteo feesd slawte ad es noreifex aattetsdd , ‘aiette9 to notaecezog eds som .omsded stoteiedst tI .bLrow fo eadteteds Gifs to ytasq01q aommoo sit tud ,enoatsa beeas'torg to wai o4t-otat moitsiteseq qeeb est .ystrsleqog ett El -tent0o Batyiioo edt LAME Meiascuen odd no beesd yilsusos esw olyte tre eta? =baesxS bas bstqobs tt Hottowttenos o¢ Hisker at eslyasy Lsatt —teq ow ofytea eupaenemo® edt af slidw to .easdmem [fs of Bo siessetidots edt .dixtas suottneesdd Yo sodoe sat (Ltte aviss “Bib 918 stadé ,2olatontaG mo beaesd et ests ofbhim rtstel add to ~T' 5dT .s48 Yo wdfatostv feoteesfo sat oF Sseoqgqo vilsstirtea “olstasledoti to yrstogmetnco 6 .tvRes) .t48) co istirww astfasl “oupitas edt tetts ylorwtiae xs to aottasono0o Sartentwob saoriw Yo emed sdt ti 6vsg .emToOl asi Yo anibasterebas [fs baetaavesa d od¢ Satilsoer to ssbf sat dttwoaeds anirutdmoo .elvte otarod fttao beafates aottsifsoqs as ,edto8 bastfivtogu bas asowsdsad a e1v990 aorssotitcant slttri tevewod emits saseeata eat ne, a | .1gto8tido1s Ofdtoed to nottulove sd? .1Ii gon tay .9908719 to [roe sdt mort betvorwge slvde otatod sa® iq _ batseqgs ti .nofisea done1% sdt to towbors g yilstaaseas as q J20m 2sw boold suonencmoA o19dw test, .eone14 nisdsioa at tari? _ Aaa. atusxt .at led edd io asm199 odd doin de laaiwresas yigaots . “x9 Joa dgjuoit .tosfletar aswie® edt to nettssso s as ,znemtol 99 ak igomqolevsh tasdaid ssi bagot oals 34 103 yfeviaalo . ong pisos bsatfoat asiqosq sxsosensa08 yleiuo odt ofidw .abasl -ealchallaaaadl ,enottqessq109 3418 eatsas afedt at ovottas 897895 {ileme se tod at Rannserers® ate btw. ada at oart tuoda. wisteye esintish 6 otat berastou iT +229 # - sons os elal edt at oie? eds to dtio0s ‘bas yolisv asvia oLb ] bed dotdw asoitsvonat ads 6saidmoo 919 e97eH .ybis0iG ai bas Laks y09 auoiisy ng. suit 2aof 8 10f tistsb ak betisaat voseals a Kea sive. stztas hos. € anal bids i, eds Peottene boreoqaa te }, re — rd a Re ae cise) heett Pers tkbboateeas hisck teom 2 oH -olodw otintteb das esotnomied .taetetenoo 8 ovat aovol To {sthsdtso edt so a0tstba09 Isnikino aieds ni bavok _» pew dotdw .soitoniteaoo essitieud eidat wl .(68f2S2err) anole edt .dottsdasmsar0 tuoddtw arelies at Setuoexe ylao yilsataize — somsiseqgs featetxs od? .eetidem siftns ni atseaqs aoitoursenco my aes wren sivoee of tesbto at heotittosea esw eletdedtso sdzt Yo . os @ttotredar edt To taemtseqs avosaatasvbs ene. tat b2dfo0t09 oneet assisiad mi 38 aottouboisar od ai toa RY nia C7 = 4 Y £ 2 i ; eye ps a ae OUR Reo aay MN ’ - Fi id adeliis dees stetsgqsa dose to Javadd shite odt sonta ,o1yeasta ~oiw ADeif-T6It) eimeG .2 bas (TS shaq) a9sm1s9 .2 ts zodowwdo dO 1890 attremm0d te dowdo yedds sdt Yo bas (TSIl botolqmoo) ! \ ee => ees cx 3 75 Tf the ribs extending from the pier are increased, its subd- ivision proceeds eoually; the rounds are likewise increased, are separated by deep hollows or entirely conceal the nucleus and thus appear as clustered piers, on which the vavlt ribs in a manner are joined together and rise from the base. (Pig. 152). On the piers shaped as free supports rests only a vertical pressure, since the side thrust of each separate arch is eoui- librated by the opposite one. The combinations of pressures )yact otherwise in the outer walls at the points on which the ribs meet. Since the counter stress is wanting there, a stro- né side pressure acting outwards makes itself felt, and when galleries are lacking, this must be met by speciel constructi- on. On the external walls of the side aisles and of hall chur- ches, this was obtained in the simplest manner by the constru- ction of buttresses, which received the thrust of the vaults. (Fig. 100). More difficult is the problem for the clearstory walls of the middle aisle rising above the side aisles. No buttresses can be arranged for these, since to extend them down through the roof of the side aisle to the internal floor, or rather their construction from thence, would have injured the entire effect of the interior in the worst manner. Therefore men ca- me to the fruitful idea of receiving the pressure ef the vaui- ts on the tlearstory walls by a free arch and of transmitting it to the extended buttress of the side aisle. (Fis. 97). With the adoption of these flying buttresses (buttress arches) the Gothic style reached its full. maturity. Aside from the abbey churches at S. Germer (page 47) and S. Denis (1187-1144), whe- re the original buttressing is no longer recognizable with en- tire certainty on eccount of later changes, these are to be f found in their original condition on the cathedral of Noyon ‘(completed 1167) and of the abbey church at Dommartin near Ch- alons (1153<1163). In this buttress construction, which was originaliy only executed in ashlars without ornamentation, the construction appears in entire nudityy. The external appearance of the cathedrals was sacrificed in order to secure the most advantageous treatment of the interior. The introduction of the buttress system coincided in the br- pAb if Vag EW i ik) am Pe. rat ocannbi bee dsim saa98 Jasbsord =sy eit to baol o1ttae end sont? .aeceam ont Yo dottoubs1 edz. | odd ,aeanentsud anryit bas aeeeortsud edt vd bevieooy saw aiia -few amo afads faocave of bad ylexem eeads goswisd anigl eifew to Suemegasits sit to tovst ac ellsw edt to antaaco oat «ody _ .coeset Ssotissa yas xd beaoaqo 1sea0i on egw ewobaiw faaaoloo ~anau, beoubex od acdd ysm esaasitsiud ad¢ to emvttosa saore sd vd) Setaogque od of sivacetq edt as notttogo1g suse adt mi 264 oh oe en t9dto ods at obsm cals si o1sit .modt at ai. .beaeaael at wodt 4 ad most ekasdo besaitaoo s ed1ewas woied wort atasa Laretourte ge hy -Jd2il od yvaed cedubed tot saifasb Loews sit beyede sastostiders siidas od? “10% Satlteverq yose1ls dows Sstatog oft yd betsorbak 2k aids to Baistesdqms anotte sda ea {low 26 .a8atasqo bas etivev Ife _ ~odwe etisas oft Ons aoazsidtud odd yd boowbors asail Leotsaev 19v8 etolsreit sivsourte ed? .2entf Ladnosiaod to aottantba : {Is bas .badsanols axew auotttogorg [ls :tebasle arom sasoad -aemid sat teu of beoubes vilsatt sisn metas isistoad inors eaitas ont yllenti [itau ,seoqusg aisds rot yisagsosa eaote ao ,itowomsit Isiwtowitea edtl-aotslorie 5 as berssaqs eatdliud ‘ede ot .(83r 3869. 931%) .ebrawau deintwtb eoaeem odt doidw dostts stitus sit to aottentedie anttiuess oad bas aottsatdmoo ‘weds noftowisanoS eastésud bas edia eaor .esdors bstatoa to -Ofdso09 to siten odt asif edt to sl{bbim sdt te bentistts yoso1ls aew atete bowstem ain? © -vo1g donetT osdt at bas eized to wiatoty edt at yistaso dt St bebnetxs aivitea wan adt sonads mox% .ddvon redtist aatyf esont atta Isastostte ofdso8 sotate ons biswot beatloat viasf{oottasa | rotaeseaog detfguti-asm10% eis aguo1dt .edaex% [fs 19v0 .aslato aval -afaq@ bas viast .ynami99 asvo .Mongatd daisrxS sd¢ oF ea [stutoedinors gaisetxs edi 2ze08fq bas ebael evotzsy at tr nd | ~te stow arsbr9 edt to ednemertupet odt Tk .bestose enotd thera x enottibsrt 5a6 antatert Loodoe adt bas .eyew 1sdto at svitoot Yo eatlimet ot at neva bas eokbol gurbLind saorettib oda at ute obdgo8 edt tsy .esttivetivosa suottsy of del aisstuosaots 197981840 {saoisentetat ast bentsse1 {frre ofl { y ma! e ' es ay ; Pf cm ee tt ae) oe ee ie : he mice v ? -t fi a , oa /, Jt - = iy : ‘e , Ci a acai, aa es gel ao 7 Saal . a Siu 4 7 \tebxO asioseterd fattnoolta@ edd Yo Baiteteot evidos saa r9bs5 rath a stare » eoads botetoantveih oer Xow gtvelove ati al oo “3 76 broadest sense with the Gothic structural principle requiring the reduction of the masses. Since the entire load of the va- ults was received by the buttresses and flying buttresses, the walls lying between these merely had to support their own wei- cht. The opening of the walls in favor of the arrangement of colossal windows was no longer opposed by any stetical reason. The cross sections of the buttresses may then be reduced upwa- rds in the same proportion as the pressure to be supported by them is lessened. As in them, there is also made in the other structural parts from below upwards a continued change from h heavy to light. The entire architecture obeyed the seneral desire for height; this is indicated by the pointed arch already prevailing for all vaults and openings, as well as the strong emphasizing of vertical lines produced by the buttresses and the entire subo- rdination of horizontal lines. The structure therefore ever became more slender; all proportions were elongated, and all architectural members were finally reduced to just the dimen- sions necessary for their purpose, until finally the entire buildings appeared as a skeleton-like structural framework, on which the masses diminish upwards. (Pigs.°98; 158). In the combination and the resulting alternation of the entire effect of pointed arches, cross ribs and buttress construction thus lies the nature of Gothic. )9 This matured state was already attained et the middle of the 12 th century in the vicinity of Paris and in the French prov- inces lying further north. From thence the new style extended under the active fostering of the énfluential Oistercian Order, particulerly inclined toward the strict Gothic structural prin- ciples, over all France, through the Norman-English possessio- ns to the British kingdom, over Germany, Italy and Spain. Ev- en if in various lands and places the existing architectural traditions reacted, if the requirements of the Orders were ef- fective in other ways, and the school training and traditions in the different building lodges and even in the families of stonecutters led to various peculiarities, yet the Gothic sty- le still retained its international character. In its evolution may be distinguished three periods in gene- ral, that characterize the development, climax and decadence “ fet) votdeod phe tent: ‘aa bois odé | nay % J mY # breger dtin sbsa sd yluo nso oud at aoisetinid an fonog \ Neel dedi dt Sf edd to bas sd% 3s to# .estadnsoo tasxs Tito * } e@id aedw jotdto® ylise est dauordt becasq yose1ls bed sons: af ted jbas[g05 to tnesxe r9te918 OoF Swodawoads ai tea te7E? “at betsatgtto elyte ofdsoS odd to edtow seetiass o43 yasaxsd fpisesbeveri? sf bas .yrvtaso ds Ef ods Yo setsemp' baoosa ont ~edivoseb yitvt [{sde ew siotetsd? O88 suods ts’ borssqas yi -£%fasg09 exorisy adt oF brsabex af bershienoe ad ot eborasa odd o8te oiteisesosisdo ond bas ,bemtecn0e afasagdom sds Atiw as edt bas guemtacrs [s1ssoetidoxs ods no enesosnd edd af sekaaao +geth Aris -("@ bre 88 eehe@) .tosnginps avitaroded bho ceck ,eqdoetidask dozwdd otdsod .A -maf9 bavor? on? go1R96 geol sat 6 at aa fa bavors edt dbemiotedars atdso3 oP “ae eds heaisass qideiow to sbom sd? -PIgsouIFetsaue sat usdd bisse4 at eataemsutupes tasaeltcbh oa toe bed emis ad7 bus , of “pea een afodo edi zoi yin .kniguor® tiedd 10M ,2moor add od -i9 [sqtoaiaa edd ,eisibedaso $8922 sdt at ylus{aottsaq , bexiz af edt to woiv at ,aodetd odd to usito sonsbirsen aid aft asdouy _vastaefoos odd at aoi¢saqioitisa tfedd bus ygrelo sdt at sesex9 | .608 ,da9mise1s asdot1 bas taetxe asds9%a 5 .estaomeiso Isotet ent bas eobseu1o odd yd bentssdo aotilex sis 03 sonsietor dvi _ sasdo to t9dmva Seasstoat ns ,etates to aoigsisasav 3atassioat : -setzsuptie1 bas atniee 10i sistis to saeadatldstes edz wot al -a8v. ToT sidtaesoos yilsiensy asnod berose edt siem ot t9b10 al hy a) oldest asife odd ai bsosig vilsteneg Wom sisw yodt ,aortsto- “9 wiasluser etoteisds asw sayzo sdT yaprentee aids tot boarsl ‘ i -batsia ry beoubo1a al phy bed asig to asaya {is satwasdto que yilsidassedve dassgeisyeh raddivt sdf .botssa supasuamod odd me anottieiupos sd¢ mort besivas1 Jedd .enotssvosat boo 99R09 ; be ‘bateteacs {fs to tamti sasd? .atinev to taomtsets oidsod wa eads (astaaod fso99, to) eysd evouaidnos to aoivouboasai odd . a efdbin ods ak as lusy to sysd to 19dmva feope as gaisd oli i yes 220198: aved aslozastoo% ans gatosla ud) acleie vd medeva ap2sasmok betoiazesr edt wort wobsorti steiqnoo oddo.y b bas 2 ebsa 952 vaoleis ebie edd saimisgael 77 of the style, the early, high, and late Gothic. Yet a corres- ponding limitation in time can only be made with regard to the different countries. For at the end of the 12 th century, Pr- ‘ance had already passed through its early Gothic, when thés f first set in throughout the greater extent of England; but in Germany the earliest works of the Gothic style originated in the second quarter of the 13 th century, and it first general- ly appeared at about 1250. Therefore we shall fully describe the periods to be considered in regard to the various countri- ES with the monuments concerned, and the characteristic stfe changes in the Chapters on the architectural treatment and the decoretive equipment. (Bages 82 and 97). A. Gothic Church Architecture. fhe Ground Plan. | Fhe Gothic transformed the ground plan in a far less degree than the superstructure. The mode of worship remained the sa- me, and the time had set no different requirements in regard to the rooms, nor their grouping. Only for the choir was req- wired, particularly in the great cathedrals, the principel ch- urches in the residence city of the bishop, in view of the in- crease in the clergy and their participation in the ecclesias- tical ceremonies, a greater extent and richer treatment, and with reference to the relics obtained by the crusades and the increasing veneration of saints, an increased number of chape- ls for the establishment of altars for saints and religquaries. In order to make the sacred bones Senerally accessible for ven- eration, they were now generally placed in the altar table, en- larged for this purpose. The crypt was therefore regularly o- Gitted. But otherwise all types of plan had already been produced in the Romanesque period. The further development substantially concerned innovations, that resulted from the acquisitions of Gothic treatment of vaults. These first of all consisted in aothe complete freedom from the restricted Romanesque system by - : the introduction of continuous Bays (of equal length), thus b being an equal number of bays of vaults in the middle and side aisles (by placing the rectangular bays across the middle and lengthwise the side aisles; see page 4: and sround plan in Fis. ytibas: atode: [saoaytog ods hintbascdk {Lite baa i id sigdud to motsouxtenoo odd bas etivav boddta ods ya odat sotitasd asttetad glis§ ods dtiw bsoubousat .metaya evan -hotaeq oupasasm0d ads at bogofsveh bas aoisssilivio astterdd --9tdte8 odd to m1ot basora boeesaaxe edt boxtastoaredo ayswis - oetaeq sidiesoa sesdkid odd of tdguoad eaw si dotdw ai .dowsdo .asiq even 10 1tofo to batd 949 o¢ Bnibi9904”. .etedmvteve Lott -08 bediso~o8 sit jweseys ezidt af shem od-vam equow atax wot ~sio).to)sfor's bas sleta atode dtiw wsla bauore ierbedtso sins .thodo to mroi 1siqmie déinw emedoe asoifiesd asiines sdt .aloa (oe oo 4,edefts sigaie a diiw seaodst bas ,asleie ows ddiw ensia -t09 beliso-oz sdt yd betases1asa et axot beqelevsd seom 3aT -qaio to sloito bas eleia atodo dttw aafq bavors Lerbedtss otd B nevee neve 10 evit ,e9%dt #8 Yo atetanos si .(88 .afB) cats gud) Qaisostoig bas belats sexdt tO eno etasans1s .avan bolets edt no Sniyt atodo s bas ,sveu edt Yo-oatl edd bnoved ofssrl “fog as{gks1 s ak aniboe bas slats elbbim odd to motsskacloua es betiiso 919w aslats.obie ife to a9mGt edt dotnw Sawoxs . 0k -ast1s ylisibes.s détw vlisatetxe bebas dotiw bos (ealake ttodo sew oleis satsvensat sd? .(G3E -af8) .efeqsdo to 9lorro bok Baols basics eetitemoe ozls alagaio ed? .betstimo yltagacert -wos svizesa ows ezids a9 .sbsost wistaew sdt of effew sven sat ) @ s(1EE -22%) .eelete obte odd of seoaeiéas add 1946 344 ate 97 sid? .fst1oq nism bendiesd ylbneaa edd asil medt seawteS - ylleaotesooo ai tud .elethedtes at basot plistds et asfa bag _ © .aedougdo detisq:at asve aemissnos bas ytetesnom at déiw tem emedoe asotitesd 1ebio sdt of aattedbs vlwrit sedorwdo sd 4 edt 10% iaslq atodo odd yd vine yltetds meds mort asia bago1s +dtiw ebne dasa aistesa ods ted .esodt mt a8 beniste1 ak sven aie edt ese isas0f on tant .oleis doee tck eeas [saokyiog s to tolredat sd¢ lo motdeantinos 6 s189eqgs Jud .edota a to 19% i ‘ot sometodbs aid? .dd8isd bas dsbtw omse ots dsiwjsisis oda ovesbas ditiw based sao odd no betoonnoa af asfq selemia odd oP -entmorg ot0n ilitvea baa ,ofdso8 daia oft at gotteottilanta 19% - -8mevom motes edd yd bovovst e1e% tds oiddoD age oad at ta x phat ee sacedT .ensotatwod edt bas essoarons1§ eit to eda > net aft bas .ydtevoa of atone ‘edd ai. vtinsttetadd af asiti6 yor? .alsrdsdtso tsex8 sdt of aotsstut tsdwomos 918. q ‘ iw 9 pe i " nt” } i Je r ~ 78 6), and still further in the polygonal choir endings produced by the ribbed vaults and the construction of buttresses. The nave system, introduced with the Early Christian basilica into Christian Civilization and developed in the Romanesgue period, always characterized the expressed ground form of the Gothic church, in which it was brought to the hishest possible perfec- tion everywhere. According to the kind of choir or nave plan, four main groups may be made in this system; the so-called Go- thic cathedral ground plan with choir aisle and circle of cha- pels, the earlier basilican scheme with simpler form of choir, plans with two aisles, and those with a single aisle. The most developed form is represented by the so-called Got- hic cathedral ground plan with choir aisle and circle of chap- els. (Pig. 99). It consists of a three, five or even seven a aisled nave, transepts one or three aisled and projecting but little beyond the line of the nave, and a choir lying on the prolongation of the middle aisle and ending in a regular poly- gon, around which the inner or all. side aisles were carried as choir aisles, and which ended externally with a radially arrana- ged circle of chapels. (Pig. 153). The transverse aisle was frequently omitted. The chapels also sometimes extend alons the nave walls to the western facade. On this two massive tow- ers rise over the entrances to the side aisles. (Fis. 1381). B Between them lies the srandly designed main portal. This gro- und plen is chiefly found in cathedrals, but is occasionally met with in monastery and sometimes even in parish churches. The churches firmly adhering to the older basilican scheme are somewhat inferior to the great cathedrals. They differ in sround plan from them chiefly tnly by the choir plan. For the nave igs retained as in those. But the eastern part ends with a polygonal apse for each aisle, that no longer has the charac- ter of a niche, but appears a continuation of the interior of the aisle,with the same width and height. This adherence to the simpler plan is connected on the one hand with endeavors for simplification in the high Gothic, and still more promine- nt in the late Gothic, that were favored by the reform moveme- nts of the Franciscans and the Dominicans. These beheld pure Christisnity in the return to poverty, and in the teaching of- ; > an ; a: a Ropar rey : : fe 5 “yt —— —_ bata saivib edt Hb risa tetdo eds .Saids sdt°od aottaests 1a9t¢s012 bebasmsd ,ydias{gaog teorb gatvotas -ol afodo sdt¢ acd? .esdorsdo visio to easlq sit at suomede yal Ss s0ntS sbettino yloaitas asw si eomitemoe teoastioami at te od bebtosb sem .Batdossaq 10T besasbs saad bevoig moor sfkate ~si06 ¢i¢ bovow ozis ,(0OL .2i%) smedoe dovedo {fed edt 192914 “meds meemted sefisiisk beosia bas ietisetai oft biswodt. esages qstseah dsiW .ex0tibus sd? 16% soage sxom atetdo of t2e6t0 at Sidtod etefl at bseasq mobflee toa usm .posga aot asagmorivpe4 ig ; -eedoisdo {fed dSefeia avti ot setich ton o2 beaoisnem e19610 Soidossig sit to t0ovesbas ad?t “ts owt to soitosite edt od bel coals. sosca 10% etnomsiiuesa oft ~ie wol sao bas aisuw's to teddie tatenoo seen? .esdorgdo bole .ebta ono sod so beqolsveb soiiiesd es to wiet edd at slain 9b ‘sedtiw dowsdo {[ad s To wi0t sommoo stom odt sayeaa nedt x0 “oPometfs.erxes sti no Ratyd atodo s bas 2t10QGu9 to wor slbbim sbieed bekasits 918 eifodo beldyobd .ses0 eds visisi stom eB yd tstis sdt to wotv eds {[seoqgeo ton of tebso af .asdéo0 dose doidw ot .sayd aids fo mot teslamte odd al .easta to wor eds “neat odz yd besosts szod¢ yiletosqesa. .2sdougdo esorsMyn acoisd te 8 sud déiw —8iaiteod bas yosmten at anesginimoG bas egasosto -/90oefh* .moor Isqiontsq sisupe s Yo ofbbrm.edd a tTa1ogqna ef _ =ts aotie ot meteye eis to cotansixe as e1s0oso ylisaotsaqsoxe -wdo8 as. ea 8 -atiods {[sotatemmye ows dtiw dowsdo Lisd bela Wie ae Le .(Lorg? edt at za ytto seitene ods at elfu1 odt stot slats elaante a dtiw aasl9 7 “19 dotwdo Iisd sid sisdw .eoass¥ ak dad ,2edoxpno yadasoo bas 28 {fow ea .botteq enpeonswod sit at ybserts tovel 33928 devote eee #3913 101 seu ovat ome asve ,baslanG bone vissl .atea® at enbbeetane 9d¢ Io toette botitas ond medt al .eaatbhiiad Isxbs a ohorké Lh slelete stodo iste e{stbsdseo Jeera ads ao dauodala ‘ie [sttneo\s ifsd 900 9d of axseaus t1sq atetase sdé 2loasdo to (~0q ofdso8 ods at ysirer.s o18 edatolind Leveneo ylerisas .osla edged edt at ylsse ytev beouborstat besbat siew sasd? .bots maine err vest sites, reavect +8 “re aseeriderd sag nt in > § ‘apeataabies dtiw ydésamye tos1tb af eisw odw .emesiéio sat ba © cha ~-basis ef tofisdat —— 79 office typified by Christ’s Sermon on the Mount, thus in prea- ching, the chief part of the divine servite. On the other ha- “/nd the citizens, who were in direct sympathy with this Order enjoying great popularity, demanded Sreater attention to the lay element in the plans of city churches. Thus the choir lo- St in importance; sometimes it was entirely omitted. Since a single room proved bast adapted for preaching, men decided to prefer the hall church scheme (Pig. 100), also moved the buti- resses toward the interior and placed sgalleries between them in order to obtain more space for the auditors. With greater requirements for space, men not seldom passed in late Gothic to five aisled hall churches. The endeavor of the preaching Orders mentioned to not exceed the reaguirements for space also led to the erection ef two ai- sled churches. These consist either of a main and one low si- de aisle in the form of a basilica developed on but one side, or then assume the more common form of a hall church with a middle row of supports and a choir lying on its axis, if not as more rarely the case, doubled choirs are arranged beside each other, in order to not conceal the view of the aitar by the rew of piers. In the simplest form of this type, to which belons numerous churches, especially those erected by the Fran- Giscans and Dominimans in eermany and Austria, with but a sin- Sle support in the middle of a square principal room. Aliso e exceptionally occurs an extension ef this system to a four ai- sled hall church with two symmetrical choirs. (Church at Schw- az in the Tyrol). Plans with a single aisle form the rule in the smaller city and country churches, but in France, where the hall church en- joyed great favor already in the Romanesque period, as well as in Seain, Italy and England, even came into use for sreat cath- eGral buildings. In them the unified effect of the undivided interior is srand. Although on the greet cathedrals with choir aisle and circle of chapels the eastern part appears to be one half a central plan, entirely central buildings are a rarity in the Gothic pe- riod. These were indeed introduced very early in the Gothic (in the biebfrauen church at Treves, built 1227-1250), but th- inane wal vi a Aton tod “ott hel \s1stose tdors doxndo _ at bas. Bbasiga% {eag2709 .yasmie9 at afsasdo aissis2 at 9006 7910, odd awollot aed# asia basosg ad7 .esev0d isdaado dat lon -aideig) ti bavozs Saibuetxs elsqede to sloiio « ditw asoto As Mol s ditu sistowite Lsaoayloq sat 10 .{zever? ts doasdo agus Y -foqg edt oais 10 ,alsasdo Saitsibex begade-iste 10 aleis tetyo dewtaso cacdT .8altiuav isisans bos zeiq Isitaeo dtia aoay sLeveb, dott edt sot aeitsians1oqge tas{leoxze bsbi0tis abaiblind eo +086 9k8q 962) .2tinev ast bas ton .tate odd Yo tnemao _Sednemtse1s I[aiatostiders agi bas Baibliud sdf IT -x9 dasy dove to bo® to asenod betsota aeks slobia ordtoam sat -veb ofw .etetesm bas sisawo sds teda dated emex1txe bas Jaot -o0, bivos a1cezsoone tosqtbh afedd déiw medt beoneamen Aus beat -d3 ,aoitelamos iteds ai medit 20tesa to saod sds niasisdas axey . 40 etovecbas seotas18 oft bertupss acttuosxe aLecks s98de61 te $e2 0d sol odd {fot abaihiived yasm ot bus .agotss19qeg Ls1evae “sd io @90esm dowe oF t1etex ton bib siddy bod .bedetuitas ates eyeeis sud ,f0f199 supeeusmod odt ak betoesa siew es .ekaiblitr fofdw ao ,mainsato betouisenoo yiluterso .bevisouon ilew 8 of ~ie1 Sattentetisa at soe asn r9dmem [aredostidors stsisase dose -om odd diiw wodd woul Os90055 esw tO .e4edto edt Ils of avits eft to tuo Aatysl steswoos ns stotesedT .vonsteieaoo atuos te _wdoetdiders to 920slwond s deiivgos1 efat buna .yrseasoes sew asia 9819 943 dtiw sonsinierpos as Saiiisoxs. rei acttovrteasoe Lars _ ‘90% Ofat tdrieni gosb s, bas ,eg0 ysbyreve ai 2o1wbss01a Laois ~iodoss datd oat tau, at I .ehatbited to eseitibaoe [soitete _ ~oasv6s 02 180 ai ,y¥sbod Jaomeasms besatrqxwe ddiw av Lfit teis _ ada Isaeoloo saodt lo woiv at .asasthaqxs i) brs&2% af sa6 he Pear qend ) setdeted gxstbh e.dowg of bazisy eaastos io patantess ous dtiv beonemmoo eo1gks00%g Leotadost odt sud? ' -eybevieveg a9ed eved sasds to 2olqmexe avotusY asia ait to edt yd tididxe yod? .{.0%9 cunstY .wil. .wradasage .200109 20) -{q) bayorg ods to oasiq edt s0 enotssvele t6 aedoseie aversa0n | bee1ev exstess ying. dsdt ,esail to Viitxefamos.ozash s dova as { raiet at, Madd Oastereban bluoo acitstaseatae1 to Shon eds at bas eritomos® ,ovwdstubasixs bas sugdevbegp adasibouxe or tiga a pone: thattenus edinitsd bas Woitoss asblos ead peigonte tee ioe Tae CO ey t ,alsibedts2 ofds02 to ea1edeem istdo eds to egatissiebas Iso Mit) i ay 89 they could acquire no school-forming importence, at least in church architecture, and they but exceptionally found accept— ence in certain chapels in Germany, Portugal, Bngland and in English chapter houses. The ground plan then fellows the Gre- ek cross with a circle of chapels extending areund it (hiebfr- ) auen church at Treves), or the polygonal structure with a low outer aisle or star-shaped radisetins chapels, or also the pol- yéon with central pier and annular vaulting. These central: buildings afforded excellent opportunities for the rich devel- opment of the star, net and fan vaults. (See page 86). II. fhe building and its architectural treatment. The Gothic middle ages created Houses of God of such vast ex- tent and extreme height, that the owners and masters, who dev- ised and commenced them with their direct successors could ne- ver entertain the hope of seeing them in their completion, th- at rather their execution required the Sreatest endeavors of several Senerations, and to many buildings fell the lot to red main unfinished. And this did not refer to such masses of bu- ildings, as were erected in the Romanesque period, but always te a well conceived, carefully constructed organism, on which each separate architectural member was set in alternating rel- ation to all the others, or was deduced from them with the mo- st acute consistency. Therefore an accurate laying out of the plan was necessary, and this required a knowledse of architect- ural construction far excelling an acauaintance with the prac- tical procedures in everyday use, and a deep insight into the Statical conditions of buildings. It is just the high techni- cal undertekings of the chief masters of Gothic cathedrals, t that fill us with surprised amazefient today, in our so advanc- ed age in regard to expedients, in view of these colossal str- uctures raised to such a dizzy height. Thus the technical procedures commenced with the designing of the plan. Various examples of these have been preserved . - (Of Gologne, Strasburg, Ulm, Vienne etc.). They exhibit by the numerous sketches of elevations on the plane of the ground pl- an such a desse complexity of lines, that only masters versed in the mode of representation could understand them. In scie- ntific expedients, quadrature and triansulature, Seometry and arithmetic, the golden section, and definite numerical propor. eds wei ettattoterss bene seek 48 yqu990 enottroqo1q ay < ot GR eas , ae oe. hye 4 s ; hy ay! be. Be ; y ey ! ts : - Ieteteliups eit eeddagds otato® to mottoyitanoo bas euotenemtb off eft ar oisupe odd 28 s4sq suse ods yala ot eissaqgs alaasiat [sweu Senee edt at aaottsisolso (sorter? -eharbficd euoesasm “etfatteb aoqn bebasqeb neff .e5sm ton evew zotadosd arebom at ~dost edt to tusq Istdo & bew1et Seds .aeLatoniaza (stasmineaxs “Tate o1ew seeds bas ,aekbol anibitdd od3 of aotsosiseni Lanta vd Sertotensas stow yedT .etsdmem-nom mort te1ose Jasx vito ~bol gaibiiud ods aft notte19nea te20u0y sit'os eaoitibert {e410 edd dviw tetel ted .eieadsuosaote edt to esifinet st bas a9 bas ,m1ot Xood ai bext? yitisa oals er9w Snisatag to aotenatzs sesds° mote .emts 190 oF beviszexa yilsaoteasooo nesd evsd aude thited [svestbom anottstagee19e% ottetsae ont bas atatioaunew “ase odd to Sniblottsse add tadt o8 .bebedsoor1g anottovatanoo 2a bs61d oft to saw edd .Istretem Sad to Satniatdo sda 29TITON b hea fstens2 aistie> .eenote Bnitsee baa Saisvetod ror Losdw 8 teat) ,beqofeved ete emosawo bas abodiem duiatenoy 9t9WwytS | -VYsbod sen ai t1eq at oels o48 “Is Ofseit1s seenkid edt botsiwieg aottowrtenoos reides soate “HP enese tuo ovissm edt alsiaetsm es bastetesq ass .tuomtes “18 bee0so astio ardt to 8atavso1g sit .enotker gaoxstitd eda ‘sds olfidw .¢200 daid vietsaottibaorgsib bas estsivotttib ss eDiets Smeisxe ody eafslaxe atdT .wol yiev stsw r0odsal to eskaw oyilsieqss edt tedd .sensaxs ods bas istietam eat to aotsest ‘gem siedW¥ .beatepet snose sesisgse dose to hategsib (oterso “gsmted aston ods at ofqmexs tot es .edoetad ot batoittess stow “dt to yttorlamia teers oF sovloemeds simil seom ysdt .ebostwol wod Sontetsbao ysdd seY Lemxot Listsb edt to bas mseyea oat to eevitom sdt to ses yausd eds ¥d atoetts otbasfqa souborg of Q edt yd .aottosatenos yvadoesm o¢ ofdstovst .ebsors battd sat ‘dotad yd ,ewobatw edz Yo eeqneolons eft to eaaibivon {yteosee Sasm10% gatiieoas ylanseoe1t bas sif{-setsssf .betten ,asssiat Se he ~{dsa eds to Snomtsert betrev yd bas (eatestaq (ataomento dasa bot T ‘ ; ¥ de. c .a ; 89 ,asatl aiem ati at exstonxte edt badtreesd vbse1ls svad of alfsteb ati ot bisdeq nt viii stom an tt sa8g won ew oliaW (si Ud belleaaoo tdemtssis Lerssostidote edt asbteaoo [fede sw ate¥ .d18 to mrt t9dso yas ni asat 292896 tegee19 tet 8 at ile \ b 0) td en ee oe 8i proportions occupy an important place. Particularly in the da dimensions and construction of Gothic churches the eouilataral triangle appears to play the same part as the square in the Ro- manesque buildings. Statical calculations in the sense usual in modern technics were not made. Men depended upon definite experimental principles, that formed a chief part of the tech- nical instruction in the bhilding lodges, and these were stri- ctly kept secret from non-members. They were transferred by oral traditions to the younger generation in the building lod- ges and the families of the stonecutters, but later with the extension of printing were also partly fixed in book form, and thus have been occasionally preserved to our time. From these manuscripts and the artistic representations mediaeval buildi-. né construction proceeded, so that the scaffolding of the str- ~suctures, the obtaining of the material, the use of the tread wheel for hoisting and setting stones, certain general and ev- erywhere remaining methods and customs were developed, that a are also in part in use taday. Since ashlar construction permitted the highest artistic tr- eatment, men preferred as materials the native cut stone in the different regions. The procuring of this often caused ger- eat difficulties and disproportionately high cost, while the wages of labor were very low. This explains the extreme util- ization of the material and the expense, that the senerally careful dressing of each separate stone reovired. Where men were restricted to bricks, as for example in the north German lowlands, they must limit themselves to Sreat simplicity of t the system and of the detail forms. Yet they understood how to produce splendid effects by the happy use of the motives of the blind arcade, favorable to masonry construction, by the g Sraceful mouldings of the enclosures of the windows, by brick friezes, netted, lattice-like and freouently recalling Norman= Arab ornamental patterns, and by varied treatment of the gabli- es. We have already described the structure in its main lines. While we now take it up more fully in regard to its details, we shall consider the architectural treatment compelled by it in a far greater degree than in any other form of art. With tas empeeb- headevlad: (hdvhuonattagesens | do-netecnbonsat! ous ~ sEpbatestbebatiterere ed? .e1sta [satetat oft to antbsol aot Ssupasnemoh besoligeet od¢ af e1sig s9ddeit bas 19ivesd to a0 ‘edd io gefsns edt 3s hoote yods sentedw of gnibico;s .assaye nti uléneupsanocs .msda asewised 10 slets slbbim sds to 2598u08 Jaemsse1s m10lins ylortdae as of yew suse (saottasoxs wot a3 ~19q vitesse edd ui battuti esw notetvibdse sted? .axsia fis to eangioo tebasle gdkte 10 as0t dsiw eseloum asigotis 8 os bot Sat lo. saomsseis asdotx sdé déviw meds sud (LOL .8e ..eRte) ~asented ewolfod gosh déiw 19tq Ssisseanio odt oF asagea edtluey "20 banor's yd ofdtop o¢sf ni bettifqmte nisks tad .abasow odd ak .e@nott¢xoqo1ag tebaele yiev dttw ttadea edt to mztot {snogetoo -fee0q as sistil es tsiose%q 2d¢ Yo wotv edt touxtado o¢ 13640 _ elomexa 10% .bestaqmetts 91a advow asoiotiges agmigano® oid 4322) avefoun rsivorto edé suods ebnvor ntat anters vilerias + beleved .ossd o1suos 10 Lanoayloa s no ebassesaeiag od? (S82 -oqque odd aoowsed ewoifod ai god ts eqota sadsd .eslaan odd ta ~oot Iftse .sesd siti-stalq bas wol yxsv 4 .ebagor sd¢ to ara -bisow seodw .sqvd oieth odt ag e1sdmem to sonsupee odd Qatiis od aofsiaasis sdé amrot .eseloun sd¢ bayors bassxe ona aber wb, | (842. 2@f seared) -19f9. di to Jsisde odd oth 8 9vai ston abanor es asia ef% no ancbnesxs eaasios oat ~ftoth toa bas dtéoome oluiis es .ttsde aids visv asato bas i450 - ed? ..etioaque se1t 28 heyoloma nodw eas osts {Low as ,badaia -Leqstosdidors as es gaiasoe isatgiae atk eorol yitaom {atiqso sever gatsdimanssd Sas yvilataosiied baol-edgs 3afvisoss t9dmem -dquaIstat bas Qatnedsaaexte s 28. e1seqas r9sdzex di itiede sad eioteieds bas .snoass1 svissiodeb yd: beauso tisde sds to eat doa ef di .cotésottiiquie to me ati dtiw ofdso® ate edt at bas ,ffed sid to Jade et. mz0t Isasd asl .bstaimo stivo vistas. 01g) ,ar0t {saoayflog sds bomuass son bsd apoads ad¢ as gaol o2 iestas> bud besitisaottaevaoo eae serit JA .éedt dbaoyed betost “a08.(S0L 1327). .ce0 at boutswe: bot1eq euoesasmoa ofsi et to: _ et ofdtoD oftioege bas won edt bstaobs een omit omse ond ts _ dt 6h edt to olbbim eds art suods yasmxe8 ap) bas issiaso to si m10i {fed ont .yiisieaes besenimoberqg si .(b1sws0. yaudaso evden edt wort sastdot bessois vwiisisdsa stiup dgiw bo4evo00 820 eniv suvi iyiiod: .elqsm dso déiw yluslgoisisa ,et0Lt b ; j : nab. 7 a ‘ A j “igh als eae Ge eho (rane 4 > h ¥. ia: j OF 82 the introduction of the continuous bay (pase 80) occurs a uni- form loading of the internal piers. The prevailing alternati- on of heavier and lighter piers in the restricted Romanesaue system, according to whether they stood at the angles of the squares of the middle aisle or between them, conseouently (wi- th few exceptions) gave way to an entirely uniform treatment of all piers. Their subdivision was limited in the early per- iod to a circular nucleus with four or eight slender columns (@igs., 96, 101), but then with the richer treatment of the vaults passes to the clustered pier with deep hollows between the rounds, but again simplified in late gothic by a round or octagonal form of the shaft with very slender proportions, in order to obstruct the view of the preacher as little as possi- ble. Sometimes capricious works are attempted, for example spirally rising thin rounds about the circular nucleus (Pigs. 163). The piersstands on a polygonal or square base, beveled at the angles, that stops at top in hollows between the suppo- rts of the rounds. A very low and plate-like base, still rec- alling the sequence of members in the Attic type, whose mould- ings also extend around the nucleus, forms the transition to the shaft of the pier. (Figs. 101, 152). The columns extending on the pier as rounds here have a sle- nder and often very thin shaft, as a rule smooth and not dimi- nished, as well also as when employed as free supports. The capital mostly loses its original meaning as an erchitectural member receiving the load horizontally and transmitting it to the shaft; it rather appears as a strengthening and interrupt- ing of the shaft caused by decorative reasons, and therefore in the late Gothic with its aim of simplification, it is not rarely quite omitted. Its basal form is that of the bell, and so lenge as the abacus had not assumed the polygonal form, pro- jected beyond that. At first the conventionalized bud capital of the late Romanesque period remained in use. (Fis. 102).But at the same time was adopted the new and specific Gothic form of capital and (in Germany about from the middle of the 13 th century onward), it predomineted generally. The bell form is covered with quite naturally treated foliage from the native flora, particularly with oak, maple, holly, ivy, vine, rose, eS ny ae ee ee =? ; ‘aa if Elias a! as i i ae sf | ¥ — os y" ro. eee) ae ee or Te? lar Bigot Tees: ae As i) 4 . \ , > x ee r ws vi ¢ e ¥E A a ope Ria a oa: ebaiae Ae igs tsd¢ (eevee! sevobo bas siseids -9438¢ ot0m ‘8 soubo1q of .bedoatts ewlesool ed ot as9qq8 40 fs odtiw yoomisd retted s bas woied mo1t bowsiv aside sostta Lyt ~91 easilol oft ,ersdmom [exutostidors edt to ewobsde aseb edt ~saéisaeva0o Batagst8010 t9v9 as bas amtot siil-n19t¢8q bevieo ~,. (Yo Baktascos gaomte dtiw aevssi oft suo Rntiiowa yd aoitssiL — boiveq deed oft al .ellewa edt tevo aakbassxe ada tsol sat etsfiedd ai sv@ sansot JIesctea odd baxinkoost 5d eysuis yaa Betedtin bas suotebas ylaseb .vddoud sade setaniatao ofdsod ~sifdas dtiw nottenidmos af easos0 vilanolesoog Aoidw .easrlot “30 ded; ,2dfu1t bas emosaold boristen{o 10 barsideos lsiuteq vi <2f9)) .bodatasy asdgentot [sustan to motdooliooes Lis eatwaed eos Ratgaoled alstiqss eis Yo 19dée%0% sagmerastxs siz va .(60L to Rafytie9o odd bas i9iq bereteulo sa¢ ao sbauor: “stetsaea Ag “8% @fdd .auefoua edd basors Atow (stasusato bas exaidinzom eds » .sottsainges teqau ett es seavoo Istiaqso ivtsos18 6 bavies opi | (202 .a08) iadtees mee edt ai afete1 e19f9 sds mort Bnterz adéx sdP 2 daid wf medt sosiqor stud .eefans bewolfod odd ai ebnvod ode Tord sdP. .anoisesa. bagsde-168080 aviw edago1 betatoq xd otdtod ~-@10t oft yfotemixorqias sed tetit.ts bavor betatoa sat to sft ebassxs glissaisaos ¢ud ,def{rt bedostis as déiw slorio s to -taso id Gl edt io ifsd ba00e8 ods ab) saci ts Litog a3qeb af ~iied wolista dziw teduem asivaastost s ogat esosytaeo ti (vx “tr edd,ot botisq saodefrodt al .(8OL+.a£9):.ebte dose aieeso “© T0 eesdoasid ysttond to sonsissdqqea edt G@evece yitasupert af ad + te edit [ano&std odd to noitongt od? .emrot xystinosq isdto sant: (eaoteyod) azod ods yd betootie eiedinsv oid to xeqs oft aaod ed?) saisd90yitaeupsit Sata saote aego as dotdw to besd “eaottqiaosar diiw amis ,esstlolt vd dbetasmsar0 yidoia as¢To af . “xe ofdso8 stei deilaad od?) .(80L .2¢%) Leoxgsaqduoe erwatt bas rogene ya bled ,etasbasq enosayed Sa0l ysiisituosa 5 as adidia _ 0st Qnomte ows OF Baud o1s eomitomos doidw: .ebo1 aot Sater «(OBL .9f9) .siseveods autanece eadors Isa _ta@09 edd edia to elaine sdt to taemgofisved redota ods dacB 280%9 stitisqsxed sd3 al» Lessasdo costa ethgey sdé to acitoua ] , i+ Ua > Yo a&atblinvd evpeensmod nissis0 ai &attage90 vose1ls atisev Shama edd of babbe at e19ds , (39 «ahaa sonst arsittog i eV Se i Sn 83 thistle and cbover leaves, that partly Srow out of the astras- al or appear to be loosely attached. To produce a more taste- ful effect when viewed from below and a better harmony with the deep shadows of the architectural members, the foliage re- ~ ceived pattern-like forms and an ever progressing conventiona- lization by swelling out the leaves with strong accenting of the leaf ribs extending over the swells. In the best period may always be recognized the natural forms. But in the late Gothic originates that knobby, deeply undercut and withered foliege, which occasionally occurs in combination with entire- ly patural scattered or clustered blossoms and fruits, but ot- herwise all recollection of natural formschas vanished. (Pig. 103). By the arrangement together of the capitals belonging to the separatec rounds on the clustered pier and the carrying of the mouldings and ornamental work around the nucleus, this re- ceived a graceful capitel course as its upper termination. (Fig. 101). The ribs rising from the piers retain in the early period the rounds in the hollowed angles, but replace them in high ej Gothic by pointed rounds with pear-shaped sections. The prof- ile of the pointed round at first has approximately the form of a circle with an attached fillet, but continually extends in depth, until at last (in the second half of the 15 th cent- ury) it contracts into a rectangular member with shallow holl- ows in each side. (Fis. 104). In the latest period to the ri- bs is frequently given the appearance of knotty branches or o other peculiar forms. The junction of the diagonal ribs at t the apex of the vault is effected by the boss (keystone), ins- tead of which an open stone ring freouently eccursa The boss is often richly ornamented by foliage, arms with inscriptions and figure scubptures. (Big. 105). The English late Gothic ex- hibits as a peculiarity long keystone pendants, held by suppo- rting iron rods, which sometimes are hung to two strong diago- nal arches spanning the vault. (Fis. 140). With the richer development of the system of ribs the const- ruction of the vaults also changes. In the hexapartite cross vaults already occurring in certain Romanesque buildings of northern France (Fis. 95), there is added to the two diagonal 1 ' 4 * « hea x we eae oS pa | 7 oer: oe aise P - “ ae { ge. F) i . a ae 4 wn 7 ‘) y : it Westen ae | . i | A if 28 a sy is a Bas bas Seiwaeoid tee dow bitds s asdors ak duis ‘10% ofdstive ylrslustsasa sxotezsds asw dotdw ‘ehiens ale af Ratyi sedors ebte relisme ows odd conte .mstaye eds tu8 seofate sbte ada to eeteups edt oF Babaogest109 elise yi ee -vhe BOL .2t8) .ativev cate ot teve beeaes aos hotreq otddoB 4s ‘aoieivibdvelstaespett edt yd tivev eaoto to mict Lantgizo aia® af mot 1806 sit Jaeestqges dotdw ,edia yd atnemtasameo sat to v Beo1o sd to bssteat yitaewceta .aottvosteqa Istnoriaod eag Sate@esg bus mict issitedqeiaed ni sinev Leoimoh s sigooo s{yav “tf Wem 9osTive egodw soqn ,ysd slusv sit Yo esiaas ods Azgords -ielq bayots odt ao sanktt edd mort adita sdz hedostorg sd asda aso aysd etsisqsa odai etotretai an0f to aotetwvridys sit asd? -swis teomis sis esdo1s saievensis oda tnd »Sealeior od [lite -sdogmi fsabzito tiedt seo audt bas sawRit odd at babsatoni ay -edfq asite edt es einisfuom bas esie oman ads kafvisos1 .soas vbestimo yletisne ese eyad otat tivsvy edt to sotetvibé ons 19489 aneisieg InsTioagminuy wese 10 te9qasetb asdoxve 94a1svedsis sdd ~stai saftine sdiv tovo dedotexse yinvoliag adix to dsowten s %o eutot dissv sdd to sostawe odt séiusy betten saedt 108 .t0fe ~paol odd ts 2tivev bataiog {isme yd besovaiesat siveav feunud 2 -o18 Sdi a0 awsib sex1tt aeds e& edit to diowsen sd? .esbia ts 943 90 bosoetoug gated ebiswietts .esaid tdgisxae ak nala bay ~ eat déiw ofdto® etel eds suf: .¢iuev Lonant sdt Yo esostaye @ aatisiiebas io seoqiga ods bas egotadost to Snemqofeveb aia -de1 098 asarti sdaisite edt bowobasds ses{ te ovis esosta woda bheddia odd beatstdo 919w t980nem aids aol .asvaus WG wodd dg0ed “OD ie8%8).cotfrovet dowa aooe .edits bevaus vidvod daiw ativev ~gosaaoo edd betivesa botreq atsi edt mt yltusuoe1t gasV .{ fat base eaottose1stai sat ta boeaots vedi sedz oz .edid edt to aot “th s wott 3ataia edia ofa tl .obte a9sdso ods ae ito tuo ot6N ,i9da0n af boasetont dowm y19v g19n (muetoo 10 asic) sr0gane 39 bedsaigico asds .ast beaeqo me to w1o% at boquo18 50 os es 08 edd of sew bortsle1g s bayot aiaT .(83f .Bt%) .atiuev ost oat 6 * _ otaosue? od¢ to etatblicd eds at bas eesg00 asdasdo datiae® -sqmoo edt etivey seedt {is nl .(aisdaetis) asdaiand to tab10 Ponceau aeel dtiw besou1rtenoo vilewtatio e1aw etaomer od? .(82 .afF-oas Sl asgeq see) edix 94% aesweod gaillewe stom | _ohveb edo tane ont aoitsvonat ns deviecss yllsatt ad isav besten q > 84: arches a third arch set crosswise and passing through the apex, which was therefore particularly suitable for the Romanesque System, since the two smaller side arches lying in the arcade walls corresponded te the squares of the side aisles. But the > Gothic period soon passed over to star vaults. (Pigs. 106 a), fhis original form of cross vault by the freauenti subdivision ef the compartments by ribs, which represent the star form in the horizontal projection. Frequently instead of the cross v vault occurs a domical vault in hemispherieal form and passing through the angles of the vault bay, upon whose surface may t then be projected the ribs from the figure on the ground plan. Then the subdivision of long interiors into separate bays can still be retained. But the transverse arches are almost alwa- ys included in the figure and thus lose their original import- ance, receiving the same size and mouldings as the other ribs. hater the division of the vault into bays was entirely omitted; the transverse arches disappear or seem unimportant portions of a network of ribs uniformly stretched over the entire inte- rior. Hor these netted vaults the surface of the vault forms & tunnel vault intersected by small pointed vaults at the long- er sides. The network of ribs is then first drawn on the gro- und plen in straight lines, afterwards being projected on the surfaces of the tunnel vault. But the late Wothic with the high development of technics and the purpose of undertakings s show pieces also at last abandoned the straight lines and rep- laced them by curves. In this manner were obtained the ribbed vaults with doubly curved ribs, soon such favorites. (Pigs, 107, 161). Very freauently in the late period resulted the connect- ion of the ribs, so that they crossed at the intersections and were Cut off on the other side. If the ribs rising from a fr- ee support (pier or column) were very much inereased in number, so as to be grouped in form of an opened fan, then originated ) the fan vault. (Fis. 189). This found a preferred use in the English chapter houses and in the buildings of the Teutonic Order of knights (Marienburg). In all these vaults the compa- riments were originally constructed with less and later with more swelling between the ribs (see pages 12 and Fig. 12). The netted vaults finally received an innovation in that the divi- ‘S nee red a bie oars ie Hi ver r i eee j : acai poet ae ts a se . heb: Rats odd: sai tenwt es edbubevenseatves fo data vd beoslass stem aénemtisamoc eft ted .eontd ra .ellse beater Lsbimazyq 10: (80f staq .f oantoy) adig a eslosv. {feo sesd?) .edia edt to aotaetmo odd déiw seoals vom Lisa dgiw avewdsa 10% yilsioegqas: .notecsagmi stisosisze 5 ead at qloatsas teomls i000 ved? . (908: s38q .f omalo¥) .2ene seadidvedsent si9ed¢o 28a0ms) asontvo1s aoxaB sat to oidsod sisi oe eet oeu(Qiudasbas7S aft9ge9 .2 at bus asgare¥ at aiudeddo edd déiw yltetdo ativey to emzot est to saomdoitus aac ati ’ wanes odd ot anivtes tdhocdt edd .d0osiis svyitsyeasb to aeoarg | -“twierto:aotévosxe ont .aoitouisanoa sii to taemacleveb snstat _ Se#aomettupet oldsensoztbut! as waa0l on atosanglos Lisw 1b95 . »wofed sonstaib i{swe's sa antanized ends .bsaes410da stew yoo? ‘ -besdiao yieritas sxew 10 .2fedi09 ao etluav edt to esaoqgut ads P) --a(60f .af%) sebte: iLew odd ts eiedioo ao. gaor asde adia oaF base eds 10 e90stane [few ods osaé eesq yisosrtb yveds vilear (202) 2329) .10dmam notstensss yas suodsin ex9iq: isnoaylos 10 , wets (it sy | ee | 7 ad iy | OY } a ms o cé. i a : may 3: ] ¢ on aI0be 9 3 P. iitthetaus aay EaanNes Tedtob-sten, abteee, © eatin * bebseetiedsiesrevodsvehen tedt .esiaee evouaténoo ie edt Yo petted 1esgo odd ovods yidoetiG .(2If .3f9) .dois bs +wbs efds® istasasat0-qsote 8 aseta yiferens’ tfovidors bedatog -isq et [stioq edt dotdw ud .fefdad Y1eos1t }) yrsoett dtiw bono i # -fdeh yisce1t sdt tnomtsert: asdota edd al .batasoos ydasicots sO dsetboed? .(6Lf:.af%) .ewobatw edt asvo baset oals sis as \vebte betse1s viuslimie bas rsdto ows eved yiistonss elaxbeds “dowd ¥te s9fefs saitevanart edt to efs edt no aletiag —asqqe tatii sis eszeextsed sit exatoetidois: lanastxs od¢ al Gort Qnigostotd alisw Saitqaeqase anowe sdf aaee vod? tro ~ has taom adiuay edt to 2yso odd o1edw adutog saods te sost odd o1meesiqg e053 OF Sathbneaesrt09d .aefsstat adt ak otine adie edt ~deiawsit ,eoats ([sisvee bettoeito exs. yeds ebiswas auideinimibd de Bersvo>d bas adsetio odd te adele S8atsevoo sitl-beds dsiw bs -fw etsides to betoursanoo yloittus sexit ¢4 .feddsh 5s yd aos -9989 .ebotieq stai bas teed edt-nt $(00f .2¢%) tnomscx]e suods -diin bedse1s ylisioomsar0 s19” yeds .em7oi starabom ab vlisio -(8ff .264) .eestste sot eedotn bas yis9srt batid .2sakblyou ‘ods Saesst0nf of asbt0 at bae esegettiucd aatvit adivigse: agdW ~so0m yidaom yods .gos da Qatbeol vd tevads sdte.od sonstetesa. > *“eedtaioo [fe to Satiitoxe odd 10% ©3001 sd¥ to sead saa anf 8 tisd a6sbm0 nottosio1rg bafeved sit otvatassoereds eit ebasd to viqesb s {lew oft of bodosdise Hbawor Bled 8s ddtw aigzas stdin yigsete soeties tsaqu edd ..9.f .giab ashen, edt 5as wollond tuo -sm 8d¢ bofieq saad ofa ot (BLE (VEL Leer) abrewsuo aatoole SyodA .esefsi saetlot s yd badogads yidsieteia asw sotat09 At " bodes odd sdd tetite some1d ai) redtwR.t001 eds anole das sé —daeypert (obsiveuled eds abuotxs (yrssne9 dd EL ad¢ to Isd1880 _ «-ASED .2f% -2e1ndaluoe siugit to noitibbs eds yd bsdaemsnt0 yt . ~dg00 doiad asv1se8 dja6q edt to saodds bas egantbitud derlana sat o(TB2 HFT 992)". dsetank escenmsitisd to won se vd beawore 91s of “d 10 eota105 rian sit svods daid cae ylasete seit sioor oT oleate Lobiu si? aevO .atnomsisted 10 ebsideuisd sdt baidsd _—«« eateakmies dotdw .eau ai! eevatsaco toot afdeh 9d3 to w10% ote 86 aokyfog! edd of Smibnogeszt09 toot aid 8 wt tiode ads 19v0 10% <9 hehe il om too1 bede'edT .aaia sea sdz 88 aisled plans they are mostly supported or interrupted by inter- mediate piers, placed above the internal free supports of the Side aisles. Aside from the tracery Sables soon (in France after the mid- dle of the 13 th century) generally employed above the windows, the external wall surface lying between the buttresses receiv- ed only on very rich buildings, and then almost entirely on t the main facade, a further subdivision by trifcriums and blind Salleries with mouldings and tracery, that either appears over- laid or free before the surface of the wall. The latter tode of treatment has a prototype in the Romanesque art of Tuscany. (Page 51). Transformed into Gothic moulded and tracery decor- ation, it is particularly favored for the resolution of large surfaces of gables. A particularily rich ornamentation was re- ceived by some Sreat churchebuildings in France and England, (Notre Dame in Paris, cathedrals of Rheims, Amieys and Litch- field), when on them is insested beneath the story with the r rose window a continuous gallery containing statues, the gall- ery of kings. (Figs. 128, 144). The subdivision by horizontal members is almost entirely lin- ited to the low and but slightly projecting band above the pl- 2inth, the band below the windows, and the main cornice border- ‘ing the base of the roof. For the profiling of all cornices of bands is characteristic the beveled projection under half a cut hollow and the water drip, i.e., the upper surface stéeply sloping outwards (Pigs. 117, 118). In the best period the ma- in cornice was preferably enriched by a foliesge frieze. Above it and along the roof.sgutter (in France after the the second quarter of the 13 th century) extends the balustrade, frequent- ly ornamented by the addition of figure sculptures. Sig. 118), The English buildings and those of the north German brick Goth- ic are crowned by a_row of battlements instead. (See Fig. 147). fhe roois rise steeply and high above the main cornice or b behind the balustrade or battlements. Over the middle aisle the form of the sable reof continues in use, which terminates over the choir in a hip roof corresponding to the polygon of the great plan. The shed reof no longer appeared suitable for 4 iS A ba dhe ies! ' ay om ily, | ae ee Bk As m peer ae pe iia aie 7 pan AN rug j ee ihers =t9e1e atoos ig [dsa benleuntt ‘ed seis asw $I. dalitas able ia ot eg pebeiiny) ‘aesaed odd to wotv ai bus ,eyed etaiede2 odd 16svo be i 4 teli edd otut beaesq yltasepe ttn ton wone bas 19¢8WHtsr Yo vileisaes oem eodoisde Lisd so o2f4 .{88f 1.2%) .to01 eosase)d _ Baftevoo od moxt Sattiuvaes asttiuoctiib edt biove of taauoe ¥veeod ati fee too1 olds yiiol slaute 6 yd ved sittns edt te »tave eioor s{dsk sersvensis To dnemegneris adv yd oonsissa06 ...@9bie odd &eole aoids& 10 etoos gid dtin evsd otsisqea sid S$ eeiediagael neve bgvot ef si9dd basllol bae yasmi9D dtzom al @oisnedts taetsoxk siT .ofeta eteisaes dose sevo toor eldss £ bosoolfoo abw gi. .19t%e8 nist to [svome1 sat of bisa ese , 9dt Yo eget ods awob bed .ciettw& eaote bstasamso yiinterso eds MOTT 18%. das bas ecleis shite sat isvo asagenttud aaivit semua ioifousi bas bdetsotatbh es beqsde .esiyosxsa eds yd allew (Ott .af%) .eexsdit femtne bas aiodoS odd bas aebie dtéod. go gedo1sdo ofds08 to atotierxs ont ~tae1d svisvsi1e0eb bas Raiasvoo Leindsadidows as a8 iss9098 vino .20fsontseuoo atuq 101 beaglevebd .acdslexe aniblivd 5 to tasa J eid to stgiosvidors edt bus 22ahsost oft at aseia vi saad OB. slodw odd Baiting .daamssers. Letaguunoe ylematdxs as o¢ B19Wwos ef siewod to 19dmun oc? .avitssasee1ge: Iei9enes basi 8 af. -adéso od?) .otvsovdidors dowwds sepeensmoh to dadd asdt esol 8 9d3 de si9wos wol agen I{ise ,YOIL beteiqmos. .aovod to. Leib _,etaeegasis bas afofo seewted Oa8. sbaosi aisseaw ods to aolans _,bashet ddiw eqsiuea -- etididxe SSSl-BTIL to nosed to. tads bas ated exsupe betavale bas betscol yleatt edt xo fosite ateds of . 9a$ aot saytotorg s ei dotdw .qvo1k on0 at si9wos nevee nave ~edtao SidgoD JacM .(9..a24%) .J-s-2uedmid se [s1beddeo o@nted. ate & feve 10 atowot aisteew svieess ond oF dotimil o1s ale1b 7x6 Ientbusibaol edt no Istiog nism edt rsvo betos1s rew0s ef _ -.._.. »8afeeoto sdt svods so1iys Toot ashoow [leme «5 baa et sdtsvels as bodgivubsiseib od yilsione’ yem etewot aism ad¢ a0 ' 8 af Satbastxe sissoutsedue odd iatisq satdd otnt babivib not _ weie ofpbia edd to sabia edt 10 toor ett oyods esiaote Lersve2 . 9d¢ bas ,ewobaiw buwoe Jeerz déiw antaeaqo yxose Lied eds .al ~sivd [sa0astoo azote. 6 to mzot ods ai efdd ovode aniata sitae vidaeupert bas evieesm oved esd o1syoa. s svad Iis yodT bia © ee aiedinala dotdw ae tane oad $s asazortiud boqgede : ‘ Pus) oe, i. Ora a 89 side aisles. It was replaced by transverse sable roofs erect- ed over the separate bays, and in view of the better removal ef rainwater and snow not infreouentiy passed into the flat t terrace roof. (Fig. 166). Also on hall churches men generally of the entire bay by a single lofty Sable roof and its heavy appearance by the arrangement of transverse gable roofs over the separate bays with hip roofs or gables alongs the sides. In north Germany and Bolland there is found even lengthwise a gable roof over each separate aisle. The Sreatest attention was paid to the removal of rain water. It was collected in carefully cemented stone Ssutters, ded down the tops of the flying buttresses over the side aisles and cast far from the walls by the Sarsoyles, shaped as distorted and fanciful human and animal figures. (Pig. 119). The exteriors of Gothic churches on both sides and the choir only appear as an architectural covering and decorative treat- ment ef a building skeleton, developed for pure construction, ~ $0 that it rises in the facades and the architecture of the towers to an extremely monumental treatment, uniting the whole in a Srand general representation. The number of towers is less than that of Romanesque church architecture. (Phe cathe- dral of Noyon, completed 1167, still has four towers at the a angles of the western facade and between choir and transepts, | and that of Laon of 1174-1226 exhibits -- perhaps with regard to their effect on the finely located and elevated square -- even seven towers in one Sroup, which is a prototype for the German cathedral at Limburg-a-L. (Fis. 9). Most Gothic cathe- drals are limited to two massive western towers or even a sin- gle tower erected over the main portal on the longitudinal ax- is, and a small wooden roof turret above the crossing. On the main towers may generally be distinguished an elevat- ion divided into three parts; the substructure extending in s several stories above the roof or the ridge of the middle ais- le, the bell story opening with great sound windows, and the spire rising ebove this in the form of a steep octagonal pyra- mid. They ell have a square pase, have massive and frequently stepped buttresses at the angles, which finally terminate in ‘ 4 a 7 7 es ‘ ,. oa al ‘ >> wpe: Cone NOR uy iat Fe ie ak} ig e : ; s Ny i a) 4 ' te 1 io a3 ‘4 . e , oi o p i se ae ae A le : P dy a d ' ry : . ‘ : LE “4 ie - » ry a j a ‘) oO Ise : | 5 ai sh assess O8 ovat eeskusd> tewot edt to tiusq asaqe sd | ed wed C080 319) {{sw brfloa s dstu tlied yifeatatao aan 9% ~ eantneqo dtiw 10 ewobstw sole dtiw adsle to betovitanoo aat wistidas esw ti effent® .(88 9269) .eliot a9qo to mrot edt at ‘ho eogbs odd GA .(83L (80 .28t%) Lyt90Bxs asa0 otat bevioast mes@ dedt .atewolt efans 10 atedoo1 etsdhs binerva rowos. adt ~qy aasitees ot siofaqmoo agdt das Kedaee sit biawot {ever oF =[d49) Wre08ss \celdsk odd To 20866! supt{do sat .toowevom brew “sad bus eeeesisted arty(t eds ogfe ylistensk bas .elatatt es edt aved woods serit tA Jetodoo1o saedd yd seasd o18 aenesrs “i389 eit mo’ Sex1ft) srge0fons yddond déttw 2bu0d aatnaao to mIOT 99 } OtdvoO to! sednedo sfyse {is wollot aedt sad {(n08d ut Istbe seas yo bemiot ayewls af atowot bas alstatt .aeldse yreoate “bavore boquors atedoo1o sgot to ateienoo teda .xawolt-2s0%9 fatevea) 10 ows af boQustxe Yitaewns1t (extae sdz to xeqs sdt edt eve? .(SSP vd IGE \e TSE .28t%) Vxedz0 dose svods ewox aissegs .toriedar edt surt{ ,isubsdtso otdtod sda to 19tverxs ‘Sas dotdw at .nottssto (sautoedsinows [evbivibat yiddid 8 es te timil sesusentxe edd oF betxta5 et aesesn sat to aot¢ulogs7 sage nhagl atti Seesetaxe yilotiswoq a dokdw ot baa .vtrlidteaoa -ersdmem oat Ifs ak stabs Cite ofdi09 edt to xawiio sat yd bearestes S8eta sat al — meteye 8:28 ,aqsy tvodsin wetnsg1o as as tleett bet ases1ds4 q oa to sideqso ceils asw ti son0d -eifsteb tesel adt at bored -.berodsiw yilevbers swrot eff .sosmaofsveh Lyte ivat sodsaet Lo lanreiaggind wikdaso dz Sl edt to: Ted baooce eit nt vbserld ; ; , | , 949 To taemsnxo Batavo1o teomqot saT notsstmamsato sastlot chatehaaton statins adowte oft vd soustssccs at sevis sit | sovsebae. bas eupzetutotq edt drewos aobtentLont ae .eacids sas | ponies ine demaaaac * betotitess wef! edz a wobesxt tot et Le a Rs o pe a -¥vouet “Teta hewdaee .soastroamt att saol ttedo ed? .otdtoD eral bee ea F Ep ad: 20) be beste ab seonentucong wow doaedo [Led eas to hidden oF ia aes 10 we tudoeied vaonss a ~2o70Ke one: tanliicd we) borseags asus visdaeo dv ah sds doi ° . sintovise odd ol .edeis serevensy git sino of 9796" * 99 canopy structures or finials, behind which the basal form of the upper part of the tower changes into an octagon. The spi- re was originally built with a solid wall (Fig. 120), then be- ing constructed of slabs with slot windows or with openings in the form of open foils. (Page 88). Finally it was entirely resolved into open tracery. (Figs. 98, 158). At the edges of the tower pyramid adhere crockets or angle flowers, that seem to travel toward the vertex and thes complete the restless up- ward movement. The oblique edges of the Sables, tracery sabl- es, finials, and generally also the flying buttresses and but- tresses are beset by these crockets. At first they have the » form of opening buds with knobby enclosure (first on the cath- edral in Laon), but then follow all style changes of Gothic f foliage ornamentation. The topmost crowning ornament of the tracery sables, finials and towers is always formed by the cross-flower, that consists of four crockets grouped around the apex of the spire, frequently arranged in two or several rows above each other. (Figs. 121 a, 121 b, 122). Thus the exterior of the Gotbic cathedral, like the interior, appears as a highly individual architectural creation, in which the resolution of the masses is carried to the extremest limit of possibility, and in which a powerfully expressed life pulsates in all the members. In the stage attained by the climax of the Gothic style,this represented itself as an organism without gaps, as a system ma- tured in the least details. Hence it was also capable of no further fruitful development. The forms gradually withered. Already in the second half of the 13 th century occurred (in France) the first indication of the downward development of t the style in appearance by the strong emphasizing of unimport- ant things, en inclination toward the picturesque and endeavo- rs for freedom from the law restricted to mathematical consis-— Ss tency. With the 14 th century then appeared (in France) the expres- sed late Gothic. fhe choir lost its importance. It was pref- oe erred to omit the transverse aiste. In the structure the type of the ball church won preeminence. [In stead of the clusteéed pier occurred piers with octagonal or round cross sections. | ni Lite ays asad beks ins othe) 1 AGO OGS vende coal’ ah ivthdue bas aottovrtanoo ed? .alstiaso tuodtinw adia ay vilsex bas betaine a8 to aoitinacoss edt timiea yadt :boat'tes '_=g0096 [evom bas asdeia wode isciadoot ai tasmyotas Lsotnedoom -96 tieay ten edd akatiies sd¢ ol .(68h .253) .tusuteous avits & bevaso eldvob edt otab boaesa nooe dotdw bas Slut sit siso -fe001 adi1 to dsowtea odd ylozax sow. .(f£S2) SOL, .aatG) adits -emos oais tf tod .ewobniw edt to yvieosts exif gusutasit 3 bev “eet off -dzow bodoastd visond otat vistitns batsisneash asmia ‘Yo sos0% 9d¢ bad wegaol on alien oft to asezam edt to aorsulo edt m& akatneqo [lene edt dtiw ‘olqioutzq basik smetqae odd . .e9oaTive tearel stoi o¢ acttantionk 9ed3 botseaqas allen “91 ai ti - ( aaa. SNOT sodosgAo okt .sotiutnse dt Y bao as 6 ad - ad My.’ Mi Daeetanel eBoin Mie uate besoloo yisuoin Tae a Le, bs Pie q ii ion LiAsikineke ibis idicickeeninsd asl ’. 94: Its technics substantially consisted in the composition of figs- ures with variously colored sheets of slass, cut out according to the drawing and set in leads. They were certainly limited originally to the production of mosaic patterns with cast sla- ss of different colors (after the example of opus sectile; see volume 1, page 113). * Then men proceeded to produce fisures by the same method of treatment, when the lines and shadings lying between the lead outlines were applied in strokes with 94a fusible brownish-black color . According to German documen- ts slass windows with representations of fisures already exis- ted about 800 (in the old Benedictine church at Werden-o-Rubr). The oldest now existing date from the second half of the 11 th century (windows in nave of cathedral of Augsburg). The colo- rs consist ef red, blue, Sreen and dark yellow. In the 14 th century was edded: thereto thé bright “silver yellow”. At the same time changes in the style made themselves apparent. Men endeavored to model the bodies of figures; the figures receiv- eg the Gothic flexure. They passed to important technical in- novations at the besinning of the 15 th century. They had be- come acaquainted with various fusible colors. Golorless glass sheets were coated these, they were burned in, producing the “uberfang” glass by srinding off in some places and then appl- ying other colors, obtaining an extremely splendid and effect- ive lighting and shading. In the Romanesque and early Gothic periods the paintings proper were enclosed in a rouns frame a and thus insested in a window, otherwise treated with carpet patterns. The best and late periods of Cothic enclosed them in a canopy architecture, that chiefly covered the entire win- Gow. By the splendor of the colors, the technical treatment and the entire purport of the representations, which took the- ir materisis, first from the Bible and the legends of the sai- nts, then from history, but also finally included the persons and families of the founders, the Gothic period created unusu- ally interesting works in these ¢lass windows, with high value in art and also in the history of civilization. © *® From the inspired writings of the early mediaeval authors we know, that in middle and southern France aireaedy in the 5 th, 6 th end 7 th centuries, the churches were adorned by va- Ptously colored windows of glass mosaics. Lcule ad ey } ‘ ¥ eee. eRe |! | si ea aad ae ee ey | 8 erry ‘itp om tsbiisite: e197 Siebhohb id? braves neue: eat oe yeh selyse ede) to viitao exitas edd ak [ist aottsx0ssh bas ? Phpkabytabethen ‘Batb(ied gaol dope bextadper notvosae aredr ofa tea; _ eulove ett to exts09 eda az -Olyse sid To asendiaq daex9ttrb. ote _ ©*8 etefedt baa boiteg seed sat oF StHt09 ylrs9 ons mort gots P eastZ0% odds oF Rnthros9os bswollot ylesels yrsev od aso .otdte® _ stae0 *.ebrswqy wolod mort bas teem. of tease mort edxow sdt to “aonemon Sdt ai beoqenmoo ybsexls stew eanicoutte Laantontta at ~otef edt ut ylno aotselamoo atedt bavieos: ziedto jboiteq suo stoteisds ebotieq saeietiib sis at ¢nom9aracte tisd? .omts te Pay i -eg0Lteviszet aufSaoqaert00 dain wollolt vio’ aes dosed as bue eofasaves sneistiib add otnt beorae VI wie .2onerG Tf ~tiq es beveagiaeb e1s oiyse ofistod ofa to sboiveq se1ds od? -abgiio ett to basi oft ,sone18 ai yistite? bas yredaoses ,r1Aa “Bisdd) wollot bas anotselfeags a9em102 ww0 oF sateriba ated ow FF as od od efensdd .ffo2 doset% a0 aotselove ett to seis09 Ls19998 e898 Hs gr edt to tied broose edt okdtos yines sat o¢ Benbiees _ | etd208 eted .yrwenes dd Sf oat boiteq teed ods oF baa .vaad pe “tenyiao erseagsetbh bas astaytnes d¢ Sf Soe at Of oad we al fat | -o0' odd Isvedes al .yistues de SL odd Yo birds seatt oat 407 ‘bas fenbfwihat yilettastadee on aaqolaveh soasy@ gt sivte otdt | “Toumesnos Lautosifesai as 2s e19m etscaqa si tentaoo Isnotsen th OE ee -betebienoo yosetis svsi ‘sw. se8an00 seodw .ofyde yts _ “veed bas sadarse sdt (O08L-O8Lf modt) ofds08 ylass ods al cwtsefo off Jeonaulint seek sved {itse t1s sapsenemoa to anrot | whqso stti-espivas seodw mort .21eta bawor ao ses el law y1ote | © etttasqexed ‘ylisrenes oda to edits edi’ Lebavor ods sata elas edt ot 2(80L) .e¢4%) Sebacor sarei to mrot eds aved adfusy B2OTD ang bedatoq of3 e1etw bas ,2edo1e bavot ateamer vilsvas ewobuaiw | *ofilum dtiw gntiLit Lesgnsusnr0 odd .s0efa atedd xk atsocas do ‘ on to efagntea edt asia basowk sd¢# al .bastime et ¥YTS0ATS Has Ba iy y Porast4s eiseols « dsiw asdsie sist oat et. elgis ttods ofdvob 92903 Yo aoteaino L[ettasq to orites dsiw +0" eLoqedo to aetass | bae a1Stese eds ted¢ 02 ,2oeqe ai one ylénsuogst adqsensis od gio sxasoutd. edt al .asla Leeqstst 10 Lteteat az betsors et ee ence {siutovrte rot setielise eis hbontater (lite - st eiited edt To taesqoleves {sabs1a eds ddiw detseaasath teed tag sana. aed sadeessacaleph hs tee72 sextt eAP alld 7 i ¥ - ‘TN eee, 7 * bebe of A if iy Sb or on 4 a.” i Ae al et a ad . Pat Whe ee Toe. SF ri) > ‘ Per, —s Pa tid: é ieee . : ey OF sha : rob rae. a i Vie, ee a _ a | Eg ee 7 95 Phe great Gothic cathedrals vere frequently in architecture and decoration fail in the entire unity of the style. As a rule their erection reaquired such long building periods, that the different phases of the style, in the course of its evolu- tion from the early Gothic to the best period and the late G Gothic, can be very clearly followed according to the progress of the works from east to west and from below upwards. Certa- in principal structures were already commenced in the Romanes- gue period: others received their completion only in the late- st time. Their arrangement in the different periods therefore can only follow with corresponding reservations. IV. Spread into the different countries and the Monuments. IT. France. The three periods of the Gothic style are designated as pri- mary, secondary and tertiary in Hrance, the land of its origin. Tf we here adhere to our former appellations and follow the s general course of its evolution on French soil, then is to be assigned to the early Sothic the second haff of the 12 th cen- tury, and to the best period the 13 th century. hate Gothic falis in the 14 th and 15 th centuries and disappears only af- ter the first third of the 16 th century. In seneral. the Go- thic style in France develops no substantially indiwidual and /oonational course; it appears more as an intellectual contempor- ary style, whose course we have already considered. In the early Gothic (from 1150-1200) the earnest and heavy forms of Romanesogue art still have great influence. The clear- story walls rest on round piers, from whose antique-like capi- tals rise the rounds. he ribs of the senerelly hexapartite cross vaults have the form of large rounds. (Fis. 106). In the windows usually remain round arches, and where the pointed ar- ch appears in their place, the ornamental filling with mullie- AS end tracery is omitted. In the ground plan the single or double choir aisle is the rule, either with a closely arranged series of chapels, or with entire or partial omission of these. Phe transepts frequently end in apses, so that the eastern end is treated in trefoil or triapsal plan. In the structure were still retained the galleries for structural reasons, but they disappeared with the sradual development of the buttress system. Phe first Sreat architectural work, that unites in itself a iit ies af Sw beak ee wee J . a40 a vir ¢ 4 e Ro Want 4 , + 6400. es e . fie : | TP an ny Otel ed Pe Ph abe hal a ‘ Ps: : hell - me he ys neon), i iy go Paty : ae y >) oh an Wie i fee: paises ¢ past or can mo ut ale 7, i ae Aare ’ re i. | dead: ede; at - ates otds09. okds ke ribheds ifeuedl bib The Le a ibabheisbuedvanertos bas atedo seodw .aitsd ssea ecasG 1.2 to | - benmsef bashasmessase -9on0r19 [sofsestaelooe evousi oat .teand eB sobs esd sT. BALL bas VSI noowtsd bstos1e 90 of. baauso 288 _ =9wod/ebsost ont dsiw aleasio to eforto 6 bus eleis ztode sida at [Lite dxsg sa098 atMesesoiwstud dtiw aottoursaaco aeodw a7 ; {ststourte won s to wottinkooe1 edd atimisg .amwrol saossasmon agp edd wd bewoilot yivoortbh asx aevi® oted [obom an}? .aeteve 1 aosd .(69 TV asgsq) TOLL suods Sstefgmes ,aovod to alsibedt + wosomever bas etasensat bas even beleis cords dtiw (SSSL-aNEL) (£40 .{8880-88L!f) eixs9 ts ems sato%: to bas. .(SP easa) 2x0]M > 0f eolats sbie edd to astsupe ows oedg dbayork at oved iltte eaeliss sts 91utouite odt af bas .efeis sibbim saz to vad sao ~(ag0T ai 189998 vod? Jedd o2 ,eotrosveuseio bas eastyotisd .eet “wot Owd dgim sbsos8i aisd2ow edT .eleis efbbim ods at aetuosa. “neat teom 10% Lsofays amoosq asd (SSI .824) omaG sisvod ta ats To/ mofdtteaent edt baa etled {einosttod.blod vy .elaabediso do | ~al to skatd odt Suiaistaos .e8aid ofS to yreiles belise-oe saz | fst did s yd bas wobaiw aor edd déiw yiote odt disensd . feet “gas ylagno1ute at aotatyibdye [etsostrod sit. .atds svode matrot | ~~ yoidtod: doger® to ysiasiivosq 2/28 bentstsi1 st tI .bastaad tds af agsdeo@ .aefafouizq eff of Safbaogesr100 gon cauodads eisibedsso doas19 teom ydw ,enoaser sad to sao asea 3d oF at a0 .Meds o¢ Baitaew af sitce sit 19% ,et9ewor beaqolovebas sven .atgwod ows edd vino .O2lL af avaed ,gextuadD to isibsdtao adt “is elbbim sds ot Qntdss{ Ietitog slatat edd asti dotdin asowsed | (ete Istbedteso sd? .baitblivd oidted yiaso sds of anoled ole ~8q doin eisnieris e1sia betssanlo dotdw at .(SSLl aveed).anse i ‘git setwotti bas ,2etreliss edt etimo ,eumuloo asbaeie to avi _ wtooo 918 aysd edd dotdw at (SIBI<8NID) eaogetoe to Lsibsdtso —hieemarhaeahigll 1sdsigt odd: 10t solisvenat taséroagt as 23° suount ee ais \- ,Meteye otdto®. edt to 7 an 1B ko rN eds a uth agatad (O06L-008D) portrea teed oAF 4 a 4018 feveatbom domes to sas oteeslo eds (ONSI-S8ESL) aipod . | - ebak bh teds .olind»ot eiteeb avofeviss s yd bexios asw sonem8 5 ie #18) ent at birom ods hal yioteid sitine edt gi: aloflersa wet 4 =O ea teodaia ont at gaslo bae12 ao edrow besuoexs dotdw bas 19 50 ahh nel) OnoosRied?\ ut soteve,Qatdtevera ott cote a Le ay yey RMS tes WAP td Vew TS oye LA wl ize SZeRe 96 all the basal traits of the Gothic style is the abbey church ef S. Denis near Paris, whose choir and western facade, abbot Susger, the famous ecclesiastical prince, statesmancand learned man, caused to be erected between 1137 and 1144. It has a do- uble choir aisle and a circle of chapels with two facade towe- rs, whose construction with buttresses,?in Sreat part still in Romanesaue forms, permits the recognition of a new structural system. The model here Siven was directly followed by the ca- thedrels of Noyon, completed about 1167 (pages 77, 93), Laon (4174-1226) with three aisled nave and transepts and seven to- wers (page 93), and of Notre Dame at Paris (1163-2285). All still havé in ground plan two squares of the side aisles to one bay of the middle aisle, and in the structure are sSaller- ies, triforiums and clearstories, so that they appear in four stories in the middle aisle. The western facade with two tow- ers at Notre Dame (fis. 128) has pecome typical for most Fren- ch cathedrals. By bold horizontal belts and the insertion of the so-called gallery ef the kings, containing the kings of Is- pael, beneath the story with the rose window and by a high tri- forium above this, the horizontal subdivision is strongly emp- hasized. It is retained as a peculiarity of Freach Gothic, a although not corresponding to its principles. Perhaps in this is to be seen one of the reasons, why most French cathedrals have undeveloped towers, for the spire is wanting to them. On the cathedral of Chartres, begun in 1130, only the two towers, between which lies the triple portal leading to the middle ai- sle, belong to the early Gothic building. The cathedral. at Sens, (begun 1152), in which clustered piers alternate with pa- irs of slender columns, omits the galleries, and likewise the cathedral of Soissons (1175-1212), in which the bays are cont- inuous as an importent innovation for the further development of the Gothic system. Fhe best period (1200-1300) brings during the reign of S. L Louis (12286-1270) the classic age of French mediseval art. All France was seized by a marvelous desire to build, that finds few parallels im the entire history of the world in the art, — and which executed works on Srand plans in the highest perfec- tion. The prevailing system in the Sround plan is composed of - at Sasi’ oven béiete opidé 8 \eTswot sheost ows ; rgaental bas yiotsludms efeste agiw itodo beleis ead teeds {stbsdtso edt To 1t0odo sdt at es) efesasdo Lsa0ky | givastenoo sis asfislisa sd? .aysd avounttaoo déiw . (St -9k9 otat bevioesy et yiotetssio sit wofed few teqqs eaP .bsteitmo | w 9201 odd to tedt ylusivotsxsa .y1s0sat edt aT MILTOTLIS GA dotdw mort .offarretosisds ets eereptt gatzsibsx sad .ewobntw ae 9mea vi hevisees ‘esd hetasaq odt to efyte Larutostidots ond | .(gnsadovex sivtea) efyta gattsibar bile trattogar. %0 sodmun 73912 edt S00me sonete sisdsyoa al -is Siituds1 .estsisd® to ‘Lsibedtso sdsebeed sdt ts baste stent “ewod M@IeTsoW OWs SOt Bnitasoxe AOST reeyreds To svrt odd t98z weUN@e Bt ,SISE nsged) amiosGutecFade~,.CSSL at petolamon et “dt69 edd .168f af bsonemmoo aattosts saodw .sbabat avomet déiw -issud fo giedo8 to asia edt tests SISI avaed .eastad to Letb9 } 9 basis edt .vtutmes dt Sf edd ak bstslaqmon eshanet? ada .e9d9o Snibliuder sid ,(G8I-TISD) eae sd to Levdsizs0 edt to at0ds sisism Seom sdF .( LSS sedis) eins@ .3 to dodo vedds oat to 88 sdt at .19vewod siddod doaedF sas to soitssto fyteoss2 bas _ -=tedm0M ‘to s1asid rd bevoots (9Sf 16:9) etosd ts sfleqedD ofat yseatq ent Tot -beuSiesb asw gT .BBSI-Gh8E ai etuog .2 tot os eidnob & es bnad viol sav mort tdavword 2o%fsy od% to aotesv . stove wads delers sikate 5ue tewol belets esrdt dtiw (aaedo 2esi2 sasotTingew yilsvavay driw ewohatw yasosas Liet edi a0 as 28 omit nig sdt 10% sfds2 YisoB1s oft erseqgs eaatdared } Oofssaiimres L[saretxs ~sieae8 [{rda yautaoeo dé el eit to egarblind odd ybasmro af sede lobdto® vise saz to asisis stevee bas y1b edz ased yIL Ssafiet edt asdtv astosisdo aawioll edd OF astd00d SsbnogesrtoOO _ ‘sy bettino at aeig bavora odt al .sfyte (eaoitsa edt to s18 =ba ot? letzs anism edt no Snivil leasdo ttotio sds bo notenstxs edt mister eletcaso edt tu8 .berstento yideia bsebut o18 219 dows isitstxe od? = .gattmew ef yisos1? Vwrot bud ordtod vires _ steeot> bestestams yignorte edz ys bessntwod et wot Lexutoati edd Bh .etowod Sba0st ods asdd tOdRid esety teddy (sowot BH ' eleabsdiso ods beaotsnem od of 918 ainemvGOM taosdq0oML ste0m : 8B) (OSE ~8f%) gogo to seods .ehatbhliod aitfase moxt bekasio remo ofdt0d aatd To edaow ietdo ows odd bas ,xvsterd xvoe : bel 8 evil edt bas 2995 to terbedaeo dsfete sexdt efit stas ©%) by es, Sen Lo bri: vd were tae 7 ae eee oo he ¥ mael, 97 two facade towers, a three aisled nave and transepts, a five @isled choir with single ambulatory and radially arranged pol- yeéonel chapels (as in the choir of the cathedral at Cologne, Fig. 153), with continuous bays. The galleries are constantly omitted. The upper wall below the clearstory is resolved into o2¢-triforium. In the tracery, particularly that of the rose w windows, the radiating figures are characteristic, from which the architectural style of the period has received the name of radiating style (style rayonnant). fn northern France among the great number of important works, there stand at the headvthe cathedral of Shartres, rebuilt af- ter the fire of the-year 1194, exceptinge the two western towe- rs, completed in 1260, ehaBhatmRheinms (begun 1212, Fis. 97) w with famous facade, whose erecting commenced in 1251, the cath- edral of Amiens, begun 1218 after the plan of Robert of buzar- ches, the facades completed in the 15 th century, the grand c ¢hoir of the cathedral of Le Mans (1217-1254), the rebuilding of the abbey church of S. Denis (after 1231). The most mature and graceful creation of the Prench Gothic however, is the Sa- inte Chapelle at Paris (Fis. 129) erected by Pierre of Monter- eu for S. Louis in 12438-1248. It was designed for the preser- vation of the relics brought from the Holy Land, as a double chapel with three aisled lower and single aisled upper story. On its tall tracery windows with unusually magnificent slass paintings appears the tracery sable for the first time as an external termination. En Normandy the buildings of the 18 th century still senera- lly bear the dry and severe traits of the early Gothic, tnat corresponded better to the Norman character than the refined art of the national style. iIn the Sround plan is omitted the extension od the choir chapel lying on the main axis. fhe pi- ers are indeed richly clustered. Sut the capitais retain the early Gothic bud form. fracery is wanting. The external arch- itectural form is dominated by the strongly emphasized crossi- ng tower, that rises hisher than the facade towers. As the most important monuments are to be mentioned the cathedrals changed from earlier buildings, those of Rouen (Fis. 1380), Ba- yeux, bisieux, and the two chief works of high Gothic Norman art; the three aisled cathedral of Sees and the five aisled a ee i cp ; ral ’ . a eh TE as y ihe rN ry ba ee . f neo 1) , Aine saan 2 a vi : oN eed Vu as ; ; | ee oat he) ~ ioe i oe. ihe ¥ a 4 es oe bia, fo 7 ¢ v avec we he | ieosudre’s to dat tre ‘anne ne enpisde uae ylidomiot sxedw .eons7% niedtvoe al f deve bavot bed .eanee omsa ods af besnitaoo,siyta sgpasasmaos oe yey toot odiate ylmo biooo otdso® edd .Ltoe aldstovet 2 + BooasdauterdS sitfasw dns evorkifes edt dasords eebreo@ ivi edt to daemgoleveb ofsettas sdt bathed bentamex oals dtuoa add | ylegetaxe 9moe betsafatse yviudaeso dt Sf edt at text? .dta0d yvilsaoidqeoxs tedt .esdivod to Isrbedteo sdt .eedoando otdro8 basie odd , (88S! assed) baszief-snomielO to gadd .davro 8 bad A gedd ao feacoluoT Yo ons sanodish to elsabadssy sit to ertods {esoteT¥ wteddé10n to tas sdi to sonewliat toaxtb edt batasqas “eedousdo sdzv oals sted (lite Saoled afyse yd sud saitt yd tov eetsvaners sdv eudt .botise oldtoD add of vansaso dt BI sat Yo Satblisd azetase dott odd .zguasbr0d Yo Latbediteo adé¢ to alas 8&8 dtiw ici& to [stbsdsso eas bers eadogesois® ai ‘ertass¥ .2 to w 998q issps ased som ob vonpaaueS at asnthitud ed¢ aetwoirtd -io visiaje sdf .sonexf 96 slel edd bus vbusorS to asaond dstw at swolfot {Lite ,ISI betelqmoo .mottG 3s gmaG satoU to doxs -fe afodo suodiiw weteye sisuoe batotatass eda asiq bayo18 att fidiw areilta basor toy asd sf bas .eleaedo to slorro baa ole -3s1 3d of otdsoe a2fa to ysttudem eat awolle tod .afetiaso bad ~seetddiud bos etivev Io nsteve betaisogso [lew sdt at bestnsoo 4 Yo eletisdtso ed¢ bas 19m92 ai sasG Sado to dows7s ed? .ee .beqolévebh bas betaerta yiaslimte sts sansessd to bas sitexoA Mehs-tanigl betseit yidotrobeemGortnt yhserls ead asstafl odd tod -819LG Se -bs eit Yeu sifteatitoob se mi (OOSL-OOSL) ofds¢oD stel sd? - — 7 r “Tees ageagdari tasasie bas easatsbasie smeidxs as vo bstuosxs “-sn09 yldstetots eax aeic bavors sd? .ativaes tesi eds oc Bot ‘dt adottavels al .aleqado fellaisa vd eelets abie sda ai bsuak did yrev odd otat betarso s19w viosarisels sdg to awobaiw sd3 ,éaemtsort doti1 s bevisoer esazsatiod aatvyit sdf .muirotias ode s ot bebnet cistostiders (evtstat bas Lantetxe eridaa od? We:: wisaeo dé Bf adf .aottstaonsnx0 beatter bas Iytsos1& . uw en woiy al .asimrt teebom ylsviteiot atdtiw boatsae1 La1aqe8 otaunsuanciend sew odd mee 2aorioumoo Lanietai euounside edt } : tie i : » 5 4 5 . i* ' a ~~ ie :*. oie ashi BaAuti +h tr Lae va, -@2e1st01 s stil totaedxs edt no bsteeqs .olats sisate - ti doidw ,botisq tdaed sit wotlk bedsimaasnd moseye edt oF heted ) ) dona a> i af Ag tf 4 i ee ; 7 ?3 ae «, 409 Brench churches, II, The Netherlands. Since the oonclusion of the Fhankésh agreement of division at Meersen(in the year 870), the Netherlands formed a German province, incorporated in the duchy of borraine. Only the an- cient counties of Artois and Flanders belonged to France. Af- ter the dissolution of the duchy of Lorraine arose numerous ¢ ceunties and duchies directly belonging to the empire, that a. after 1384 were combined under the dukes of Bursundy and their heirs of the house of Hapsburg into a mighty kingdom, enclosed between Germany and the North Sea, which by wise politics and art love of its princes should for a century take an important part among the peoples of northern Burope. According to its > 8eographieal location and the racial peculiarities of its peo- ple, which in the north (Holland) were exclusively of german origin, and in the southwest bordering on France (Belgium), but partly permeated by French blood, there are two architect- ural domains to be distinguished on the soil of the Netherlands. The southwest province was almost entirely under the influence of French-Bursundian cathedral architecture, even if there al- ready German influences are not to be denied. But from the be- Sinning the northeast followed more nearly the models afforded by German Gothic. In the 15 th century and under the indepen- dence of the Netherfands, strongly flourishing low German cit- ies became the chief supporters of a Sreat artistic movement of a chiefly German spirit. In Belgium the architectural works continned in the dead of the transition style until the middle of the 13 th century. Then the choir aisle with the circle of chapels sSradually fou- nd admission. But in the interior also further the stumpy ro- und columns were yet preferred, from whose capitals rose the reunds to the vaults. In the external structure the masters only timidly apd with hesitation approached the sreat wall op- enings and the buttress system of the contemporary high French Gothic, so that the system often appears as not consistently executed. Yet these works sometines attain a hish monumental- ity. | Fo the principal works belong:-- the cathedral of 5. Gudule é iy / Or, > F is heal d y Tee es oe Be eee fae : Pi mn : j “wOd: fies 5 ‘bevisoss sbsost seodw .G8SL) soute betoers ale iieren bns1y sat .(TOSIERERE -Sge0r0'8 es olyte ouvesaemod saz ni apsed .86SI-SeSt siind és _ --3%8) GiideoeM se eierdedseo tnedarS od® .sotiiesd tetq bsqsde mt od% yiysivotsisea bas .(ENS!I a9es%ts) nisvyod ts bas (LRG 45 iddfdw to .(68f .9f9) S@EI neded ,aaewtod to Larbeddso ankéog ‘@ Bas .yvassaso dz Sf odt at batoste [lise ean rtoda efdon ent ~9¥ ‘ods ai viae betoors ean etawod ows sds to sao ateddvos od t< 4 =91 gi6itaoe ods siidw .(stexsmedgak asv eusinimod vd) 8f6L a3 eaatow [stutootrdors seeds {fA .(86E .85%) .bedetatiag bsaisa ifodovdtiw asiq bayotk Letbedtso edt oF Saibr088DS bsaHs17xs 918 | | -@isqedo to aforto bas sieifs ort dott edt eved sedorado garsf teom bualloh at sstwadid | “eoism 9760 moteye oft yvitlanwte of yonshasy sds ts¥ .atodo to #0 af efegsiis to elosite ens efiadn USshwytevs Taseisdaus Yisart | Sdstiures Lemoayfoa s esn siete ated ens sed3 08 .bsdstmo ned | -sa1e ete medt to bestenl .tesc0setb oals emefseirat sa® aot % ,ewobaiw yioteiselo ent wofed esesesex 25 esbsxdenfsd betas . betsvos sis Sne esbhsoss sdt svodse ¢isd s oF awob bausize dotew ¥ ~tlqute tse13 evisestg amtot Iletasmeanio sd® .yieosit batld ed af eioitd ,baamsoo te elstresan edt ybaei{A .steawvisve ytto _-dasmqolersh ssat ateds betiwil ,eaode tuo dtiw aottsatdmoo ‘ wed, vamame bewoltievo ed¢ to fice satdited eqosant add ao x0% Movant ai Setispet sew nottouttenoo at saso 3so1a .ebabe -, dt mort stotetsd? .etiuev exote to a¢euids abies ‘gaoise odd ase ted .Goisovitagos aeboow of beieths qiduesoe1t nem ,taxit — aaitesistai yiev 6 at etfvev to wyot ads at sited aetto ‘gwar aaa asin sosq {supe a991 gon bib tddied odd ti aavd * pnbo7h ote" eadootie Isatssnt basta {iise sven ot to sT9I9%q beszetaxe as 410090 eonayseggs [an1esxs add 0 Esate teu enottsbavot etedw .(TSL .Rt8) excwos teba9 “id na paaat of, ‘Wisegeoen vino esw di e19edt aonte . ys luot i, ed ? 7 m7 i , As; ; ; vay it. Tat Pe Nie RRM eE a ae oe a Hots ennare ) seaemaofeved dokt 6 fosea ton bib eetwottk aottouxtanoo bosivsy | :elleot¢isy Rattos baol -s rot : . é £01 at Brussels, begun about 1626, with a nave and series of chap- els erected since 1859, whose facade received a tall window i instead of a rose window, and two massive towers, completed in the 15 th century. (Wis. 134). Phe Liebfrauen church in the city of Bruges, so rich in mediaeval: buildings (choir built 428941297). The srand choir design of the cathedral of Tourn- ai, built 1242-1338, besan in the Romanesaue style as a cross= Shaped pier basilica. The Brabant cathedrals at Mechlin (aft- er 1841) and at Louvain (after 13873), and particularly the im- posing cathedral of Antwerp, begun 1852 (Fis. 135), of which the noble choir was still erected in the 14 th century, and t ‘Oy the northern one of the two towers was erected only in the ye- ar 1518 (by Dominicus van Waghemakere), while the southern re- mained unfinished. (Pigs. 136). All) these architectural works are arranged according to the cathedral ground plan with choir aisle and circle of chapels. bikewise in Holland most large churches have the rich form of choir. Yet the tendency to simplify the system here makes itself apparent everywhere, while the circle of chapels is of- ten omitted, so that the choir aisle has a polygonal terminat- ion. @ne triforiums also disappear. Instead of them are arr- ansed balustrades as recesses below the clearstory windows, which extend down to a belt above the arcade and are covered by blind tracery. The ornamental forms preserve Sreat simpli- city everywhere. Already the materials at command, bricks in combination with cut stone, limited their free development. Vaulted construction likewise did not reach a rich development; for on the insecure building soil of the overflowed swampy lew bands, Sreat care in construction was required in reference to the strong side thrusts of stone vaults. Therefore from the first, men freauently adhered to wooden construction, that was often built in the form of vaults in a very interesting way. Even if the height did not keep eaual pace with the widening of the nave, still grand internal: effects were produced. In the external appearance occurs an expressed preference for sl- ender towers (Pig. 137), where foundations met with less diff- iculty, since there it was only necessary to take precautions for a load acting vertically. ~ ‘ ‘§ Kd ie dO Pi Lae ad - “ - + <» f = = A , “i ee ae) eae ” , * A ¢ bah # ey rage | " ‘i is ve, . ae ae pe ae coy ‘oie at on ee ke g1esqae teotens® ev! een even beleis evil asonwn ANSSI-baSt ‘tliad), aa oY Te 610. af .titwder 19ven een bas STSt ai iota a +i opt belets evit odsbus ,O06L gods bstsaiaiao wsbied ” 6 ebte wol ,enauloo basor tebasle d¢iw (Sf62) nabyed ts 19389 i Df edt to. oidso8 aesiotest s yslostb atissy ashoow bas asleis re gdoe71b300 78 doqud9 asysatdet? odt to ateseaw od? .yautaso dé _ & efeqsdo to elorio odd ditw sigis atodo saz tot babdiosb oels " - oy odd ,oLidn .asgewayk ta uedaseGuy2 te dotgdo edt to ogfs bas | ve sf t cetweiif bas .tt199 to bas (Saat ted is) misdat4 to esdoapdo ~yo 9 etige s.yierem ditw .(852 .8i%) modus te doxudo tso18 sad .39H08 8s to besteni ataseuais bus sven to notdosaisdst dt 19 we Yistuso dg Gi oat. .oleis tiodo Lenogviou s dtiw asdeniwais? bas, asia siodo dott dtiw eedoide tseak ows booubora s9dsaNt | ~ais. evit odd bus sd018 ts dowodo msysiidetj odt .ativsy oaots ] .s@ISf aetis asked .doesdaekosi9 te aah .2 to [erbsudtso bol | itasco eamoe yitrowaton isdtisl ets asaaiuord bas baelasia¥ af eeorD ([sotob dtin actauwtaso, dt Sf bast Sf sat wort aedoredg _ 0, abatbliwd odd dtiw,anoitsiss ovad yitactingm doidw .atiesy “ade xofad ots egniblind doguG teow seiwieds@ .¢ons1% aisdeos _~,eaeufoo basos ,etsdwom Ieaetoatidots anote jgo;dsiw eounTog Ao awe VU ide, -5oow to bsvoursenoo edivsyv bas -Oaalana Tit _ =9097 3843 \exehwee seit? sd¢ asw mobkaid basiat dettiea oa? | fis ett at Ssistosdiaors Yo siyte otdso® ens sonst% nowt deve | Ssibedtes edt to aninasd eds asttA § .taemgdtsveb to saste tacit’ ~ tistiirW soosrdois doast4 ens {AIL asey eds at yrwotednsd to tr Beet os aoteztmmoo end dtiw baslane oy bsifeo sew ane to : to Estbedaso ead ng wae sh .nsia ated eft to anibliader eas | 280 audd bas .etde tot Isbor slaszive seom sad (t0f 5asq) aasb ER ak on bie detfan® ao Sntblivd-otdto8 tarktt ont badei ides _ wetaye betaeteners adt \notsasonoo dons1® aisadion viswsa Bids | wisaititw ‘efo0sq detignd eff omnis tetad yaey s tud bslisversg aot edt atin: Iddtoww yeds ted ,eseloamt betasaqmi sds bsviexes 29d apd be retosuedo Isaotten stadt of asiindeq so10t evofos etesaayer sect siyte (stvtsotidors Ienoften soniterb s berse 100 Ttvaw tioeet asso ga aed otutsa Ismiesnt ati isiw song” a unre ba Mr . ea omit: 7 7 i iy ay v — oF 4 ¥ ~ /U 102 ¥ Greatest appears the Dutch Gothic in the cathedral at Utrec- ht, (built 1254-1267), whose five aisled nave was torn down by & storm in 1674 and was never rebuilt. The Old church at Ams-_ terdam originated about 1800, and the five aisled church of 8. Peter at beyden (1315) with slender round columns, low side a aisles and wooden vaults display a tasteless Gothic of the 14 th century. The masters of the Liebfrauen church at Dordrecht also decided for the choir aisle with the circle of chapels a and also of the church ef SynStéphan at Nymwesen, while the churches of Arnheim (after 1452) and of Delft, and likewise t the Great church at Harlem (Fig. 138), with merely a spire ov- er the intersection of nave and transepts instead of a tower, terminates with a polygonal choir aisle. The 15 th century f further produced two sreat churches with rich choir plan and- stone vaults, the biebfrauen church at Breda and the five ais- led cathedral of S. dan at Herzogenbusch, begun after 1419, In Friesland and Groningen are further noteworthy some country churches from the 13 th and 14 th centuries with domical cross vaults, which manifestly have relations with the buildings of western France. Otherwise most Dutch buildings are brick str- uctures withocut stone architectural members, round columns, and vaults constructed of wood. Ili. England. The British island kingdom was the first country, that rece- ived from France the Gothic style of architecture in its earl- iest stase of development. After the burning of the cathedral of Canterbury in the year 1174, the French architect William of Sens was called to KBngland with the commission to lead in the rebuilding of the choir plan. He saw in the cathedral of > Sens (page 101) the most suitable model for this, and thus es- tablished the first Gothic bnildins on Enslish soil. But in this purely northern French conception, the transferred system prevailed but a very brief time. Phe English people willingly received the imparted impulses, but they wrought with the ten- acious force peculiar to their national character and thus er- eated a distinct national architectural style, that in accord- ance with its internal nature has maintained itself until our time. fo , haces g igh "e - rs uf : 7 pry mBPi ra nom 4 iis re i ve As ; ae A or tae | Lue oti rk Ree Hated ey ivan aero seks. Laity ago Bei anes bawosy oat al "mtn (08 9g6a) aedoredo aensol ots 20 uata bedsunole rem10% ond ks Theeteent ef anotenenth tslleme at eleis saievansis bitdt 2 giem edt ao aunty sisdsdo bas odd yO bebmesxs ci atodo edt bas _ “ade odd etimo omstowits ed? .(yre¥ 18) Leqsdo vbel odd .2ixs () bas 19fq edt to motéensxes{e edt bos daemaofeved otasazo bao 0x8 Bf MoLtou1sea0o oat OF sOteaStin sdf -.aotsounsagon tLusy ~te e1stesm daeilaaa ed? .a0ttst00sb sas od bisg tsdz yd bebes -tan0o sviegsa supeessmoh edt to aottqeenoo odd of bsredbe [fi Tigeoe yous moits1o9e5 to ansea use edgy yo doidw oF .nottou7 to ¢daied edgy ol .eesatdati staskele to aoteesiami ond svig of edt to eaots10q010 odd of aofsetni rst atamet yodt eslats std ~anei teteo1s foum sd¢ 101 taeda og .tasattues edt mo aaaibiiad elsibedtso oidso2 edt Yo avotietat edd to aoteasr4gmt adt dt © .dnentigoS edt ao seodt to saad mort Sesaado eit baslacd ot “bas ewobatw edt at dors Setatog edt Yo nottitsaet taagoo1t! ve =g8 sdt tnveos of tdhane wom .aiisw sd¢ mo vassaqt batie sat ot “df sxoteisi? .2zsostire. [fan od? stamtas ot bus. tasmevom bran | -,99Tdt 10 Owe to aqdorR at ewobutw oft sknsits oF bersstera ye eeterne vifetoas® asw obs018 sdt svods Satbastxs morrotias sa? “.vViote yisliss etsibamistak os es bea “Badht sno bod exsimk {o loibedtoes shit to sisio sibbin oat # | ~ MNudating Yo inxhedinoe sat Yo tedt sud .Sdotes cn aigasi 934 ’ Gs ays 63598 ASxis sAd yino ss -goleveb raakibeubatis etiso s beatatts mottovateadoo bativaV. bas ten ,1e22 ywode Jeom ed¢ lo omod odd smgood basiank tos -e1nq sat) bevisoupo boebat sie saod® (ORM .ar5) .asivsy ost se 8a beceleveb tom yfisueu exs adia od .eansa issaensox0 vi ‘ot diode ao alsd109:mo teox dud .e1siq bavoegmon wort eaotenes SS N eebieeS .alexdedtso daifgod sid 10% tasmeatuoss oldacasagib - ('9 sgatfieo asbdoow sdd eaa65 Seom ai beebat sey at aisuoxtacee | -+baouget100 yi1slvots18a: o@is dsdd .ebarhifud asm1o at mommoo ¥ i oeahenispboce at beilivetiew ybserls ,elepeq basiei sat ot bo Ls i.1sasfe stow saedT .Safbitudgtde aretit va sottost 10) oor eLtabial Ty, enol: ous: box! wadycae b vaaubites, aaed UK a A “Sl é “ft 4 i e > «aie he : i | 7 . oa " A - ” Paw A was Tene) AA vw nae i ah eee wee re j uh : A) ae ; 4 ry * et ns sees A) Ny “ech tenllpmeaimet s bae etasenéad Baidostorg yfkaorte dz ‘ig mips bas baoosa & yitascpe1% .efeqsdo te eforio sdt-s00. - Of 00 miot avivev onote odd yifsceasd ,.e1stq ods ao toe sban. =@ 103 In the ground plan (Fig. 139) then adhered also further to the former elongated plan of the Norman churches (page 60) wi- th strongly projecting bransepts and a rectangular choir with- cut the circle of chapels. Frequently a second and sometimes a third transverse aisle in smaller dimensions is inserted, a and the choir is extended by the end chapels lying on the main axis, the lady chapel (S. Mary). The structure omits the str- ong orsanic development and the alternation of the pier and vault construction. The attention to the construction is exc- eeced by that paid to the decoration. The EnsSlish masters st- ill adhered to the conception of the Romanesoue massive const- ruction, to which by the new means of decoration they sought to sive the impression of elesant lightness. In the height of the aisles they remain far inferior to the proportions of the buildings on the continent, so that for the much sSreater lens- th, the impression of the interiors of the Gothic cathedrals in England is changed from that of those on the continent. * By frequent repetition of the pointed arch in the windows and in the blind tracery on the walls, men sanéht to accent the up- ward movement and to animate the wall surfaces. Therefore th- ey preferred to arrange the windows in groups of two or three. fhe triforium extending above the arcade was senerally develo- ved as an intermediate gallery story. *® The middle aisle of the cathedral of Amiens had one third its length as height, but that af the cathedral of Salisbury is only the sixth part. Vaulted construction attained a ouite extraordinary develop- ment. England became the home of the most showy star, net and fan vaults. (Fis. 140). Phese are indeed conceived in a pure- ly ornamental sense. The rids are usually not developed as ex- tensions from compound piers, but rest on corbels on short ro- unds set on the piers. Generally the stone vauits form no in- dispensable requirement for the Hnglish cathecrals. Besides temiremain in use indeed in most cases the wooden ceilings c common in Norman buildings, that also particularly correspond- ed to the island peadple, already well skilled in wooden const- ruction by their shipbuilding. These were either horizontal /// beam ceilings, or they had the form of a gable roof, or even eal oo : > r 1) At es) We eS h ey Red f ae bi 4 wes ul “a 7 he a eae eine nie PUB i tock 8 to rer seat une 7 Tat -arH) -eanivise beblte bas besuteg yd b59 a ee eariige d of avad Joa bib teurds ebfe Qq0%se es tsansm etdd ai nas ss kades Ie od Stadt 10 ,etlusv scote vd bediexe as ,dtin be “tet atte 9d to tagosos mo ovisosite essl crew atiusv saove : is) aasavords 1938819 sft Ons eetisiiek sd to aatesh edd .3a i ‘katyli -9onssrtogmi att saol medgeve easissud ada .2ilew saz Isaredxe edt yltaevpeenoo § .besdime yitaeuoe1t sv]ew esezortiud (9 dome18 edt to Ssdd wort borstirb vilsitesem o2is sonsiseqas “Tqot Sitaisetosisdo ei wobain Sodevels sse1m eT .elethsdtso “boeestaxs yisnoite ef Inomevom Lsotsisy ed¥ .sbsost aitem ene | Tesaoxitos Taeuostt yd 0598699 evewis ei tud’ .yts>s1s sds ¥a ass 8 lao .botis0 oupesnamod odd at es .taxkt tA .es9dmen ber seart emswot sbeosd .&ateeo1s edz asve tlind sew a9wed s¥ : -mrotte la 6 ditw etsatmred yiteom bas botisa tetal odd 1% tHE -eeitse apouatinos ods .iisw edt to Satbae as 2h Jf Sar . are) “at -OLdt09 derlanf of aetiuoeq eat atnemalsias to Abasieak 9e%ds noewtsd sted detweattard og saved setwadté oF > "| , id : (ONEL {ttqa elyse bessxd0e7 ods .OVSE Liter detiga3 yirsd oat “ yestastaso a3 Sf bas dt Gf edt to elyta asluotbasaqied sat dne “983 ido%s edd Yd besizesosisdo yltetto e1s adoous sagxsttib ody a toomtsoxt [s10d pr ee 8 atidtdxe (OVSI- aftr aort) elyee fetien® viast sat -ade04 gasifssxs bas s9228m eat to emottioao1g edt to tagmgbst ' “998 ea? Babdtite 2i totisdai sad al .dxow Isdaauacio nk tote % ads asda «its darlaqh of szstivosd .axsia sbanis sdt ak aottete a anor sebusle bsdostsb «wot yd bebauorqwe ef eusfoua evieesm g -if@ asluotios vitsves dsiw eoesd no baste asits{ sa? .eamuloo | “rosde buver ddiw elstiass beqede Lied wok sdt bane attsde tz9ba9 Me jaeote: saala vd beaetooeb vilssee at fetiaso ree oat (9 286H aad oels ek derf{ane vins? eit of 28220 ts tod btigdh oat | one * ry ts : : ’ Vw ) . ' oe ae pee tS i ‘ ged er) : ¥i OU tse ‘i \ DT oF ue or Mii ii , | Lin i ¢ te a &. - if ‘all we By Py fs ¥ ' a ‘ is a ote _ ¥ismextxe sis 9d eamyloo ao1f teso idsoe1 ovals dotdw .sdion - {stasnitaos to equsoursta ytis bas sdatt odd Sat - ely cr a goat oor Aisin ofyte noktiensag 8 stil ezom e183, e10 ¢ -emrot waa to : oan Istaensa10 ads fom ‘ ; 104 that of a tunnel. vault with Tudor arch section, richly decora- ted by painted and gilded carvings. (Fis. 141). Hence since in this manner a strons side thrust did not have to be reckon- ed with, as exerted by stone vaults, or that the erection of stone vaults was less effective on acconnt of the smaller heis- Sht, the design of the galleries and the sreater thickness of the walls, the buttress system lost its importance, Flying b buttresses were frequently omitted. conseauently the external appearance also materially differed from that of the French ¢ cathedrals. The great elevated window is characteristic for the main facade. The vertical movement is strongly expressed by the tracery, but is always reduced by frequent horizontal members. At first, as in the Romanesque period, only a massi- ve tower was built over the crossing. Pacade towers first oc- cur mn the later period and mostly terminate with a platform. (fis, 142). As an ending of the wall, the continuous series of battlements is peculiar to Enslish Gothic. We bikewise have to distinguish here between three periods, the Barly English until 1279, the Decorated style until 13870, and the Perpendicular style of the 15 th and 16 th centuries. {he different epochs are chiefly characterized by the architec- tural treatment. Phe Early English style (frog 1175 -1279) exhibits a eareful judgment of the proportions of the masses and excellent restr- aint in ornamental work. In the interior is striking the sep- aration in the arcade piers, peculiar to English art, when the massive nucleus is surrounded by four detached slender round columns. The latter stand on bases with usually circular Bli- nths, which also recall cast iron columns by the extremely sl- ender shafts and the low bell shaped capitals with round abac- uses. The bell capital is usually decorated by plant stems w swith conventionalized and lossely hangings leaves. Steep poin- ted arches, the so-called lancet arches, terminate the narrow windows. Only modest beginnings of tracery exist, and also of fiyingsbuttresses. To the Early English is alse therefore lack- ing the light and airy structure of continental works; it app- ears more like a transition style with tne Romanesque basis a and the ornamental use of new forms. Its most important crea- aa , Yh 4 oe a ‘ oe : Av Fe 5 he Pay 4 “7 eae om ey Hi os : ' ye Bee F P, if : a * y vy 4 iil e ' it ve fey 735 ea CLOT aii , , A ; fA Pda i : cs tae - ot ey? Wi vay 4 ‘ Srp °. Pt, 10 1. 880 esr feta) aloontd to Taxbedsss ait (85 oasq) ue y 26 Medi 2 bagon yileaisiszo asw bas OGIt at agged asw riod Roe dt 6f oda at is{ugasioe1 soem 26n iud .alsasdo I[stbaen seat eiwéem sdt edneessgey (G8Sf-208!) sven saodn bas ~ast s bemiot etisey iste saxtt odd bavi ors aids al -siyta tited agn emis ome odd af .edta sinsy ad¢ to noitearbs: siti xd bentobs yidoia .ebsost aebin s déiw efloW to Lerbeddes sag Gt eds to iodo 8 .s19W0d svieess Ons ya be age £t bas getgsit taeotTinges esi toi awond Liew .sevod 19tqsdo & bas yIsined dé -38. ed3 to dI10W tostieq bas gastioami teom adt ch .etiuev asi ast windat [eB to leibedsse sit beasbrenod sa.ot at sivae via “sis. no0a ved ods .OGSI-OSSI mort detoere ean aoiti0g asstase tenod Safaeo19 19hasla odd ytataso dé AL ong nk bas .2brewtS -otiqa Isbimsiya ovizesm bas gsese s yd baawo1o ylisaoisasoxe ~9bas edd aiscqas yibiviv (OTSI-ONSE) efyse bets10nsG edd al “100 bevorgmbeddiw roiissak edt lo tnsmaolsveb 1938918 J0l tove -iq Savors ed? .tnemcinpe tomti bas sdkied wsts9x18 .aottouada svitosagise $43 sesoqoni of . mol betsanols ett antstes as vd peasge et atoio sat io fisw bas edd .10itedat git to tostte eda .sitol isivast1i iseqqe yr90sid edt al .wobntw Iseeoloo s 2 edt i fe) neds aeifiss eudt) emiot sAt{amsit bas isbbsld deit | 90 to mottoere odd mihbebepesa saiwodif baslga® .(tasattaoo ““mgvbs oa beyotas adéivev encte hotseq eine sit neve 308 edivey ' xyitasuosxt yiev eto vadt eisrbsdtso teers af neve imestes bso 5 SSW goagetssud Safvit 21 .soitourteaoo ashoon yd badsatmi <\\ ; ods tog” -Mioi ddgc01m slamie sdt beatsiex yods .hetourstenos (Dot .2¢9) .edatbl -n09 bas ast at avged sobsod ai dorsdo. yedds tstanrntasW al ; geY .aseqqs eiyts edd to eelatoniia wea edt OCI tuons beteiq det wt at box tagooet ed vsm ofdto® done% to atostte yasm | dtiw ttofo isaosylog sdt ai ylisisottzeq eavloamsda seo ttasa -=0¥ to lerbedaso edt .bne lone ai levesan .efeqsdio to sfosio 6 * prhesemenas, yIsy 6 (r662 Guzed 1ion® ,a86£ besetqmoo evsa) ia We iqme 2onstssags faniesxs asi at eqwtoursa botuoexe yl ag roinetat edt at bas (Sar era) asbaost eid a0 ageqe qiso ei olais efobim avotosge eas dud #2 tisoiszev “som Laoistey yd bebivibdue vidoia esen sbsost sdt to asostava’ ; ie RR Svea Me a ee rT.) eee us Yo tesou7de {ebom 2 28 agsa soumse az .tiusy aoboow 8. wv * oh : est: ao. Le , P ' > A. «a ae ’ ae folie’ ‘get ‘ APs OMT, hee. A . a5; 4 ‘ - a i= i i dia alld tla Tu aft Hebets: ‘odd. to asbsos? ede $58 pLaberaec ims 195 creations are the facades of the cathedral of Feterborough (pase 63), the cathedral of Lincoln (Figs. 139, 143), whose choir was begun in 1190 and was originally round with three radial chapels, but was made rectangular in the 138 th century, and whose nave (1209-1235) represents the mature Barly English style. In this are found the first star vaults formed by fan- like radiation of the vault ribs. Fm the same time was built the cathedral of Wells with a wider facade, richly adorned by figures and flanked by two massive towers, a choir of the 15 th century and a chapter house, well known for its magnificent fan vaults. As the most important and perfect work of the Ba- rly style is to be considered the cathedral of Salisbury. Its eastern portion was erected from 1220-1250, the nave soon aft- erwards, and in the 14 th centary the slender crossing tower, exceptionally crowned by a steep and massive pyramidal spire. In the Becorated style (1270-1370) vividly appears the ende- - avor for greater development of the interior withi improved con- struction, greater height end finer equipment. fhe sround pl- an retains its elongated form. To increase the perspective effect of the interior, the end wall of the choir is opened by a eolosssl window. in the tracery appeser irregular foils, the fish bledder and flame_like forms (thus earlier than on the ¢ continent). England likewise precedédcin the erection of net. vaults. B8ut even in this period stone vaults enjoyed no advan- ced esteem; even in great cathedrals they were very freavently imitated by wooden construction. If flying buttresses were c constructed, they retained the simple wrought form. But the surfaces of the facade were richly subdivided by vertical mou- ldings. (Bis. 144). | In Westminster abbey church in London, besun in 1245 and com- pleted about 1300, the new principles of the style appear. Yet many effects of French Gothic may be recognized in it, which manifest themselves particularly in the polygonal choir with a circle of chapels, unusual in England. The cathedral of Yo- rk (nave completed 1835, choir besun 1361), a very monumental- ly executed structure in its external appearance, emphasized on the facades (Fis. 142) and in the interior by very decided verticalism, but the spacious middle aisle is only spanned by a wooden vault. It cannot pass as a model structure of the * , z os . i) We =a J #4 , Yee i} a tl oe - a er ae s i mT i Res teeiedcsieohsas teal (ae oat Lateral fois ole ent’) blettdotd s8 Istbsdsdo basse ods ni datisasiasy © deen’ ‘ow dotdw ano ,yisdne0 ds AL edt ai botoets yilsttaedadue r gotsqsoxe a8 28 aiewod sexdd sid Yo saites buo1g odd nottnem s =fvibdwe yidot« odd vd bedetusattetb et doiadw bas olor edt oF ~fa déiw atiuev Snilreo bas aedows sbasia .eisigq betetaulo bob dove otedw ,broteteh ts tedd base .wr0t sititzast ai “Rafeia ed “a8 aepats fothneas’ edd tadt .bevolass at dots beantog asete 6 he 9ailt tdaieige 8 as eteog * “8F eta to elbbim add tude od-ONSt). aiyta asluotbasa1ed ti? ~tmob onti L[esttisv os to tanooos ao bsliso oa et (yanstaeo dz bad .¢neuse01s evitatoosb bas Istutostidows saitns sat Salisu atesia betstaulo Ssafo, viszolo eda bebivibdue elleoitezisas tr A. -{% etfs mort sett yiiseiasato tied ai tedd .abavor batalvev va sid Ydsiedw .bessino ower auytiotias od? .asiusy edt of 400 y1e0sas bas enotlicl .bousetont eaw asleis sbie sdt to ¢dated - OTT sedstise [few sdt sevoo etsd [stmostied eaitoonnoo dtiw ‘giteow eactilom oct swobniw ods al .ativer edt os sbsors add 4 fiows betdiog edi .dots sit to siTI0e odd os ylisoterey baedxs ; [sex sdv ot boagoxgeb at ti looasdrogut Leigtourse adc ese0t | -bst wol yisyteds 2G4f mor8 .now sebo as of bevaiyosy To dow =Boloas aovio afsss ei aidt bas .boslan® ai emod te at dors 10 “SSE .8r4 at 9) .(Ledel) slins taste 8 Satmrot. adntbinvow yd bs “FF Sa o(VRE FH at dows Ista0q edt bas eaarhitvd taeatmorg yilsiosags at bevxuoso [itte oftedsiB .eail batafosvy xewol 19ve as dzin gottousisanos ai aslusy snore atte edits siri-ast bas .dous 10bsT to fesd sdé antssmtxorgas a Istatourse edt yitsera yiev wok .(88t 829) .yrsosTt bislasvo . adfosy ast sit at aissqas second af betoelaenq yilsatt asw sabi ye Sebaecese bogsde-feanut dtiw aaatblivd atetisy at antatu990 -oms \ebor dort yd besroqque eis ceodP §.(ObL .ar%) .senotevod ; Reicons edt 16 ved fo8e avode benws aedois sext ond osak bexod Botte 8 betseqos yidsaeo dy Gi sdt to slbbim edt Juods 39 y at beqofeveb etow doidw -Baari tes aeboow to Jovel ar nottoss4 ve ever a A epee . ag. lig e I {6 od? ecstl ‘aed -ivOweitet? “oor eldtaiy ai es [sw 43 i os eibivbonty e2bsost tSvo0 he saettet yidota ‘e188 : 106 rich style. The specific English conception is most purely r represented in the grand cathedral at Lichfield (Figs 144, 145), substantially erected in the 14 th century, on which we must mention the proud spires of the three towers as an exception to the rule, and which is distinguished by the richly subdivi- ded clustered piers, arcade arches and ceiling vaults with ri- bs rising in fan+like form, and that at Hereford, where such a steep pointed arch is employed, that the spandrel: almost ap- pears as a straight line. The Perpendicular style (#370-to about the middle of the 16 th century) is so called on account of the vertical line domi- nating the entire architectural and decorative treatment, and //: it energetically subdivided the closely joined clustered piers | by vaulting rounds, that in part organically rise from the fl- cor to the vaults. The triforiums were omitted, whereby the height of the side aisles was increased. WMullions and tracery with connecting horizontal bars cover the wall surfaces from the arcade to the vaults. In the windows the mullions mostly extend vertically to the soffit of the arch. The pointed areh leses its structural importance. it is depressed to the keel arch or recurved to an ogee arch. rom 1450 thetvery low Tud- or arch is at home in England, and this is again often enclos- ed by mouldings forming a right angle (label). (G in Fig. 124: and the portal arch in Fig. 147). Hitherto stiil occurred in especially prominent buildings stone vaults in construction with an ever lower vaulting line, approximating the keel or Tudor arch, and fan-like ribs with overlaid tracery. (fis. 148). How very greatly the structural idea was finally neglected in these appears in the fan vaults eccurring in certain buildings with funnel-shaped suspended keystones. (Pig. 140). These are supported by iron rods, anc- hored into two free arches turned above each bay of the vault. But about the middle of the 15 th century appeared a strons reaction in favor of wooden ceilings, which were developed in the most splendid manner, both as horizontel beam ceilings as well es in visible roof framework. (Pig. 141). The blind tra- cery richly extending over facades also Sives to the external architecturel appearance of the structures in the Perpendicul- b4 P } j < i rd é “4 CPA ee ull a haa Aig: iz Ne on ye Li ia? ss + iF o ‘ ee ; fe y . o - 2 fe Nt or cP i voli det ibeg (el sebuorineanes ie, Pid ecdeded tineibes: detiga® ots isiw Quiseree ylis | basdo edt boxxwoo0 yiudnes dt df edt to dae ont sa ybsori © ‘Ss bi lbei Matedincs ox¢ to, sven odd to batbitnder eds.ts olvée sdt at t Istbeddeo siz to tetid wo cedwotil bus .{£P2s-89ED) eaedastns® «SAF Tebaw, soitodai scodw .(8bL Bi OSE reste) resesdouth to if itGides elyte selvoibusaqas& eds Io eatonebaet edt to souse tint edt v8 , .eedowwdo, deifga. sot enoisve@oug sebasie yilecevay oa (OCbt-aear) evowst ei seseod® ts Leibedteo. edt elisse s£0do. doin _ sMBD BLS, at beowborg)es ei Istcogtebbe oxedtuce fnittssed seodw Bh, enoge ai hesourtenoo. st lusv asi to toemcol{seveb tasdoia edf 9b1098. .2 lo fecsdo, edd ni olyte asiunibaeares eat yd benisdste ~dw\ ot) .( Ob! .biw) S8I-O8M bedsores, .noebaid gs elteso sit to _ edt. aevo. #xow e*seatot sxti sbosd ai bnestxs ebotiivuom sat dot 9 geve bus yistete oct of sexbeb asddid lita « ai bos .ellew . betelahos). sabirdmsd ni ebelfod etsail to Leasdo enotoiaase ai yodds isdeniaseeW oi TIV yunoli to ¢edd, bas (BRI ere ;088r [ie asboow dois diiw egniblivd tnssaoaqmi sxom sit %@ .nohsod | 7 -rdms0 te yis% .2 io estiorido edt benoitnom ed o¢ tey sxa ednt _ goredo ytinid? bos ,eoieW oi bived .2 bow .Jodeiag te bas eabi yy ',govd-no-biolisise te ladelauss. nse sas ge vidnespes? emew elerdsdteo deifeantk ed? “ etaemebosiis dsexk yd hehavorise seeds. erew bas sedoxudo ysetes - Ge eit dotdw Snoms .eneiq yr9deenom x0} bobnstnd edeiblind Yo ea Teidned, oiddod ylewd es hetasits syew esevod rstaedo bibnel doew -(GSL .8f8 at 2 osio boword bas 86 ehsq sed) .ednibliud ps tee aot duoadetidatss edd betoennon yl¥ooxkbh ople sxew wadd f fooe fos Sesiket si aoisisoa Jossuoqmt ag, beiquoso oxedT Ami dla Sf edt to bue eds. ts .olgusxs 108,,.9wed apis of benisize =~ ; "iin mds bobasiée esew brolx® ts efoodoe benresl sid yasdaso + anode nt sedeioores.woliet es, bo2bol een odw .eicabuse 900,06 1, eepeifoo. bearss ylietio revel ,elied bos efetiasod .elled 006 Tatas: batoanse 26382 eviensaxe sieds dtiw aegoilos seads al _ read gidois, yd beseveo elles o¢ste Lezeolon bas avobaiw yed to Iyse 2 iuotbneqred eds, .ebaidies sehoow ywode bas atinveav bess id f bepisses esd ti doidw ,noitsusisnoo teikuosa teds psoot {\\ a vabee stageet fetiga®” sds en etieas saa eti ni. waboa 2 Ss ost ig es Av ; oy ise ie oress. ee) ee Vasa 3 7 i eee eh eee 7) eV Ae. Ore Ge able : Cad Oe 107 Perpendicular style their peculiar impression, guite particul- arly asreeing with the English national chahacter. //§ #lready at the end of the 14 th century occurred the changes in the style at the rebuilding of the nave of the cathedral of Ganterbury (1378-1411), and likewbdse on that of the cathedral of Winchester (after 1394; Pig. 146), whose interior under the influence of the tendencies of the Perpendicular style exhibi- ts unusually slender proportions for English churches. By its rich choir stalls shé cathedral at Shester is famous (1485-1490), whose beautiful southern Sideiportal is reproduced in Fis, 147. fhe richest develooment of fan vaults constructed in stone is attained by the Rerpendicular style in the chapel of S. George of the castle at Windsor, erected 1460-1483 (wis. 140), in wh- ich the mouldings extend in bands like joiner’s work over the walls, and in a still hisher degree in the stately and even c. Capricious chapel of Kins’s Gollege in Cambridge (completed 1530; Pigs. 148), and that of Henry VII in Westminster abbey in Bonden. Of the more important buildings with rich wooden ceil- ings are yet to be mentioned the churches of S. Mary at Cambr- idge and at Bristol, and S. David in Wales, and Thinity church at Stratford-on-Avon. The Bnglish cathedrals were frequently at the same time mon- astery churches and were then surrounded by Sreat arrangements of buildings intended for monastery plans, amons which the sp- lendid chapter houses were arransed as purely Gothic central buildings. (See page 81 and ground plan K in Pig. 139). with them were also directly connected the establishment for learn- ins. These occupied an important position in tngland and soon attained to high fame. Por example, at the end of the 13. th century the learned schools at Oxford were attended by nearly 30,000 students, who were lodged as fellow associates in about 309 halls, hospitals and halls, later chiefly termed colleges. In these colleges with their expensive sates, charmins forms of bay windows and colossal state halls covered by richly tre- ated vaults and showy wooden ceilings, the Perpendicular style // , found that peculiar continuation, which it has retained until — today in its principal traits as the “Enslish Style”. | 9 ap fis bites: Oo eae | Re a seer tes oidtod ed ebnel neivenibaso® ol e710 sctnesvcom nisdIs9: sO .dasudoleveb evitan Sd dtecen “ettel ent Snowe eeonen Link nemieS eieddo go ci be bas beaeoro acoe seed? .yueris® tesedd1on worl suoo dotdw i «yd bettimesess .enoieesiqxes miol doner@ es to enoid100 batqo ¥ dw odo 0) ,nebews of sonst® mort SSS! ar heifes exsd 3g % ‘ebast giedsicu seeds at asee albbin offgon sas to s28) RE Leo sonessooMmi to snotisern wet ged beoubora ead 4 as Gf edd-nt betenigivo misddwovll ts8 Lavhsdten ede vyen10H Bt? ggodw .{S8 eksq see) bemotdnem ed 03 ef bus (9ht . are) ytbadgo -“Pititiw gqod et (tel .6 to dmot edt .atods Isnoasdoo brbnb tae “vis ot to batds teatt efit to otnto® deileal yfos® eds to ennot sat ~vensié eat base even hefeia serds eft slidw .vantnso dt EL eds | i obsost ows déiw Sniblivd nieteew belets seat begass16 vieers -199 yiuss odd alleces [sé20q sit to taontecid dota bas-cr9wor U we SS. letbedtes od? .eniut at steixe yfao won tad .otndo? sem : “nd eeiwori I aiodo « (SYS! ists) bevtsoe: (&b chad 1obosverG t9 ofyse OrntoD detlan® viasS edt nk sft : to vie Yetdo sdi amet SeteSintd ts LIsxberites oft nobew? al i ni (seer u9t%ie) betesvs caw bniblind bsooss ea? .botseq sng | ‘Eat god \(OSIE ni noged caw dertd end) boiveq neitiensasd edd A Ronedeoin agin dowdo Ife a ofnf betasio naw hoissa birdt ast won a3 te barhiind edd cI .vseostd wohoiw doia bos ersia : 308 eleaesio boxers ylisthss setdt bos slets siodo détiw ato dosixs® Tagesm osmie9 s .yissas0 dt Sf edt Yo redaenp seal odd | _ -nenm09 eaw efsegl io [eabedteo ed .beseqtoidtiuso entolod mort Bs. edd a0 Livenao8 9h onasiza sootidows soner@ eds yd TEST nk beo4y\ 086 anode $00 d¢iw suusouste Yoisd 8 ea asia bavork Leabssdaq ra s eretg berosenlo edt bas wotaye eeettied .atofo sa? .enottsi0 ag -." a ) BUBsoesidors Sntatswet edd :em190? Monet™ ni hodneixs ote ie -acibeage exowos ows dtiw sbsost yledete edt bos even sit edt dtiw) eoonkvorg oftls% eft to elebom named ont Y rebaw SoM ot beselqnoo eetwexil wobaiw sao1 sit to 28 ONO da -_abaogeb oels slseal ts Isvbedseo ent 10 .esonentt at et ad a ftuder ,exei2 3s Ienbeidso ent Yo nsla beqede > ash ee edé [Lew bae edd at adididae doidw bas .yavdas9 ’ naee ‘i ny ie er yrsos1s eerorErayse 6 daw ihe , 0 ba i % , i A eo ih tet ; 4) my ve LALA .. ae ay a i . ’ i ¥ a a 1S ta © Opin yen “hs, Slee ae wT ee 108 IV. Scandinavia. In Scandinavian lands the Gothic style reached no peculiar native development. On certain monuments predominateiinslisna, on others German influences, amons the latter especially those, which come from northeast Germany. These soon crossed and ad- opted portions of the French form expressions, transmitted by stonecutters called in 1387 from Wrance to Sweden. On the wh- ole the art of the aothic middle ages in these northern lands has produced but few creations of importance. Tn Norway the cathedral at Drontheim originated in the 13 th cehtury (Pis. 149) and is to be mentioned (see page 42), whose splendid’ octagonal choir, the tomb of 8. 9laf, is kept within the forms of the Barly Enslish Gothic of the first third of t the 18: th century, while the three aisled nave and the transv- ersely arranged three aisled western buildins with two facade towers and rich treatment of the portal recalls the early Ger- man Gothic, but now only exists in ruins. The cathedral of 5 Stavanger (page 42) received (after 1272) a choir likewise bu- ilt in the Early Enslish Gothic style. In Sweden the cathedral at LinkBpins forms the chief work of the period. Phe second building was erected (after 1232) in the transition period (the first was begun in 1150), but in i. its third period was chansed into a hall church with clustered piers and rich window tracery. In the building of the new ch- oir with choir aisle and three radially arranged chapels for the last quarter of the 15 th century, a German master Gerlach from Cologne participated. The cathedral of Upsala was commen- /yeed in 1287 by the French architect Etienne de Bonneuil on the gathedral Sround plan as a brick structure with cut stone dec- orations. The choir, buttress system and the clustered piers are arranged in French forms; the remaining architecture of t the nave and the stately facade with two towers rather follow. the German models of the Baltic provinces (with the exesption of the rose window likewise completed in £485 under French in- fluences. On the cathedral: at Upsala algo depends the cross*” shaped plan of the cathedral at Skara, rebuilt in the 14 th century, and which exhibits in the end wall the rectangular c their with a masnificent tracery window with six bays. Great- | : ebevoine eew | soe. tabadhe To io edd “beeed vele af gobi no. words Iled sig , a eeeds to gniblind feborm # e4 .r98b10 enidecRiaa © ptedip: dwanne cen dtiw doundo snidtibiaG beleis sends ens bet . bus 886L asews 9d enode suid at bedoere® saw doidw sastebsl ge. ‘ ; asdeG .8 Qo doteds eid nebews io hives emersxe ods ol .OGAD 2. HSid oh fivod ,Biediateleh ts dotuio newack edd bos Sols os - efete stone .tiod® hobie evil diiw temiot edd .eleia sibbio ae | - sete rioto bebie seudd fdiw iedasl sit .efeqsdo to eiorio bas pt dotad nswie8 diiron Jo: ssfowsso ant o¢ heverbs .efsaado suodtiv : peeing tite’ ay . Foci eboaivesdiwe bas siatervh yosmie® Betntsacs josith s se resaas ton bib sidtvod edd ane al | nt eoust® movi bhegsxdensg di sud ,elyte noitiznsis sds to. nie X my olyse $18 besefamoo se ea yisdaso dt EE sid to sexnoo eds deotbiad edd efesbeddso aemis) tse1xk odd nt benisida Fi ees “ferences at si{daqeso asw ti doife fo inomooleveboséissiguavin &; eda : Beoniag Jaoxeliib edt Yo seisto conebixer suoremun oaf PES ‘eeidio to noissi9bei asidewe bas teiosd? ent Yo asitio saxty } waaoeliesni seen ieud & io e61dhSo edt eusosd sega sdJ lo bas Naivitse Jneciwosa teom esi bawod doids iit oitsisis bre fe “390 ed¢ to sonemitoi end reba. .sxudosaidors Yo nismob sad nt tists asiivoeg yasm hedoobs Iftte slyse oidsod sia Fiutae asm gen opis e7ew Saomdse1s mio edd Gas asia bavowg ans Ti seve i -dasmooleveb beaiwieteb ylase sd¢ to etinil odd otdtin a -sis ‘atodo edt io saexotnarie sat .ifodo ent Yo nef odd 104 ft rd af youmoioce aissds son bib elegsto to siosts # déiw sf id noitaease gesd .osoneal of seeo edd esw es dose .S1se89m ce BI8oe *egodetd sonte wre ls eos of bisq sd of q bebioeb nem eso teredT .eusdope tel{sme doum ni yoem sie dose 108 ‘9ecs iodo Lanobyloo & to asiq odd tol of > siante 8 dsiw beiletsse ersa eedoindo ebisi ni asve =: snemaoleved eat af setwodtd .efets trots 8 tuo } re viteom Bsn elsie efbbia et to gddied dnitentmoh ate sofets gems” fie to esdbied: Compe yiases to Lenpe Bs stela 702 enaa1e® od Yo ifsc) ralucee edd of bus solgeubesk dois oft oedd xed , Ke 5 i wed } wt), ht ; aa’ - 4 i. we le Flim yy ail y tO ae Cae hy ane arg A) ee eee.” ig et) Be > ne oe © deinea ‘wie nt abteer ‘Hes edd aodt, -morete eas 109 Greater favor was enjoyed in southern Sweden by the system of the hall church, on which is also based the churches of the B- Brigittine Order. As a model building of these is to be rega- rded the three aisled Brisgittine church with rectangular choir at Wadstena, which was erected in biue stone between 1388 and 1430. In the extreme south of Sweden the church of S. Peter at Malm6 and the Frauen church at Helsinsbors, both wath hish- er middle aisle, the former with five sided choir, chorr aisle and circle of chapels, the latter with three sided choir aisle without chapels, adhered to the churches of north German brick Gothic. V. Germany, Austria and Switzerland, In Germany the Gothic did not appear as a direct continuati- on ot the transition style, but it penetrated from France in the course of the 13 th century as a completed art style, yet it attained in the great German cathedrals the highest teashue— ofvartistiecdevelopment of which it was capable in general. The numerous residence cities of the different princes and the jefree cities of the Rhenish and Swabian federation of cities a and of the Hansa became the centres of a business, intellectu- al and artistic life, which found its most prominent aétivity in the domain of architecture. under the influence of the Ger- man spirit the Gothic style still adopted many peculiar traits, even if the ground plan and the form treatment were also kept Within the limits of the early determined development. For the plan of the choir, the arrangement of the choir ais- le with a circle of chapels did not attain supremacy in the measure, such as was the case in Prance. hess attention had to be paid to the clergy, since bishops’ seats existed in Ger- many in much smaller numbers. Therefore men decided preferab- ly for the plan of a polygonal choir apse for each aisle, or even in larse churches were satisfied with a simple choir with- out a choir aisle. bikewise in the development in heisht the dominatins height of the middle aisle was mostly omitted. The equal or nearly equal:heights of all three aisles corresponded to the secular feeling of the Germans for plain simplicity bet- ter, than the rich Sraduation and subdivision of the basilican system. Phus the hall design in city parish churches was bet- S oi ay Si . wie 7 , a ets: Peet a ub Led ) iaik tin Aarhlehedted ‘ieee iy vewurnt ay _pobeay see one teed hs rh aoe en bet sie a bila of edd betosie1 esw shsost edt to trentes1s odd at> coe ot i) r bas Slyte dose1t esc oF tatinesq: Ifite en uiee vinta ae | dh etetesm gae799 ef? \.ctiso® Yo crutenieds oF baogestx09 Jon. ae yd metlsoitsey hexitedaqme bus siveet teal ont oF tasn saed tke: Baeteni) someidne nism odd weve ewobaiw betnisa besevele ; pheaies edd to sotsouvrsdat edd yd bas (wobsiw seot dousad edt een - eeseLamos aif heniasts otdte® nsnre) si? .eseacadsnd sis yd 7g Yo emudostidors otteisotoersdo yitelyoitesq ens nb tremacleveb . -veqmt teedgid edd to eivow baath ylurs beopborg foram .evenod 7. _ Wulerceaes oes bas .etswod ows atiw sebacsi ao diod sonst | .aswot elinte 2 no bedsidnson0D saw déknSatde etidns edd goaw “Sistem vite sdt .eiyte ocidto? sit to eheitsq serdd eis IO 2a B bad efyie oidtod ed sonie .molteinh teind yfevitsies s Bad ay. edd te enistsvom esseoV eds Haoyed xarifos aii bedoser ybeools 7 |" Smo 088! wort bexwssage tI. .ynsm1ed ctak sonsitas ati to omid . | “Messtidedd ,baudebac te [exbsdsso) strenvvom niatass wi bas ©), ; _ eebsa $98 jhisdis Js déedect{d .8 Yo dowds (esver® ts sornto , : Ss eff 0882 guods sen Istete2 ofnit gmso sesil tug .(OSt BB 4 ; : e1siq: bote@ viquie ~:y0 bexiiedosisdo ei ofdte® samred yltes ted Roidoetora dzin .sotvoee seovo bawoy so sxeuce vitazom to yiisids af yicoext siamie edd bas .adix edd at shaver ,eoamnfoo ‘RB bas ilewa dtiw erica ows ni HObivib ewobsiw :euroi telyosto *yfevemted Letoten sesoiilom bas eduet eds ni eematoo Iu ¥soa1s ne ige end base. esenoritind to eqso seide® ielstiaso edt no asvasl ‘ pads eemrot tuo ylquie ni eeezertsud Saty{? to peitsa iaieds ie: (hoiveq tesd) ofnto® sata sdt ni tse OOSS dgodh ie 98-110 hedfxceeb) dors bstniod Leisislispe edd .eteiaq bexreseulo 4 hi oe bas ewobnin ,eyswioob am (eitasias [aretalings te : | {fice orew 1Ssvewod aeeleane Seodw mreene hebivreb “4 x as bon bowoi Lod viqesh es re dose.t8 behbigon ovew sdmst esP edit toev ent bas ,(ebavot tnisoetota suodtiw) ebasd vefua a af a0 edt Yo emtod Isapsen sot .sosde yasqint dslitesa s1ew a -agse 91 ‘isoe7 eseesidted oft. -bestlenoitnevace esi6sw eta yi Leindoetidors ss bed esaesitted oetylt eds bas eleini? teanes basis 9 nk fegsens ai eivsosstiors sewof .saemgo é 119 better suited as interiors for preaching and came into prefer- red use, particularly in the best and the late periods. [In the treatment of the facade was rejected the horizontal subdivision, still peculiar to the French style, and which did not correspond to the nature of Gothic. The German masters h here went to the last result and emphasized verticalism by. the elevated painted windows over the main entrance (instead of t the French rose window) and by the interruption of the cornice by the buttresses. The German Gothic attained its completest development in the particularly characteristic architecture of towers, which produced truly srand works of the highest impor- tance, both on facades with two towers, and also especially w when the entire strensth was concentrated on a single tower. Of the three periods of the Gothic style, the early Gothic had a relatively brief duration, since the Gothic style had a already reached its climax beyond the Vosges mountains at the time of its entrance into Germany. It appeared from 1220 onw- /o ard in certain monuments (cathedral at Magdeburg, Liebfrauen church at ?Preves, church of S. Elisabeth at Marburs; see pages 126, 120), but first came into general use about 1250. The e early German Gothic is characterized by:- simply t®¢éated piers of mostly square or round cross section, with projecting half columns, rounds in the ribs, and the simple tracery in chiefly circular forms; windows divided in two parts with small and g graceful columns in the jambs and mullions; natural forms of leaves on the capitals; sablet caps of buttresses,and the exe- Cution of flyins buttresses in simply cut forms. About 1300 set in the high Gothic (best period) with vichly clustered piers, the equilateral pointed arch (described on an equilateral triangle) in doorways, windows and arcades, finely divided tracery, whose openings however were still early comp- osed of Ssometrical fisures in the most diverse variations. fhe jambs were moulded at each side as deeply hollowed rectan- Sular bands (without projecting rounds), and the vault ribs were profiled in pear shape. The natural forms of the orname- nts were conventionalized. The buttresses received cans with finials, and the flyins buttresses had an architectural devel- opment. Tower architecture is treated in a Srand manner. fhe | an , | ae ee , frt ; Dsl .yaptood 47 GF ecttae sit at efiavexa otrtoD etsi edt . peineleay .edceeasad tooddin dowd to ecys (Led edt berovet .etzogque [anosetoo sto: bawet yd 3siq! betesvas{o edd sosloss of yisoowtbh edia eid sadt oe .eisticeo bas ebswon anitiise yiteom . @ @f etiness cibsoesifioxws ed? elfen bos eveta sad soeeistRi #)) efinsy to m10% beviconon yilesusmanto yloawq bus doin yaey vd evotame bas, (edit bovaso yidvob .ediwev ast bas gon .sede) ~e bea) beeestc]eb .soldes beterolise ai tors sebo sds sonsyetera -tel .yseosit ot sebb|aid eit eds .ewobniw ni aedors bsrebhbfyode *bstentin .yddond .eanoloo oi esnibinom to eneivosesetni bsois ‘) edt \ednemenio: edd af ehefiot herifsacitaevaod yieno1te beet \, ‘tent bose syieneqxe diiv bodaivwwt vddeasiesa stew eletroa .(06f 8%) gedoxoa bstasat: vil ep beretdsce hsiesags sods: yausaso da GE ens to bua eda th , Sette orvesem Oniesetoni of .ddvok offs most eorol sonseeten -{anim stem seeds .yindneo as Sf edt to sihbim edd Lit¢an :008L -qsecuseth yisiidss bas yiwols doidwm .emyoi oingvod sist dtiw be isesdeiq yasm nit yintaoo at Ti edd at tertt .¢igsesx e es be giemeatxe ei [foe namie ob estasnunom o¢eto® to dtfsen ent om yino aso ow .Soece bodinet ods ic sdasoons no tecd o8 J e8TR ete vbotooork eids wi ativow Inesaocemi ¢eow ot nottase -esoniverg I[stetostisgore susielifb.sdy o¢ -sidetd (18 shaq) benotinew vbseris edt yasenoo ented oat oF -goexe ylesitns: text? edt ei (CASI-TSS2) esved? ¢se dovusko neve burdeorstal yiesivoiiise eiutouste doando e barn ,piddoD es bet “ge 8 nf doidw .ndeiesbh [easneo s es neiqe bowork to mol etih xd yines ed¢ Yo vioto eds) ni mevia svitom ede esxitiey yaw betixi ST (fl .gtF reraeG rs00) eneiase ts bewY .2 Yo dorsdo oteso - 2-GES2)) Sapdusl te désdecif® .o Yo doundo eds yd bewoflot saw /eemts diin oefo bov01d beqsde~eeo1s © mo ndiesd [ied s (688! - even folate erst ond to nofdentaxed: sig eg srioss Lenokytos | \¢ebaeet-owd ins abaiw cesevensit (boiete eianiv) ows sos note ’ biti adebeveio: Svigae sid .eetice bssunfom eviecem Atin exr9wod -t-setcatW ts dousdo nottsbanot eal .emiot eldom bas sicmie ni eab)oeieS mo1t Searnter soetidors nai td besoore .BTSL-SSsr .F Bsspanieient: dt fwasetitesd feosde-ceor s ex) A munexionar1t avac ~ end) 10 | .antbfivd: feataeo seifass) 018 mort erewot oxetesn Sup ‘ et eeeennny cechte: eaodw .(06 shsa) Sivdes1#@ se [erhedsso tacub 4111 The late Gothic prevails in the entire 15 th century. It f favored the hall type of church without transepts, voreferred to replace the clustered pier by round or octagonal supports, mostly omittins rounds and capitals, so that the ribs directly intersect the piers and walls. The architecture results in a very rich and purely ornamentally conceived form of vaults (s (star, net and fan vaults, doubly curved ribs),and employs by preference the ogee arch in perforated Sables, depressed and shouldered arches in windows, the fish bladder in tracery, lat- ticed intersections of mouldings in columns, knobby, withered ’eand strongly conventionalized foliage ia the ornaments. The portals were preferably furnished with expensive and splendid- ly treated porches (Fis. 150). At the end of the 15 th century there appeared scattered Re- naissance forms from the South, in increasing measure after 1500; until the middle of the 16 th century, these were minsi- ed with late Gothic forms, which slowly and entirely disappear-— ed as a result, first in the 17 th century in many places. The wealth of Gothic monuments @n German soil is extremely great, so that on account of the limited space, we can only a mention the most important works in this Srouping, accordins to the different architectural provinces. In the Rhine country the already mentioned (pase 81) biebfr- auen church at Treves (1227-1250) is the first entirely execu- ted as Gothic, and a church structure particularily interesting by its form of sround plan as a central design, which in a sp- irited way utilizes the motive Siven in the choir of the early Gothic church of S. Yved at Braisne (near Paris; Fis. 151). It was followed by the church of S. Blisabeth at Marburs (1235-1 1283), a hall design on a cross-shaped sround plan with three polygonal choirs as the termination of the three aisied nave, with the two (single aisled) transverse wings and two facade towers with massive pointed spires, the entire execution beings in simple and noble forms. The foundation church at Wimpfen-i- T, 1262-1278, erected by an architect returned from Paris (in opus francigenum), is a cross-shaped basilicanwith two Romanes- gue western towers from an earlier central buildings. Of the great cathedral at Strasburé (pase 38), whose mighty impression 73! " Ae ft’ AM) Jn! 7. ‘ ’ ‘ ore! kal i he ‘ , i 2 ‘ 4 , ; ety, ts _ 9 eS a 4 i a * “ nf ’ ree ie & x *. Yeas i > uet. e ae | ie ns ny ew} ue Nt en 2 or ‘a a x gp s a Fer hy ny ‘sane a6 most a8 isentqent dove sain Viniedticeet somo ‘6tasua ea Hies géw" (88r Vai8) $v¥sn esoiosas bos nsciliesd Paces ‘to niwi® to esefaretesm edd (ebeoet suomel edt aedt ekae p betelouoo eid vyiwdaoo dt Gf end ni bas ,(6IGL. ber) ny ay co db "ee? ~SS2t af ‘Ssasofo¥ wort s7 18H aaosdol ¥d sexod edt to $1 7 edt word .s2 €.58b to tagied 8s ot Sntefe tod (ciLastaont slodw T)* Gefegindtes ts ietentm eds a0 .(sotésbavot) eissonitedge -ed esw even beleie osudt bas csoifiesd setwetit eds . {56 obaq) 2 eusig ods testis sind siodo siden edt BEI at bnew .SSSl at one ra myad.nsia favors Llarhedtso donsy@ add dtin ~bavnS to masdoet to Y AGLGL gk bestelamcs yinc) efeosdo to sfoito s bas sfeie tiodo get Veustesisedae steepe sigue & ao beosia sew tewos nvetsow oat + evods qu feiviso £06 af esw .svods fesgsert yiluissbaow bas Oa yd bolsuos esw Fi BnoitiocOTG to ysused oI .ywiote ifed eds # Yo Moteeotaxe teersefo hae sesnbid” edt amet si iene r/edto 4 .JeS¢ee72 fas betiiae teom deom sat ((8@ .atB).“sehs ordrod oda | “teifgeni sno diiw betvosxzs If se ewiet ofdtoD bexntem at sone ey) .eakofo0 ta [erdsdiso sds ¥6 homt0t 2% adtow ([sundoetinows .n0k © emis bas dons1% aedto [is yfasen anieveuiys enotansmid at | esw Tiddo edt .(SeL .arB) .8bSl yveaey sat nit hobusot .gocousds | ; “Isibedteo doastY to says saz astts ylotvidne SSSI at betelamoo | *slqmoo seomis 31 .(f0f sasq} botasq seed sad to ansfa bovorkR aeiq sip .easteA to fexisdieo eft lo dads dtiw eebionios ylet sets sa? .bis19eP “redeem yd caw Yforsdreo Lerbediss ofc VOT - | 6 aysd ows yd ef{lew shite edt wort aaigestorg adaosusst heleis W). s SSEf sedis beonsmmroo yidedorg stew oven beleis svit.odt bas | yitsea tot senec s bsatvos0 ned .O@Bf Jigsaw bountdnoo bas Ny i ed2 si yinO Lenottsysao onttlind sdt at aresy petbasd wet eh. i “OW BT9HnOs nteteow {seeofoo ows oft bas even sdt yrwtusn dt BL ta ‘ ett déiw bas ensia tnefons bhovsvoceiber 6d3 wedts betslonoo 91 ee -0 9f¢ JO .nctten nsm198 exitas ont Yo mofsagioisisc petintae ‘ ebhotiea seed eds bus elise odd to chnibited sasévoamt e10m seid eh 7 f (¥8SI-GSSP) J-o-trednes{A ts dorudo yretesnom suscitiagem oda as _ task ab r0od0rV .5 to fexbedtso ofa 09 .efebom soner% anolfod — “tie % | saad annennont eit Wsd sno siti hemt0l ak asia rtodo acd age), Me + BwedGel te dtodeei#¥se to doiwdo edt ezeshi aT .eever? 32 do. ne “0 aire odd exe dotdw'Rn0ms ,egniblisd to esines & esoneufink — a Pas 14 (ts donno: moitsbavol edz bloteia Je dowds fg E 4 . f 4 “# mn a d ; ——_ 4 Wie PS ay oy ; 1S bear ae ares G, Vin ER ey . Rat a4 4 + ae 1 enn Al am > et Plat) Mee hy Ma oF he ~~. ~ . tte Goethe once described with such inspiration, the three aisled basilican and spacious nave (fis. 152), was built 1250-1275, then the famous facade, the masterpiece of Erwin of Steinbach // (died 1818), and in the 15 th century the completed stone spi- re of the tower by Johann Hiltz from Golosne in 1439, on the whole inorganic, but risins to a height of 465.9 ft. from the substructure (foundation). On the minster at Freiburs-i-B, (page 36), the likewise basilican and three aisled nave was be- sun in 1253, and in 1854 the noble choir built after the plans of Johann of Gmund, with the French cathedral ground plan, hav- ins choir aisle and a circle of chapels (only completed in 1513), fhe western tower was placed on a simple square substructure, and wonderfully treated above, was in i301 carried up above t the bell story. In beauty of proportions it was equaled by no other one; it forms the “highest and clearest expression of t the Gothic idea”. (Fis. 98). The most most unified and greatest, pure in matured Gothic forms as if executed with one inspirat- ion, architectural work is formed by the cathedral at Cologne, in dimensions surpassins nearly all other French and German c churches, founded in the year 1248. (Fig. 153). The choir was completed in 1322 entirely after the type of French cathedral Sround plans of the best period (page 101). It almost comple- tely coincides with that of the cathedral of Amiens. mbe plan for the cathedral certainly was by master Gerard. The three &isled transepts projectins from the side walls by two bays a and the five aisled nave were probably commenced after 1322 a and continued until 1450. Then occurred a pause for nearly four hundred years in the buildings operations. Only in the 19 th century the nave and the two colossal western towers we- re completed after the rediscovered ancient plans and with the spirited participation of the entire German nation. Of the o- ther more important buildings of the early and the best periods, the magnificent monastery church at Altenberg-o-L (1225-1267) follows Prence models. On the cathedral of S. Victor in Xant- /22en the choir plan is formed like one half the biebfrauen chur- eh at Treves. In Hesse the church of S.Eiisabeth at Marburs influences a series of buildings, amons which are the princip- al church at Alsfeld, the foundation church at Wetzlar and the dela a Vee bigs. 2 ke” CMa 5 e; fl 45 ne fj eae cn a ya ha te io 3 sdbeiaW. 3s fosste. Hot Dian. bir eda at ws Sa eH niedasaad ts even! en douse newstidel3 edi diiw eleasdo beosly viteao raya asemtdud dois eti of on8oloD to Isabedtso edt ewollod sud redo baer’ edt bexieies sd ot seiwedid st Loodce eeoiw ot med yt smotov 998) efleqedS-slexiA $s tesenim eid to aniblind =f ‘do gemeridetd edd besentBixo viniass go GL edt ai .(NTL oasa 8 eleis stiodo ciin sciiieesd bsqede-eeons e .f-o-emscW ts dors odd O66 dnods angcd .niofo [fed dtiw expsourte [fed s as _ de ytev sei a1 .fS@L nt detsfomoo bes ,f6Gt ni sntbLind rio eledpile ve besersces ei sven seodw ,ubtesb beiets seadd yiess di etd® .ti0do betesnofe edt wort elets sersveneod battostoxrd q -eidtud ods nsowded efeqado to efoxro s dtiw efete riodo s ead - etfosy ton bas iste hetsoifamoD .beewni nwaah eis doidw .eoee maven .elssiaso wol atiw eseia baveos tebmefe svoda seta tadd edd seonsics isifer afi dnemento cota (NEL .arBdesotaetat Ife “sven nedonghoadbenet ‘od® - -cofesougmé Lexesop beitiabib — “ wteos1> Hempeis edd ai bent ‘et sanpbee stods tef ye ey oe ea oe Pr, a Aen) 11¢ toe brickwork usual in the region, in severe and somewhat tas- teless treatment of the forms, but with Srand and enclosed in- ternal effect. In Augsburs a master of late Gothic, Burkhard Bngelberser, again attempted the earlier scheme of the cross basilica in the church of S. Ulrich (£46441499), with luxuria- nt treatment in the latest forms of the Gothic style. To the Prench cathedral system returns the monastery church of the neighborins Kaisheim (1352-1387), a basilican cross plan with © double choir aisles, the outer one of which is divided in cha- pels. At Regensburg in the cathedral was carried out (after 1275) the chief work of Bavarian Gothic with an early Gothic choir of three polygonal apses arranged after the German mann- er, basilican nave in three aisles from the 14 th century and a western buildings (Fig. 156) with a triangular porch from the 15 th century, but the stately pair of towers were first comp- Leted in the second half of the 19 th century. A peculiar pl- ace amon’ the Gothic churches of Bavaria is occupied by the twelve sided central building enclosed by low polygonal chape- ls, of the monastery church at Ettal in the Bavarian Alps, fo- unded in 1330 by the emveror Louis the Bavarian, verhaps with the purpose of erecting a temple of the Graal after Wilhelm v von Hschenbach’s Titurel. fin Swabia the already mentionedfoundation church at Wimpfen= i-T. (page 120) ig followed by the church of S. Mary at Reutl- */ingen (1247-1343), a basilican, spacious and nobly treated ci- ty church of the early Gothic style. As a peculiar creation for the later Swabian churches was the church of Heilise Kreu- tz in Schw3bisch-Gmind, erected by Heinrich Parlier (Arier) * as a hall structure with hall choir, beSun about 1330, the ch- oir building in 1351, and completed in 1521, It is a very st- ately three aisled design, whose nave is separated by slishtly projecting transverse aisle from the elongated choir. Phis h has a choir aisle with a circie of chapels between the buttre- sses, which are drawn inward. Complicated star and net vaults, that rise above slender round piers with low capitals, cover all interiors(#is. 157); rich ornament in relief enhances the dignified general impression. Phe same system, but with simp- ler choir ending, is found in the extremely graceful Frauen c ; MW Lead A PY it) ne 14 F ‘ 13 y . ree oe Vie et ; Pl Pd cs 2 Pues y, wh ie ‘ A ee Veet ee |. war q p ated 4 i 7 ae: fy i t >) oa ‘di " 4 Me ni eee Um 2 7 Ss ‘ W ye ; 7 "al y. ure ve " (9 baie i te ee te NY ony p ar D ae Wi) iden 24 Tt hulls aor “~AS8E: amped epniivel 32 douwdo Re Ksevanis: ioe jet beassas otew s9WwOs bibnelge esi isin soidw to f ae - aebette BD evbddoeM .esgntenS to dota) erstesm osidew? daed —s- fe BeKOaNMO: Led odd Snood seds2Ht sxeH .(vetniid’s eosh bas a bie! aopahibaol te e21008 .6 bas babsD-doatdBwdot se [sedoiM 12 ‘4 OOP BbANO? eis OLtdw .extodo Lhéd Atiw oeis .idbdeledintG te aM * ® (abode Yo wit wetdsas edd 10d esdiveb shisssdus® ts dowdo va $48 B Of ~~ .negnt feed te siowwdo fenet® stig Yo eiomsxe odd 19316 | 1 eupgoesinots to lootioa safdew? edt unex teaxtt ens Yo ds0w tao | -ho 8 ep besocoie sokbiind etdt ol wal as vesentm sad ni ss0% | entry edt to! snomunom belespens ns oetue os sew dovedo deinsa ve ny -to edt Yo auesiste edt to sense tnistosa-nevses bus ¢asbueceb | stef eds to ents beesois ylisiuvewoo dads ni .eduneG edt no vs -odetw sefo [fet e es (SVE) ylisntgtao bengiesG seas sibbtm Wo vyiimsi bohm eds worl. exeteam. yd dthinw [supe Yo eelste sede 1 | epdobefete svit 6 ofnt bemrotenssd san korbhiivd sdt .setlze9 Yo | ' ttodo Setegnole ne déiw buna efleis sessveness guodsiw eotiis sesdseIh sit) .asenten® to doigl8. yd .notsoeb Bled s ni onibnas wali ot beyofoms orls asw ofw emit atd to gostisoris aAswyse, “mG nf Batblind eft to ebisdo gnidet .neantlesd bas aindesrse a bes ,OOGL asey edt ni betselamoo etew eeleia shie odT .SOEh at vo doidw .towos noeteew Enieoami ett to sitae sesoitingkes os ia M v ond ned? serbbdist 6.6L tuode esets .ta S.688 to seated ast wy | 1swot teedein end eomoosd enit bas Latberdeo sngofo0 to exewod a Saibtocos .CCSt ssey ant ot betefamon yino eaw .bliow sax ot if ~idawe eft of wrebniidd& aesEdsaew yd andiesb bevaseeta sds of i - benOftnen svods) eft to now sds neScten® to estdstek sastesm ne | _-dtiw soittesd 1siq ¢ .en168 te tetentw edd end cele et forall. | ladon foreg anttoetorg ylanoise:.s ctiw bae esasaasxt too “oe eiewot ebposk stsisbom dtiw. bas .eedors tse1k sents | ae Gow Hotrod doiangek ToAT ston edt sebny 8&1 sang est # bs «MOM GMESSD) HO Yinioixee slo dorudo eiwenh eddo lo sebliad sit sno” “Upper od dip feningn Letortenorel tey som sd) essnzossnoo ssodw a Heoesush ssh Kouéhap® .olksd 992) Leno | fh Pe Reh Yee -w pS ee ART: SeRRy ee nee edd Ite belisvera eel {fed edt siasera oF a | Rem sait-yd Gk! at bosmeeenqed vbsemis eamal. .yuuineo ad at ~ nag i aia O06 at ena nT eee ts ttodo Insottin j Pa Aa | j 115 church at Esslingen, begun 1324, (Fig. 158), in the erection of which with its splendid tower were ensased the most impor- tant Swabian masters (Ulrich of Bnsingen, Matth3us Ensinger and Hans B&blinger). Here further belons the hall churches of S. Michael at Schw&bisch-Gmiind and S. George at Nor@iingen and at DinkelsbUhl, also with hall choirs, while the foundation c church at Stuttsardt decides for the earlier form of choir, a after the example of the Frauen church at Esslingen. To a gr- eat work of the first rank the Swabian school of architecture rose in the minster at Ulm. In this buildings erected as a ci- ty parish church was to arise an unecualed monument of the in- dependent and heaven-aspirins sense of the citizens of the ci- ty en the Banube, in that powerfully aroused time of the late middle ages. Designed originally (1377) as a hall plan with three aisles of equal width by masters from the Gmind family of Parler, the buildings was transformed into a five aisled ba- silica without transverse aisle and with an elonSated choir ending in a half decasgon, by Ulrich of Ensingen, the sreatest 2 ¢@erman architect of his time, who was also employed in Milan, Strasburs and Esslingen, taking charse of the building in Ulm in 1892. The side aisles were completed in the year 1500, and the masSnificent spire of the imposins western tower, which by its heisht of 528.2 pot. rises about 18.4 ft.hasher than the t towers of Cologne cathedral and thus becomes the hishest tower in the world, was only completed in the year 1890, accordins to the preserved designs by Matth3us Béblinger. To the Swabi- ‘an master Matthias of Bnsingen, the son of the above mentioned Ulrich, is also due the minster at Berne, a pier basilica with- out transepts and with a strongly projectins porch openings by three sreat arches, and with moderate facade towers. * See page 126 under the note. fhat Heinrich Parlier may pass as the builder of the Kreutz church is certainly an assumption, whose correctness is not yet demonstrated against all objecti- ons. (See Dehio, Handbuch der deutschen KunstdenkmBler. Vol. 8. page 147). In Austria the hall type prevailed after the middle of the 14 th century. It was already represented in 1295 by the mag- nificent choir at Heilisenkreutz, then in 1800 by the Augustin- 7 heal j a Crdhe { Pt a a 14h pe, ; , > E 4 oq ; hs t Ah DL te 7 esd ip | ae , exe ait "i Makeaieeoe dowde i dobicoceded "jue we teom ods Yo 200 816d nedqese .2 to Lathstteo eyo ish : a 8 ofat® “even belete sexis od? isidtod aswse0 Yo eidow if ‘ Valeaeanteses {anohyfog s déiw (OBEL beteoibeh) atedo xrsirmte eds to beese al .senaee nemxeS dénoe sd¢g tstte eolsta sid Io - edie sedi youo dotde Yo .er5wod owd beanaria oxs edtooensas .-tosrkh gaieix o103 Iebinerya sebnede @ a& tlivd sew edie déuoe ~aelge edd Yo olqmexe wh 4 (GEES betsotbeb) bovors edt no1t vil | odd simedto& of .8tl .82% yd wevtS st. soemtesas Jannetcr bib et. (0Of .bfT) owdex% te nidoebes® edt no tisY .6 to fatbedsso ts9y odd ni) auked esw 31) .botrea ofdso8 eds to duow teido odd S eas yO cooste mort boifso .esrtd to esidegssl istsaa yd SBELE 0. “we basin 6 ot soilined beaqsde-evore s as .VYI esivsnD vo1sams -do bavor ctiw enaodis% to Lleshedtso edd to Lebom eft testa of | ‘ai déseb ein settéA .efeasso Yo slorto bas olets tisdo ,7Fo -ideaw? edt od heaseq anibiiud eds Yo fortmos eds S66I gesy odd df ® .bo8ed. lo doitatsH setesm to nos .rsined r98eds9 yetesm as | hetolqmoo, .cxusouite edt no exsey Ob 10% dovolams 2ew astoel ,SInsouIss Iswod eviesen eds beonemmoo Has (B8hf nk wrodo edF i ~betéso eid $8 es Jasenesd ddv0e sat ssvo esele esi Yoot dotdw : - Of: .xetef hetetntt vino 2ew tudeansiV ai nedaere .2 to Let | F te sisdis§ 2 to dowd edt beyvretex celts ef sedesm sass odd 4 aetsfl bus belets esind vifenisizo nas , (686! sused) ds9daegctuR -sdyob tdtw fetivay siste elbbim dzid cttw soifiesd belets evr _ wdtud edt neowted olets tics wol s (482 . 22%) edia bevano vi tdi Heseye sestitud doit bas ,biswat bevom exes doidw .eseest «Sit ORY .etewOT ebsort Jvodsin sud wewserttud anivi? beLdvob: 4 _ ef dotndo istodelsed oft ebnoled vals aretesm eidt to footing fesoonnoo ei medaye even oft eidt 09 .{LASL bebawod) engex4 - Tssokstoc as entotbs even edd sonie .mbiesb [easneo sat dtiw | fecsdo Isineqmi odd yo boonendtnt ecedieqiesw tedt .owwdourtss e | 78a0s dh BatxsvOS Jivew nose Isciach odf .effecsno-el-xid se * BP) GANG LRbY Guy ov, oie owideunsoniss. tasssogats efdbinis a6 sve BNE DSeneHs sstenm SAT THO YO YTosess BAt nO seaow smog nl H | S41 tts¥ LB Yo Ipsbedsoam eff Yo sestisoso eo SONHKk LO sasdsiak 7 -nomeb) 906 sd Hossotdeqaa si4T .sedKk «ated bomom st augand ; AG Sma mad snae n68: a SSOH0l 2 od OF betarie | Fi a. | MR) (Bends ak +“wedang?) 4 “ a) ee “ ee : De | a) a > ° - 1a ‘2 .* - rea . ®. ~ , ae Pl ., F ws = r ~ : _ ow fT ihe 116 Augustinian church at Vienna, and at the same time by the fam- ous cathedral of S. Stephen there, one of the most important works of German Gothic. The three aisled nave passes into a similar choir (dedicated 1340) with a polygonal termination of the aisles after the south German manner. In stead of the transepts are arranged two towers, of which oncy that on the south side was built an a slender pyramidal form rising direct- ly from the Sround (dedicated 1433), An example of the splen- Gid internal treatment is Biven by Fis. 159. In Bohemia the cathedral of S. Veit on the Hradschin at Prague (Fis. 160)-is the chief work of the Gothic period. It was begun in the year 9.1344 by master Matthias of Arras, called from France by the e i ae Ry rN emperor Charles IV, as a cross-shaped basilica in a Srand sty- le after the model of the cathedral of Narbonne with round ch- oir, choir aisle and circle of chapels. After his death in the year 1352 the control of the building passed to the Swabi- an master Peter Parler, son of master Heinrich of Gmiind. * The latter was employed for 40 years on the structure, completed the choir in 1385, and commenced the massive tower structure, which took its place over the south transept as at the cathed- ral of S. Stephen in Vienna, but was only finished later. To the same master is also réferred the church of S. Barbara at Kuttenbers (begun 1386), an originally three aisled and later five aisled basilica with high middle aisle vaulted with doub- ly curved ribs (Fis. 161), a low choir aisle between the butt- resses, which are moved inward, and rich buttress system with doubled flying buttresses, but without facade towers. To the school of this master also belongs the Karlshofer church in Prasue (founded 13851). On this the nave system is connected with the central design, since the nave adjoins an octagonal structure, that was perhaps influenced by the imoerial chapel at Aix-la-Chapelie. The domical stone vault covering it appe- ars as a highly important structural work. * In some works on the history of art the master succeeding Matthias of Arras as architect of the cathedral of S. Veit in Prague is named Peter Arler. fFhis appellation has been demon- strated to be a jocose falsification of the Swabian name of “Parler”. i ag ren . 4 } wit ’ , ae Aa t nites ede Gcisint elbbie ies aoa re yy fed ey, ae bees bitte at /.(€E 2889) .pindehast se Lsabsntso oft eaw sonasrog ~mrob donert ons dtiw gud .neia bavork srorensmof ond bevireset -psouite etI .eleasdo to sioutos bas eleis atodo dtiw atodo to ent nf OSSf n9dIs oo Hsisseo sud ew102 blo ons at nuded eam oo -selqmoo yleseq si asw ysetaoo Wt Df edt mi yloo telyta ofdtod 80 64d To nOigoritenoe etit seftweti .emret oiddo® stei nt 6e Qad SP ods ddwords esuutsaoo (S8L .ar3) thagexsdise ta farbedst bevteoss Sandmne ge Leuboddso ed? .esiasdaso dé i bas dat dt 6%se sit duode tA .atoso nvedesw oinTON viass sz2i OVSL duods ‘aati ascitiesd 6 es) bebaso? esw neeeiel ta Leibedéso edt emis -wid ifsd s otwi bekasdo eew even seodw leis sexevenett date” ak beoueitedxe ear Sonado sift ed? .yaudseo dt BL ood et dom | edt 20 “126 en2 20 elds: eft Lisosy yreonts bas exotdium bedoeteb ode teteta yidsisbiesoo tod .seonsm islimie es nl .vetesim Susdes ~eis es7ds oft .satissonoo oidek wode “ edg ef Joemésoisd af -idn imo, .(O86!1-886EF) ueisner9 gs siusW .2 to dowso edt to eof -on BeRitsdosisio $i .stsnredia estoind bese{e xed bane ber do dott betstem si? .dvell edd to sivde Leiosae ond vianisinde te __ BE odd of dd df odt¢ wort sdusdd ond ds ofdtoB Aotad to aiyée ~eaindd 8 siteh .2 to doisdo edd yd besaeeexqes at yautuen ad ) . “1800 scisedts> edgy S28 , (83Df saat rewor) ixsansk ons at Sted . Bo | aeats) ebsttuveaast mi dowgdo medgstG edt .saudasboes® te do - sttods aigiw scaiiced oidtod s otnk bemsotensis . bio ar (OTAL i anofed oels ytudoeo dz Gl edt of ,feasdo bas sleie eeisvenest ferbedtso edt .iebnes? gs esdorsdo Isqienina birbasiae ows one | “-edeen. oud djiw esiorsdo fied dtod .siue¥ .& to dowsdo eas bos -B18wov «mt ent & Fovetar hh ofdtoS Aoiad ed¢y eeonivora oft{s€ oda al f ‘svsdd ae .geitto sawsh edd ai yilstosqee .sonsoiiinaem tae y : -1i9 bas: Siaie iiodo ddimensiq bavors Lerbedtee donext odd tteL 2 a -e80 edd ot saibsooos abeibiiva sad betoere bas efeqedo. to sfo | \ ~smine Siew eobsost oft to eoostive sdt ydersdw .easdoe naor li y ~esce) edotsd betefoo bas bexsib dosid to noivegtesis as yd bet Ve isdcemsato sat _, bawow’ esidw a wo waeoerd baitd yd oels conta i. exreeneeen aes? (282 .8i8) svs00 su18d ai si9W BieitsxODeb . & to t Ben cer te toodhd ss bi a -2 to domdo set! " 4 ald = Me 418 the model of the Hessian churches is shown by the Lbiebfrauen church at Minster and the Gathariege church at Oshabriick. The twe aisled porch erected in 1469-1474 in the place of the nor- thern side aisle of the cathedral at Brunswick (Pig. 163) is ya Characteristic show piece of mechanical and technical abili- ty of stonecutters in the late Gothic period. Phe north German lowlands occupy a separate place in the ev- olution of the Gothic style, because its forms are changed in- to brickwork, the ancient native material. With the splendid Cistercian church at Chorin in Brandenburg (1274-1334) appears a fresh brick Gothic, true to the material, that was further developed by the mendicant Orders succeeding the Cistercians. fhe latter brought into use particularly the hall construction. On the church of S. Maria in Neubrandenburs, dedicated 1298, the detached mullions and tracery recall the gable on the Str- asburs minster. Ina similar manner, but considerably richer in treatment is the Sreat show gable concealins the three ais- les of the church of S. Maria at Prenzlau (1328-1340), on whi- ch red and dark slazed bricks alternate. It characterizes mo- Sst strikingly the special style of the Mark. The matured rich style of brick Gothic at the ¢hange from the 14 th to the 15 th century is represented by the church of S. Maria at Kéniss- bers in the Neumark (tower from 1458), and the Gatherine chur- ch at Brandenburg. The Stephen church in Tangermtnde (after 1470) is old, transformed into a Gothic basilaca with choir, transverse aisle and chapel. To the 15 th century also belong the two splendid principal churches at Stendal, the cathedral and the church of S. Maria, both hall. churches with two weste- th towers. In the Baltic provinces the brick Gothic developed a luxuri- ant masnificence, especially in the Hansa cities. Men there left the French cathedral ground planswith choir aisle and cir- cle of chapels and erected the buildings according to the bas- ilican scheme, whereby the surfaces of the facades were anima- ted by an aiternation of black glazed and celered bricks, some- times aiso by blind tracery on & white sSround. fhe ornamental decorations were in terra cotta (fig. 164). Thus originated (29 the church of S. Maria at bibeck (1270-1310), the church of S. a as aoe ‘ r rt a ual ie a ' wr is ve ae | : Mopeds. Reetkis is Sheds nt deokiek ie sttel a Gayle + pean edt .ssmet® ga ealoort .2 Yo bas. si edd eedorsdo vyiedeesom Sn0me8 bas .bawefagse se bos blewetier® OY elk ed is se {fed off .nsredoG és doisto neiowdetD sntwuado O88 gi nnted .sx0d? ts nnsdol .2 Yo doneds edt yd bosaseex _ } > ,biedaewetl ss Lexbedtso edt at teemsaon dois yisv 8 yd bas ey d ts teved .2 to eedommdo iisd Jséa® owt oT 896 beseLamoo | beleie cords 8 .gieneG. ge eins «2 to bas ,belets evil .xooakd : ©a3 to edtow .ed14eq [eundoesidoia Leigosees tiedt ni sis ela peal. < ‘Nawsas9 de Sf odd to aidto® etal f2'.£ >; Viesti LV “GE £4909 od? cedn omit 5 36 eudd baa’ ,0OSI juods ybserlA @ cele gis to elyte est .vdtixunesem Iiut besoss1 toa bed sonst ~Bf9 edt to noiscibem sdt yd viesl o¢ni sonach wost bessasenea “Si eid .ofdtod sisdtion stt bextaesosiado sede du8 .sasiores yoasbasd ond One medeye eeeutsud edd .eseeam odd Yo notsutoe fof “seteTesy osiieél eds yd betagobs ton even .tddied brawod “2 to sebaudaso ynem yd benedsineste . i 4 i 119 Maria at Rostock in the 14 th century, the churches of S. Mar- ia and of S. Wicolas at Wismar, the churches of S. Nicolas at Greifswald and at Stralsund, and amons monastery churches the. charming Cistercian church at Doberan. The hall system is rep- resented by the church of S. Johann at Thorn, besun in 1260, and by a very rich monument in the cathedral at Frauenbers, c completed 1388. The two Sreat hall churches of S. Reter at L Libeck, five aisled, and of 5. Maria at Danzis, a three aisled olan, are in their essential architectural partis, works of the late Gothic of the 15 th century. VI. Italy. Already about 1200, and thus at a time when the Gothic in France had not reached full maturity, its style of art also p penetrated from France into Italy by the mediation of the Cis- tercians. But what characterized the northern Gothic, the re- solution of the masses, the buttress system and the tendency toward height, were not adopted by the Italian masters. Tot. their inborn art feeling, strensthened by many centuries of e exercist corresponded only wide interiors of moderate heisht and a horizontal subdivision of the masses. And yet the sene- ral spirit of the time influenced them so strongly, that supp- orted by the particularly strons influence of the Cistercians in Italy and that of the succeedins mendicant Orders, it brou- Shit about 1250 a complete break with antioue traditions, which continued until the end of the 14: th century. In the pointed arch was presented a welcome means of Coverings as wide interi- ors as possible. But the wall: surfaces retained their south- ern privilege on account of the expressed enjoyment of monumen- tal paintings. The wide-arched middle aisie with like placins of the supports and hish side aisles, over which in the clear- story remained only space for small and frequently circular w windows, that were still svuificient beneath the southern sky, produced a wonderfully harmonious internal effect, that exhib- Cits an individuality totally different from the narrow and lo- fty cathedrals of the North. (Compare Figs. 168 and 170 with 130). In reference to the creation of the interior, the srea- test was undertaken on Italian soil; for no cathedral of the North equals that of S. Petronio or of the cathedral of Milan. wat “Sb¥awe aud at run sie ses: Ei... Gh eas keh eit P prelel fo +: phgereepathag OF aromian hiktiies eidd yelotoutra ot a 100 HNasiod .betse1s yLomte erom tst esw zSsiag [enodyiog sat | bier cela sid bas ebnoor edt to enottefer tosrrb odd oF baakesn et efsttase Beqoleveb yibnorwte ylevigsf[ex sds oD .wediuev sds “G09 Siom dovm oe Sas .ekeifot Levuten bonot rvilenoitasoxe tod beqsde ss! déiw efyse aoitienest sid Yo emxot bud sds yLoow 8 @ewnees YXeDerds wobeiw odT .enddoaos sit Ifsoes lige sadt 2 dots sds batdosl ef soiaetxe etténe eft of .vevoaisdo selt "bas wol sdf .ofdto8 nisddr0n edt Yo Sense sit ni noteivibdgs edd bane eifen ebie sewol sism dtwoe eax Yo eioor sdbil ydexsad s ed aso sasattud gnivit oi? -“iseesoenow ei weseye eeoudind ~peen09 at .esieis obie seddzin sd to weiv at bsdvimo yileatins a evods efstit sud baetxe elisw yroteresis sdé dofdw to sensu “Yo resos1sd0 edt stom emeare eesectdeud sad ‘esiafie ebie sat ~~ bas abo sort eas yitasvoeitat sow .eotate Siew SUPASNBHOR “nev odd Yo eteogmi sit te bedusent emsed seboon heiodors weve “0m stew erowoF (OTE 1248) Vseutds ebke tisds eviese: ot eff ehiaed boots iswod fied em0 .@atnasbao {erens2 odt ai bobs loud dnemceleveb eng al (INE .842) .bedoetead tt as Satilited edd edt sutsolinad .eadoxe Betaioa edd yfteide vino sbsost sit to odd Yo enoitetini isin efsteit bos eside® ysoosid otif{-aretie “ye -ofdto® axsedtson sav Lisoes etenolt-eeor bos atovoore e edd 2o exsden edd o¢ mBisiet easom & boyolams ei visnenos7a -2i axsseew ed? .gtofos snetettib ak sidism Yo akorost .eiyse to taenmyoias edT .eoetq woda asisoivtagq 8 es beteext ean sbso ‘-va1sxs. a8 of o1ed Seo1 eeivoessoss Ieinemsaxo at ensilsest odd) .(88r +283) -Hottet009b Sisvom bas bewwsgivor to sonsbnuds neds ~s¥iss1susoo aL euvds [sibentso sat bewxwooo aslo bawork odd al eneiorsdeio eda “0 hesuseitat esdoteds ed? .sxvcsom Ifewe vi sfodo. beeofons sefobtigtsen edt sved vilavens® ensoetons7s® bus ek yieal ditto ot asiq viodo eisT -elegsio shte «ssfltmie atiw . oA ainda bas vasoeuT ni even fos inev boleia ssudd 6 yo bentot slide -itowsmest toor eldieiv dtim evaa befets elenie a yd at eistl 198wol sis oktzo8-asifatt to #nemgoloveb edt at wy enone odd bd dousdo veda od? sOmts ne esboverq 120 Fhe architectural treatment but seldom shows the strict Goth- ic principle; this remained unknown to most Italian architects. The polysonal pier was far more simply treated, mostly without regard to the direct relations of the rounds and the plan of the vaults. On the relatively strongly developed capitals is but exceptionally found natural foliage, and so much more com- monly the bud forms of the transition style with leaf shapes, that still recall the acanthus. The window tracery assumes a flat character. To the entire exterior is lackins the rich s subdivision in the sense of the northern Gothic. The low and thereby light reofs of the South make lower side walls and the buttress system is unnecessary. The flying buttress can be e entirely omitted in view of the higher side aisles, in conseg- uenee of which the clearstory walls extend but little above t the side aisles: the buttresses assume more the character of Romanesaue wall strips. Not infrequently are iron rods and even aachored wooden beams inserted at the imposts of the vau- lts to receive their side thrust. (#is. 170). Towers were not included in the general. organism. One bell tower stood beside the building as if detached. (Sig. 171). In the development of the facade only chiefly bhe pointed arches, triforium, the pattern-like tracery gables and finiais with imitations of the erockets and cross-flowers recall the northern Gothic. Very Breauently is enployed & means foreign to the nature of the s style, facings of marble in different colors. The western fa- cade was treated as a particular show piece. The enjoyment of //, the Italians in ornamental accessories rose here to an extrav- agant abundance of sculptured and mosaic decoration. (Fig. 169). In the ground plan occurred the cathedral type in conparative— ly small measure. The churches influenced by the Cistercians and Franciscans generally have the rectangular enclosed choir with similar side chapels. This choir plan in north Italy is joined by a three aisled vaulted nave, in Tuscany and Gabris by a single aisled nave with visible roof framework. In the development of Italian-Gothic art lower Italy indeed precedes in time. The abbey church of the Cistercians at Fos- sanuova, erected by Wrench architects after French models (ab- bey church at Pontigni, page 46), was already dedicated in 1208. mA ; om i i eugiad oe aa oe seonses be or vo, auotemon of bowol, AN 9) sirdeisd of dévoe eds ai 8808 olvsinbs bas nsoewt s teido edt 358 .(sner®) yasoesT of ition odd ni ba. mas seqas sit ees t18 oidsol@ustiaisl to soemcoleveb sat ns, ‘ pes ' ia sn , i. . sapeatie at bas yvasoesT at penne eon oi viasivoitseq .yletI of -sitonl fo eas ei (@LSI aegis) iffeoweY ts seabed .2 vist regen al ~199 eogeetsind bas anteloo bersgeslo etI .doupto oidtod sesh 3). vias nesters io sonemitag toenth eds io aoktinsooe1 off tim -ts0L gan YIwdnso dt SE eds to "sJisso bueose edd nl .oidtod oi base ,ensosions1§ eas to wiivitos laaudostinors gesth sdt be ni eoesouest © .ensoingmod ods Jo isdt eew setisup teal sd aiods diin eqyd Isubediso eid eiaseorasy (ast sedis) snkolod ei yeRisaod te dowdo yodds edd exil) elsasdo ensuce bone slets ~8V to moseye bedoindess sttewollot ifite sven ef? .(ybondanG “bed GE oinosnh .2 yd awode ei ti0do to wiet emse ed .dridis . eatevansid bas even eds te anitivev end al A(VOEI-SESD) Su “eye bemob sid to sunenttat gooTte old ened besasiqxe ste elets wutase dt &L edt io bas edt tuodA .ecineV ai coms .2 to med _bawot emsced ersiq sit .nompoo e10m smsosd sedoiis bed [usy -i¥ ai oxnoto0d -¢ spois nedT .esevosds Isnoastioo bevisos1 bas Pe bas O66!) taist® ish dowsdo asoeionsr® ond .(O88I) exaso @ . (666) soinsV si ofos# 9 imnsvet® .€ Yo doasdo asoinimod " baesuod ont eniates (EEL usged) eubs9 gi snimxad Ish sitsh ~x5 sesldon Sct ef shsost. oft .syed susupe gin notsouudenoo .viesI seaay to siyte otdto® yiuse sdt to slums ons to dorsde evomet odd yd nodes Of nOtsinoa snsbhusasbni oA 8 tlivd ,(68f .2i%) sived teen (yrssesnom neisodtisd) secs3s0 ' tim nalg belets ssikt 6 Bs enoiqmeo 16 corsM yd ObEL ast te .thodo: bus elefs eaisvensit even edt to eedie dios ss elsasdo “ares bas 88019 sat to emis {espe ssadt es bednsiis isitsl dé “aiog 9% etivsy edt .g9eq8 ssxdd dit @9oTt fiotsad af Soitseni : “oT 93. bavot vbsouls o18 ewobniw bas esbsoxwe sat ait tog bet aa to 900 Edases1g foidy, .Ponserisneh ylvae efs to sedous baw . -9bs08? efdass aiden edt nt exyow toeorfifnkes teom bas seentt ole ek igooei¥ osseols® sinb .seodie0 sit fo ishovot edd of - 4 asqqu Yo oidsod edd mi doxude {gaioaixa eff berisie1 od of oe S86L f besnennoo kaw aI .aslit Yo Lerbedtas eds .eleat bnad ead ai even beiets ovit ddiw asld beqade-enor9 Mi EET Ren See ; ; ba, hl ye 4 ee Bury 4 q La 5 ; \ (rine ‘ay d Pie ; Fi as PF ar ay ‘ yt ae ot ed vom ebase Link, est * : a eee ee ae ee 121 Its influence may be followed in numerous churches between the fascan and Adriatic Seas, in the south to Galabria (Gosenza) .nd in the north to Tuscany (Siena). But the chief region for the development of ItialiansGothic art lies in upper and midd- le Italy, particularly in bombardy, in Tuscany and in adjacent Umbria. In upper Italy S. Andrea at Vercelli (after 1219) is the ol- /$i.dest Gothic church. Its clustered columns and buttresses per- mit the recognition of the Girect influence of Parisian early Gothic. In the second quarter of the 13 th century was locat- ed the great architectural activity of the Franciscans, and in the last quarter was that of the Dominicans. S. Francesco in Bologna (after 1248) represents the cathedral type with choir aisle and square chapels (like the abbey church at Bontigny in Burgundy). The nave still: followsthe restricted system of va- ulting. The same form of choir is shown by 8. Antonio in Pad- ua. (1232-1307). In the vaulting of the nave and transverse aisle are expressed here the strons influence of the domed sys- tem of S. Marco in Venice. About the end of the 18 th century vaulted churches became more common. The piers became round and received octagonal abacuses. Then arose S. borenzo in Vi- cenza (1280), the Franciscan church dei Prari (1830 and the Dominican church of S. Giovanni e Raolo in Venice (1333). S. Maria del Garmine in Padua (begun 1373) retains the Lombard construction with square bays. The facade is the noblest ex- ample of the early Gothic style of upper Italy. NE An independent position is taken by the famous church of the Gertosa (Garthugian monastery) near Pavia (Fig. 165), built a after 1346 by Marco di Campione as a three aisled plan with chapels at both sides of the nave, transverse aisle and choir, the latter arranged as three equal arms of the cross and term- /2; inating in trefoil form with three apses. The vaults are poin- ted. But in the arcades and windows are already found the ro- und arches of the early Renaissance, which presents one of its finest and most magnificent works in the noble marble facade. To the founder of the Certosa, duke Galeazzo Visconti,is al- so to be referred the principal church in the Gothic of upper Etaly, the cathedral of Milan. It was commenced in 1386 as a ecross—-shaped plan with five aisled nave in the basilican char- ”~" i er Cn a ee " , Te ane Oe ee a ey a a Ja, ‘ee ; AS Yee Be Pe ee eee | tae, on Ti, ; “ae P La ~ Pr | lo ‘ = a mY ~ i ; Y. ~ ; : bul b) i: 14 e cas Wee evr .t . f id es Ae #7) , i if , ee r ; ; ; ' 7 : ion , ‘ ae eee es ts ; it os va an Ye is \Aaed : fois Rie iabkiatsssets Mair =F (sed de7si9 peotifesd wana ‘sfbbim od3 nds «tewol eidesebienoo ovs coleis ebie a . the ttode dtin Isnogsdec tiodo sit ,beleis vexds 218 esqoansyd edonsse. sii¢ne etf al .eleaqsio to effésic oct suodtiw bus sfe et asereidiud io metaye begoleveh bos exsia beseseulo dtin sag ~-d3 vikaoite e10H dom tis atedsxoa to someulini sit beresraxs _ toe1e ede Sniww@ .ydesI Yo elerhsdéss ofdiod tsdto edt ot os tb beifso yltneupest sxew eisseam oswis® guiblind edt to got e8sq 962) nednien® toe dotall bas bdatwD to refxs8d dotrnish exif “ser odd hetoetis yleeolqied etostsinows asifedt edt nade .(bSE ~dosen esudonste Ieseoloo sdf .esitinoritib fe.esonase 2att ly -veeced bed ti tedis .yiwimeo dé Sl edt at senit noidstawos be ‘rOmt0T ‘elyse adi of ngiet0? .eomis aetel ni enotsibbs ynew be ~iw oldon at betuoexs .erstostidows Isnissxe ovitae ett pt tof “H00 dasinvxul s es sisscgs Istheditso seons{i oad .eloasm 9st AG6I .bi8) tron Letaemenr0 beivtaleoe seedoix sid to yaodsvise -il Satblisd sd¢ Yo metesgxo esoinemisd seiwon edd eteveo dtsad -bediso sit madt wets912 et Sa¥ -hemTse sdats bibselae sa sd =dto0 aedvo of yd belsupe ei se1a Lenredat seodw .neliM Yo Lax sit bhevieonos sagole’ te ysio doin edt .bfrow edt at dowds ot ~sieasy yisse1k esi o¢ betsoibeb dowido.s onidetidstes Yo sebi ~e9b asia edt of Saihtoook .cinorrs® 2 daise onisostorag: bes Io Sonsserees 843 dtiw enrolo8 to otsasoi¥ tb ofmotad yd beagt “Hemkb to bissdas to sistostte [seeoloo s .tbertas seibad 279 To ddbiw s bas .st V.S0T:\ to dtaasl 6 dein seiais bluods snore ehofensnib gnibaoqes1109 sdT) .etqeensad sds eeor0s .¢t 8. BRE eemdd 6 se .(.9% 3.88S bas &.8aR ore [sxbedtso seonsltM edt to} “hts sisvpe dtiw sey ,cayt isrbedéss ed Yo sofiftesd beleis 938g 998 ,e1ed9 oogsons14 .2 to snebesesq eds ot aaidbioD0#) ~seneis sti le esbie déod aucia buetxe ovis bivoda dotdy .(S&t - 9dot-emso oven oft ylno yflotsnusx0Ie¥ even odd Yo bas atg - -anef eds Yo gcinniked edt bas esorerty990 feoitifod .betosis: _ 4 WSL asey oft cl sboste 6 os Batbligd edd sibuord sonsent ‘sdeatmiss of bas 16ddaHt Ayow 9ds suuttaos gon of bebiosbh ase 2 ,dusagert 8 a6 msve tu9 .odota tieds Ifewe s yd evan odd : asifss1: ‘ai aoivetnt ¢ostise seom 3d3 85 O¢ edusactg cinosse% Aepimath gi wissT soqqy Io agdotudo ofddod [feme ods 30 .ordtod Xe fe sad ON mre te | Tr ~% ¢ 8/18 ebiotie (CSL astte) sso te sbeie at (VEE ee | 122 pasilican character, but without clearstories. The two outer side aisles are considerably lower than the middle one; the transepts are three aisled, the choir octagonal with choir ain sle and without the ciréle of chapels. In its entire struct- ure with clustered piers and developed system of buttresses is expressed the influence of northern art much more strongly th- an in the other Gothic cathedrals of Italy. During the erect- ion of the building German masters were frequently called in, like Heinrich Parler of Gmtind and Ulrich of Bnsingen (see pase 124), when the Italian architects helplessly attacked the res- ulting structural difficulties. The colossal structure reach- ed completion first in the 19 th century, after it had heceiv- ed many additions in later times, foreign to its style forms. But in its entire external architecture, executed in noble wh- ite marble, the Milanese cathedral appears as a luxuriant con- servatory of the richest sculptured ornamental work (Fig. 166), that covers the nowise harmonious organism of the building li- ke a splendid state garment. Yet far greater than the cathed- ral of Milan, whose internal area is equaied by no other Goth- ic church in the world, the rich city of Bologna conceived the idea of establishing a church dedicated to its greatly venera- ted protecting saint, S. Petronio. According to the plan des- igned by Antonio di Vicenzio of Bologna with the assistance of Fra Andrea Manfredi, a colossal structure of unheard of dimen- Sions should arise with a length of 708.7 ft. and a width of 355.6 ft. across the transepts. (The corresponding dimensions sof the Milanese cathedral are 485.3 and 288.7 ft.), as a three aisled basilica of the cathedral type, yet with square chapels (according to the precedent of S. Francesco there, see pase 132), which should also extend along both sides of the transe- pts and of the nave. Unfortunately only the nave came to be erected. Political occurrences and the besinnins of the Rena- issance brought the building to a stand. In the year 1647 it was decided to not continue the work further and to terminate the nave by a small choir niche. But even as a fradment, S. Petronio presents to us the most perfect interior in Italian Gothic. Of the small Gothic churches of upper Italy, S. Maria in Strada at Monza (after 13893) affords an attractive example. (Fig. 167). ay: . uaa Kouaaesué: ihatoaresieieae Teast on wode bikes peaehey agama -E nf bebovot ear ylesl to sedorsds sidto® ; -g to) mozsouTsen09. Sit 10%. besiiisy eewoedie beositted daid sa? / ,dogudo tec00 belets slenie s seeta doidw ssvo Sousdo sewol ke eiisno nistess edt dotdw to .evsd eisupe evit to enitetienos getfeme tedwesoe yd eobte daod $s bas ,.98a8 1ei[s as yd bobsed | seait-at bebivibdse .essta Lise Blof sesqeenasd Suimrot axysd ~Soetivey erotoveds sa0gare (exusossidoss oxeddaion aay lo sansa “Soetis odF © .esroqqwe bebi{nom sbhiwes betseat .edia ateds Bas “betitasth yluommoons’ ei: sofiesni bebivibay base Sskitag ead to: -“stoqut yrev: yflecitetsys edsi yd betroaave yoied® .bafeoami: baa -09%.2 to ¢ ahaa? dotdw isin .alrow sasottiagea betse19 had bas .emtot ot 8a [ ut ¢ at doidw .9om81 asedé100 to. olgia. +] eas | P| fy “vO ; iy Log B + 4 4 a J > a a a Pe ea y ‘ fs . f J ' 2 ? sa beers |, , re TON i, eae es Pe A LS F "nt / S Te8iy on account of the tnt aver Etaly, on account of the unfoavorable political. conditions -- the noble families were in strong enmity in the Gothéc period with each other, the people and the Papacy. The Oosmati (page 53) indeed enriched their minor architectural works with Goth- ic forms, and had created magnificent works, with which furth- ermore the works of Florentine masters competed even on Roman soil. The single great architectural work of Gothic in Rome is the vaulted church of S. Maria sopra Minerva, erected efter 1280 by the Dominicans, whose three aisled nave is enlarged by side chapels, and whose transepts likewise end in choir chapels, the middle one terminating with a semicircular apse. In lower Italy the dry early Gothic developed in the time of the Hobenstaufens, but still rather remaining in the transiti- on stage, was introduced by the Cistercian church at Vossanuo- va (page 181), under the French monarchs of the house of Anjou (1266-1442) was succeeded by a “decomposed and reduced late G Gothic” of a Bursundian tybe, of which S. Lorenzo in Naples (: (1266-1824), a church of the cathedral type with choir aisie and five radial chapels, represents the most important monun- ent. In Sicily the earnest Norman architectural forms are com- bined with the Sayer Mohammedan ornament and the Byzantine sp- lendor of pictures into a harmonious unity of peculiar magnif- icence. (Pig. 173). The porch of the south side of the cathe- dral of Palermo (Fis. 174) is a work of this style from the m middie of the 14 th century. Offshoots of the Gothic of lower Italy also found admission fartber Fast in Cyprus by the mediation of the crusades, where among others the metropolitan church of 8, Sophia in Nicosia, erected at the besinning of the 18 th century, ekhibits a plan allied te the cathedrals at Sens and Paris, yet wanting the c circle of chapels. Even in the Holy band may be followed the echos of this style in church architecture, even if then are also proved now in few architectural remains. VI. Spain and Portugal. About the middle of the 18 th century the Gothic style found- entrance into the Iberian peninsula, and indeed it was the art style of northern France, which in its full maturity was chie- fly introduced by the mediation of the Cistercians. Yet thé * a’ a : : 4 af i 7) é Fis a i \ eae ¥| rs : : ; P ve. Cit F: bs ee" , : ie ft ua - re Me hi ie; a ‘* 7 “a ee boned Muchas yino hos a i abo dina avideiadd paver: ows sdf .tasmgoleveo £ 008 eetwusneo dt Of bua Gs GL edt ni gow olitesd Trin | ptetbaan {acitifog atsit io teemszaszia ods din Bece, satus fo Qnixeteot citeareas us oF zevLoamods etoveh ot olde i | Hed) Md-Sh edt to saqwoo edt mi madw has \Lsguax0% seiweitd bas 4 edd gd boroved oxen sivantusa asixed! ods to elaoea edt vist ‘ i oe si F ae aif vy Rekaq: 6: 101 o2or bas .aomsee sheds to 2zstievonsib barusu-doogs me bewolt défsow dstooaxsan dotdw yd biasve) (etedt o¢ anol boredbs ylmxtd aom seda .2leaede to ef : | af obfd, ,Sonsaeieush sat to taomsoaavbs evorsofory odt ania ‘ (madd od aeiivoeq saxs00 s: ovascg aletbsdgao deinsce ods stds ate \widoit di tsext neve bas ietetolo edt nissex vedd dedd af: i (8 SE timo *xqodetd edd Yo aedowwde axettaoa Isqientza sds efi My . Op aedq tarenss siti at) 2A .vindaco dd SE ode setts efex s as ¥I _ ~-eReQus@to1g edd sxoW od ont bus snotteler {sixs sat at ole ii Po ‘sutantied edd dil .evivsutwiesss text? 38 gone19 atedtron to _ f Yoeeomsultat ods ylgaoits o10m issqqs. Wissdso di Sf add tos ihe ‘Yo text efostidors ea? = .eana1 nuedtwoe to olyse gis oat Agfeoyers a heselqnoo yedt bas .2xotistat basxe ofssxo of bants _ ~titesd edt oels ydereds tef .aix0ow Isangourse tasticgmt yey . | I ad Aw bas Sasodtion ed? at berseqqseth terrt odyt cao ad emgtoosidos dommdd) sate’ Lis at. setestaeo at St bao ; ) ~ nas - > . i , ; { ‘ y ’ ' “< wo , PS eo ee ee er m4 =, © 4 oe. Wises bag Ak /4/ 127 style only attained here in a limited sense to an independent development. The two young Christian kingdoms of Aragon and SGastile were in the 18 th and 14 th centuries too much occupi- ed with the arrangement of their political conditions, to be able to devote themselves to an energetic fostering of art, a and likewise Portugel, and when in the course of the 15 th cen- tury the people of the Iberian peninsula were favored by the epoch-making discoveries of their seamen, and rose for a prief period to a world supremacy, by which unexpected wealth flowed to them, then men were compelled to call foreign artists imto the country. Chiefly Netherlanders, Germans and Italians were invited. On the works instituted by them was sradually formed an independent and natural style of art, but which was less e expressed in the form of plan of the buildings, than in their spaciousness and luxuriant and ornamental treatment of the so- uthern character. In Spain the churches retained the high enclosure of the pr- riests” choir in the middle aisle (page 57), placed their most sacred chapel (capilla major) instead of the northern choir, Connecting this with the priests’ choir by a latticed passage. The side aisles were enlarged by rows of chapels, that were frequently continued at all external walls. In regard to the form of ground plan, there appeared such a great preference for the French cathedral system with choir eisle and rich cir- cle ef chapels, that men firmly adhered long to there, even d during the victorious advancement of the Renaissance. Also in this the Spanish cathedrals pursue @ course peculiar to them ‘in that they retain the cloister and even treat it riehly, wk- ile the principsl northern churches of the bishops’ omit it 4. as a rule after the 13 th century. As in the general plan so also in the axial relations and the like were the protgtypes of northern France at first determinative. With the beginning of the 14 th century appear more strongly the influences of t the art stylo of southern France. The architects first of all aimed to create grand interiors, and they completed these with very important structural works. But thereby also the basili- can tybe first disappeared in the northeast and in the 15 th and 16 th centuries in all Spain. Church architecture turned ; rr} a : aor ie ,' rant 7 Ux iy. 2) iy ; vs ¥! re as. aiaaisiil ie ay gusts oie a ue anseqas aid? - ellis nth edt to tusstaemt tgoe One eibbia ont ai tad mx0t exeq ett aiveoomh a: edd sted? . .tnemgolsveb asiiuseq @ osat bssesq | ““tetoe ‘besshaole vitdatle s to wiok sit at nelq shiw viev s om x ae tute busi sLobim sd¢votdw Saoms .89lete gevee 10 evil déiw alg a $ assis sebiw ylotetsbom ted ass fais satevanert edt as. usiet _ =hersd ebte a1etase od? .s9daid @isetl tud 908 bas axedso oft 4 “01 o18 fofdw .afeqedo [isa at to ofanetoss 6 at tsitte astean . -- egmbblind dotedo teiasg2 ssedt avd? .eebte adit aaols hetesa f “= 4 eagle edd) ot aafa, bavoik to wxot edo nf etautxoraas: oe et ' .aTooM edt Saomea [asec supeom adit | “es er ari to eamxot sdt af asunttaco siusousse od? “99S G19" e19fe8m ois dotdw dviw vo .beaed sis adiow sdz dotaw | at doit ysev ai t£ sxotored? .yadnsoo evitsa ateds oi batareg ey ih saree betiwil ylteids sxew akaiaeco wobuiw. aft tuG .asgasito nd -sedonudo misdétom edt to sxodt of wostusqmoo af esotansatd of a brandvo beosbs: orem siuws a8 asfaia ebte edd to. addzisd aA “A | _ stdtautte remot ea? (SED ehsa St oi 1382 first acquired the church, a three aisled basilican structure with high side aisles, transepts and five parallel choirs aft- er the style of Gistercian designs, but with polygonal apses. Fo this were added the Square tomb chapel ef the founder, er- ected in the line of the facade and attached to the nave, also the great cloister and the refectory, chapter hall, and the o- ther buildings belonging to the monastery plan. About 1450 w was added a second cloister, and in 1551 a third square of bu- ildings with a cloister. It seems doubtful thet English influ- ences contributed to laying out the plan, The artistically m most noteworthy portion of the architecture is the “capelles imparfeitas”, added after the besinnings of the 15 th centuryAt at the eastern part of the church on its middle axis, a great octagonal central building, that if it were completed, would form the most important Gothic central structure, besides the biebfrauen church at Treves. The lower story bears expressed English traits. The upper story (after 1491) was extended by Joao de Gistilho, the greatest architect of Portusgal’s best p period. It is showy in that fancifuily combined style form, frog Gothic, Moorish, Indian and Renaissance elements, in wh- ich the latter Sradually attained predominance. The developed Emanuel style of the 16 th century is most characteristically shown by the choir of the Knights of Shrist at Thomar (Pig. 1 184) and the charming monastery church at Belem (efter 1500), a magnificent hall design with net vaults above richly decora- ted slender piers (fig. 185). Above the church lies the enrap- turing cloister represented in Fig. 686, whose principal moti- ves however already belong to the form series of the succeedi- ng period. B. Monastery Designs and allied Groups of Bui- ldings. However deeply the Order of Cistercians and those of the suc- ceeding Franciscans and Dominicans were concerned in the evol- ution and spread of the Gothic, and also howxver Ssreat was the acchitectural activity developed by them in the erection of ¢ churches and monasteries, they introduced no substantially new ideas in the design of the monasteries themselves; afterwards as before, the scheme of the monastery of S. Gall remained de- covaditaness vats bth aous behol Ten. ababblind noo to betray yfis -19soolss ows. bebivesg eeattemoe exnala rettsd .tenasm 16 fqmbe. sevodynistusor sit .Tedntw 10% ted¢o edt .Tsmuse tot 900° ast ~ud) {attuos Sismea es 2a bessort yltaeugett agw (88 88 .ant¥) saods of asltwie ewobaiw ods nt egaitatsq ceeie déiw .anrdLt ~aqs yitsues y1otimiob mommoo edt to bsetenT .astetols ent to oo) ) eesedmem (sybivibai edd tot tliwd alls aatvit edt bores @ ai wet sowtonize Io aasot’ evieastxe yrsv yltusseett oF 8 easiotetet® edt to etebh19 see1xk odd to stusaelsioa sd¢ omit «(ho mottosse sit at -293sse0 diiw bebiverg .eoattoibens® bas | “tedostedo aieds .easioretaid edt 10% n9ve esdoisds vistesaom | oe eid o¢ beknsdo esw mobiee so nafq to m0 oftat _ -*planottsbuso? astotosat® tse1h Yo eelansxe saootitassé .tasm =t9@ bas nao1d{vel te bavot sie boises ofdeod eds ok batelaqmos yah (86 106) aeden) aoordiveli ts vodds od? sider? wi nvanadas aatesb doit ett to tavooo8 no dtaow Leotkoloosdoxs euotas to edt to enott10g tastdoumt teow sdF .nottevsessig sielamoo bas edt dgeotd? .botxeq suonensmo% oft of gaofed Llize abarblind -3r4 at aslaq bagoth oft to (82E oben o92 iseibsrag) s dos0a .(STLt beteoibeb) dowsdo belsts serdt ods e1930e ono BEA wot 8 dtiw bas eeqs tuodtiw afodo aslwzastoss 3 at eetsateiet é ~aaifies {staostiod s yd betevoo vifsuisixvo esw ,aleasdo to to megeye ode vo .BSOE at eativayv goa dsiw bedetnavt ssw dod ~vetsqedo yd: bobastxe esw even sdt .boowbotdai asdt asaesidtas LOSI af bowolfot ears gniblied sesdt s)67%4 jsbhte dtaoe sad no +bbstsq) dor0q edt bas, 2 yrotoster yal eds .i Lisd [ioavoo odd | etotoster! Tedsom eid sited caw S8St gwods .(e2St suode) s (eA efit sbteed antbnetxe setetols ods to autw djvoe edt oafs bas d ~dosid odd yal eotrotoeter owt odd ceowsed .(Ob .2f8) .dowsdo te dqoeneis edt sbived betosie .= segod aetqado edd teed ae » betevoo .(avisoss{aee) {isd nottseasvnoo edt bel .dowsdo ond ai betoste asw ssdt .o eewort e'todds edt of atiusv tem dois vd -{tud edt to duiw off .(BIGI-SLSI) sotsoutten0s ashoow anoxde _ sepsoistotg edd ei t yrsileo belets ows set a yd batoned aatb . ~{o yenat aids ebiets® Vl .ar8 af beoubonqe. secon arstav0t ~st8a9° ek yistssaom suite sa? .ciathlivd mist sat sil aaness is ‘etc fredtiea aT) .efisw tetvo baoise ed beso lore? —s es U ‘ Ya 133 determinative (see volume 1, page 182), even if also occasion- ally varied or new buildings were based upon it in a richer or simpler manner. barger plans sometimes provided two refector- ies, one for summer, the other for winter. The fountain house (Pigs. 186, 187) was frequently treated as a small central bu- ilding, with slass paintings in the windows similar to those /49 of the cloister. Instead of the common dormitory usually app- cared the living @ells built for the individual members. Fo freavently very extensive Sroups of structures srew in t time the settlements of the sreat Orders of the Gistercians a and Benedictines, provided with estates. In the erection of monastery churches even for the Gistercians, their character- istic form of plan not seldom was changed to the usuallarrange- ment. Magnificent examples of great Cistercian foundations ¢ completed in the Gothic period are found at Maulbronn and Beb- enhausen in Swabia. The abbey at Maulbronn (pages 311 38) is of unigue archaeological worth on account of its rich design and complete preservation. The most important portions of the buildings still belong to the Romanesque period. Through the porch a (paradise; see page 149) of the ground plan in Fis. 986 one enters the three aisled church (dedicated 1178). It terminates in a rectangular choir without apse and with a row of chapels, was originally covered by a horizontal ceiling, b but was furnished with net vaults in 1424. By the system of buttresses then introduced, the nave was extended by chapels on the south side. After these buildings eras followed in 1201 the council hall i, the lay refectory ¢ and the porch (paradi- se) a (about 1215). About 1225 was built the monks? refectory h and also the south wing of the cloister extending beside the church. (fig. 40). Between the two refectories lay the kitch- en. Fast the chapter house m, erected beside the transept of the chureh, led the convessation hall (pariatorium), covered by rich net vaults to the abbot’s house o, that was erected in strong wooden construction (1512-1518). The wing of the buil- Ging denoted by k is a two aisled cellar; f is the picturesaue fountain house reproduced in Fis. 187. Outside this inner cl- ausure lie the farm buildings. The entire monastery is entir- /*$Cely enclosed by strong outer walls. In northern Germany the s ; os T 9 it 4 ut ; i ; fa ae i? Toure eae akadsd te eyedda oD sited ts aetietasson bbe ants oa? §.ofdto? dotad arog 8 ieq Ofdto® edt mi boaxe{ae suow blelasifid ous {s pk Sse dunt isgoH bus woudasblod ts syedds asioxstaiD astesdod " -9t00% ts. evyedds odd exedto Snows sonenW al .afind s1sq Teexe agebtseso teoldon ont oF anolsd amacais® bas sbtorisa0% wen =—go% {few bas bes esol yiotbaelaqe sdd satwexit .otdto® viase Yo -Ybasmro at. lodotM~saisa-taoN to soswelates satvotbsas@ bertiz - iwidtiet beatsme: [e19ne2 uf ensoigimol bas easoeionsa® saF sbOnssenod .Bredencge0f of) wads yd sddusd veioifamie sid ot -19d9 sted? .(enx0lo2 bus sovta¥ \suydesis2 jefaed .osaurleed siom dsduenoe .egaifteo [etaosivod bad swis gaol & vot agie vosetls asrsteiolo seody ,zatteoh asteudiis® si¢ 918 sviaestaxe ~ai msteye [leo odd oF eoneteled diiw enctausmib ts012 bomuace e109) wom) ,R1sdwo ts of yretesaom asteuddra)) medd yd baouboud viseluottisq 10 bebavot stew satistacnom oid asd® .faseegN a6 sefota betentatiro oats st9dd .esoatag ariinddaten yd betovates, | -enle:odt ts slgusxe 10% es .anviseroveb bibusige avin eagiasd asotnimed:6d3 baa (86E sasq) sived r894 s20d199 beacituen vhs | w wits | »(Sdt she@) .sdisssh te vassasqoa pea Sse7k odd 18950 sommeo tadsaiut sien evotsiolo stisusqa? p08 at onfs bas (ODL saca) ateas at aqotigid to astiowdo {sats asdie9 .yrsdaiieG at axrsdto 300m (ytwseeo as GL sat {ita baal fovig ef astisl sit Yo eesador1 edd to wetv s syedasovelP bas ~229 gino s1ew yeds yosmi9) bas vies ,sons7G aI = .S8@t . os Reak -ita edP® .buswn0 botteq oidtod deidsedt sort sitod ylisaottas bas’ tioind .bredebaeM .sosd at aretetoio (subsites xaiteixe If * .s918 Yo wiotetd edt ai atascmsnow ydsaoredon cis 81gdena208 ~tdows sosisq bas yietesnom n90used setdizog stsibsriesat aA ~daiad to etebs0 asmre8 ed¢ to ssiteso sdg yd aoist ai suatoat oI .&teasG is90 atedestxeh od¢vatwelagmexe sesntt ated? ed ~ivdst asw yiudneo dé Sf oft at bas O882 ase odd ai auaed asw See nem: haere edt to tsa eig aetis ,bebastae yfisistetsm bas tl aetudomase tustettib ed? (90S) ersds besistaasad aeod bsd oe teria ae ,zadeioLo vrote. owd asivhassoos ods bagots dbsasork sts : a edt as sith 2 to dousdo eds aeit ebhfe saedt1oq 9a re Adle bue asdsiet redaia eda Yo ebatl Lond edd yd gate } eottods tmiob edd yd betquooo at aaiw tese oaf . {fed 1384: abbeys at behnin and Chorin also received structures in noble prick Gothic. The Austrian monasteries at Heilisenkreuz, Zwe- tl and bilienfeld were enlarged in the Gothic period, and the Bohemian Cistercian abbeys at Goldenkron and Hohenfurt were in great part built. In France among others the abbeys at Fonte- nay, Fontfroide and Ourscamp belong to the noblest creations of early Gothic, likewise the splendidly located and well for- tified Benedictine settlement of Mont-Saint-Michel in Normandy. Fhe Pranciscans and Dominicans in generel remained faithful to the simplicity taught by them (in Regensburg, Constance, Esslingen, Basle, Strasburg, Erfurt and Gologne). Their chur- ches for a long time had horizontal ceilings. Somewhat more expressive are the Garthusian designs, whose cloisters already assumed great dimensions with reference to the cell system in- troduced by bheg (Carthusian monastery in Nuremberg, now 6ern- an Museum). When the monasteries were founded or particularly yy favored by neighboring princes, there a&so originated richer designs with splendid decorations, as for example at the alre- ady mentioned Certosa near Pavia (page 132) and the Dominican monastery at Batalha. (Page 147). Separate cloisters were further common near the great prin- cipal churches of bishops in Spain (page 140) and also in Eng- land till the 15 th century, among others in Salisbury, Durham and Gloucester; a view of the richness of the latter is given in Fig. 188. In France, Italy and Germany they were only exe- eptionally built from the high Gothic period onward. The sti- 11 existing cathedral cloisters in baon, Magdeburg, Erfurt and Regensburg are noteworthy monuments in the history of art. An intermediate position between monastery and palace archi- tecture is taken by the castles of the German Orders of knigh- ts. Their finest examplesisrthe Marienbers near Danzis. It was begun in the year 1280 and in the 14 th century was rebui- 1t and materially enlarged, efter the seat of the srand master had been transferred there (1309). The different structures are grouped around the rectangular two story cloister, on who- se northern side lies the church of S. Maria as the chapter h hall. The east wing is occupied by the dormitories, the west wins by the dwellings of the higher knights, and on the south el oa | Ys ’ he: part ‘i cll 5 » ~ | es | tieda acatienk: ebia , CO SCM i dhe ilaivane: ode Rib I BSEE bas T8EL nee sa sds 38 at -teddawh bevomer ased badisiteso 19300 sd x9dte 6) | gixsfeoterss aevisameds bavoig bed odw .sabx0 edt to soraado .ativey asta bas ns to aottoursas0o edt at atstasm Jaas9qmo9 | bas detsd gem1e8 aiedtzoa Io estot efe &nome beovbertak bas dees: at ¢us aewro0l odd wort esvisom yasu oideod datwedS ylao gou drow tasntaoxg yiisoi¢atsxe as S90uh01q weds of AN ~19dn8) 004 at oels ted .(83f .269%) sxetoesidors- Leniesai edt nt st -e9osit08 [Lew od¢ to aotvamtas bas aoieivibdea Lan ~SShEfh ai bstoere. .siwatiod af atsteiasd to sitaso. sdt as0n8n *‘gottentdmos 6 ef .VI eolasdd asbay esttd to safdtsaM va SBE! “790 8 es ovie2 teom ¢1 iexstootidere yissesaow bas sitaso to “of of¢ sot yisesess sas .astasio atatas{le> 6 to tsee d¢aacem # aot eoncbies1 6 es s1sq ni teesi ts Sas ,extame edt to alew ag Sf edd at betsatkixo sonex4% al . .vatnvos eds to seontra adit : ea rgnshtgmaragile ta aeqol edt te si¢eso vietsse adt yautaao -,ee0sisq ‘egodeid sds ovew tasbom s10M .aeecqisg talimie: 10% 6a) basigal: bas sonexd at seixe extenst sfisredtaaoo dokdw:to “dw ,esiataneo. ntedtuoe ods at bas (effe®, ,eauodisi .ansR wo | en . -atneugnow etalqmoo yittsa Liite sia dot »dnthLene divin betosmaeo evyewis 948 sistiueod edt eatwovid -ud ylteos e1sw youd enoassa vistiese 108 evetvies saivid tot ‘sot base .aetsio to atiidetve od? so ameerte Rutwost 1590 sit #8. .nela seteatolo ofd asdtie batosfoe gaew enaia basoue saisdd nt bsbasot ,eifesol edt no e009 ts Lettqeod oft ts ofamaxe tot .tete\ edt sot Ifed bas Leqsdo io aoivantdmon too1rh 5 xo ,Odat 6 .SYSi at bebawot .doodSd ts Istiazod seiekneaiiieH odt eitt ergtours a febom tsex1k sift .M-e-trotdnaa8 ga istiasod od¢ bas ‘wots tensas edt a0 ebaate yoseils (or0fbael olsdbeqeO) asiih ge : a | -80asaeienef asiistl- eds o¢ ogsete s1ysoad tdowA aslno0e82 sidtod 0 ) ei¢ mi 1998 916W abesb deetse& edd asin boireq s al : oot ki yeluove .asveed ehiswos aatziaas. alsibsdteo to ao 7 Ai oy t, ae ataw ¢ ox soitostreg to saste dard ond ot seiz Jou Sisco doesidors releoe8 « gals soY .be 2 Bsd eiudossidois odd .asonie e623 to sotdsqtoisa sq antassiont edd ae is ow Leees ‘anttiopoe eassitio edt v0 wtiltdod albbiw ye » ie’ G /% ¥ es && 135 side are found the living hall and the great refectory. Betw- een 1357 and 1382 was erected the castle of the Srand master, after the outer castle had been removed further. In it the me- chanics of the Order, who had proved themselves particularly competent masters in the construction of fan and star vaults, and introduced among the forms of northern German brick and Rhenish Gothic many motives from the Norman art in Sicily kno- wn to them, produced an artistically prominent work, not only in the internal architecture (Fis. 189), but also in the exter- nal: subdivision and animation of the wall surfaces. In like manner the castle of Carlstein in Bohemia, erected in 1348- 1365 by Matthias of Arras under Charles IV, is a combination of castle and monastery architecture. It must serve as a per- manent seat of a collegiate chapter, as a treasury for the je- wels of the empire, and at least in part as a residence for t the princes of the country. In France originated in the 14 th century the stately castle of the Popes at Avignon, intended for similar purposes. More modest were the bishops’? palaces, of which considerable remains exist in France and England, (ba- on, Sens, Narbonne, Wells) and in the southern countries, wh- ich are still partly complete monuments. bikewise the hospitals are always connected with buildings for divine service. For sanitary reasons they were mostly bu- ilt near flowing streams on the cutskirts of cities, and for their ground plans were selected either the cloister plan, as je) for exemple at the hospital at Cues on the Moselle, founded in 1450, or a direct combination of chapel and hall for the sick, like the Heiligengeist hospital at Lbibeck, founded in 1276, a and the hospital at Prankfort-a-M. fhe sreat model structure at Milan (Ospedale Magsiore) already stands on the transition stage to the Italian Renaissance. ©. Gothic Secular Architecture. In a period when the greatest deeds were seen in the erecti- on of cathedrals aspiring towards heaven, secular architecture could not rise to the high stage of perfection, to which church architecture had soared. Yet also secular architecture, vnder the increasing participation of the princes, the higher and m middle nobility, of the citizens acquiring Sreat wealth, as w a Om ‘oe pbboana sds edd .s00% oat wd berovel cow .2n0itsiooass . tbr traces ot ,semysi to ebnasd sdt otat basasa bad tas edt _ssonahion tomas os a brs men hanes ié .ettow vdsaowston hus De 4 O18 ies tinre aeluoos of List emefdora sastroamt seom od? s9oneiiess edgy 28 290alsa bas atiot .asitasn to nottos1s sat “Ist yods slut s a4 -ytifitdonm sdt Io bas asontag 3aingier Yo bas dtkasate of betoe1i) (fs to serft Rated ,ezoqwd edt tool o yods bos .eisw yd besostis botred « at saae'tesh tot eiosaqes (EL yods it seve .ceexttol s to tet9s1ado sdd omsaas viisido -39i etigp terti te et as{q ed? .aertto peftitsiot Liew atdtin hasivhastost eds sotantxotags yiisiensa th rxetel tud sl pre / mort tuod4 .aefkas ddd ts at9wot sviensteb anorwte dtiw aot ~seoasbiass yisoataa sd3 biswso vastness do AL edt to slobim ead "esosisio sssnai ylawoitvero atedt saol yilesbartg saeltass bas. “-fesoront of .ytetsa bas sanstes tot yleviasioxs eanibliud to Sheer 20b etuewertivpe: ods of betoveb aotsaeste at otaasem Ba ~e008ifo,emo0or bas alfed dbgo1g adt to saamtsersd ad¢ nor% . 9908 yiteow snow efisw od? .saetasvis ¢serk eveisbh atis yoOHsim obde i e1itas sit bebastxe aomttomee tedt° .gatlseasa déitw dodatatet » | w yaeosms barid bas ebasd détw saomteaets atedd at bas .tdated qoaim sd¢ o¢ botistensyt anvot {eastostidots sd¢ bstssqs1 stew | -ta9 titel asw vtoxemst? odt eanities edz aD .f2@t .3i8) .eate wiletosase .kotleasa ddiw bodatnist ase tt to ,eidistv ylevri “skatiies sd¢ atasmtusgs aeatal edt al .emoor isiiema oda ni dott e« déiw saote at betuosxs .stlosy as betsert rsitis Stow ayfiasa eao1d Satved akailies asboow dtiw .adia to taasekasa18 Se ears. vitwoda y1sv stew dotdn .ansed a0: 10 ae ec aes ee - bas Land - b ode Ageaiuceex xew estwil taobom otom ylisisnsaes aidsi¥ | ~en09 ai .eaeststo ob ot (Low bas anstotatsa sat to aaailflowd 1 df dofdw mort .eu of bentsmed sved avaomuaom seeds rk aoa bad ‘Yo etrsit Leased) atstiso eovfoamedt 7 a . bas ‘astsio oat as. ce ‘ soon s19w esevod edt doftdw ot .Saiblindes bewsidaoo to sogsupe. , edt Yo tuo gatvel aaeleaso yitnoussrt edd bas .basostdse wl #0: etazoa {isa yvlovits{e1 s sud .asidio avebow to atecita -eaosigto bas adnadousm betewste [lew odd ovis te 136 well as the cities and within them the secular assemblies and associations, was favored by the fact, that the practice of t the art had passed into the hands of laymen, to record very noteworthy works, an part grand and equal to church architect- ure. { The most important problems fell to secular architecture in the erection of castles, forts and pelaces as the residences of reigning princes and of the nobility. As a rule they ref- lect the purpose, being first of all directed to strength and capacity for defense in a period affected by wars, and they c chiefly assume the character of a fortress, even if they lie within well fortified cities. The plan is at first quite irr- eSular, but later it generally approximates the rectansular f form with strong defensive towers at the angles. About from the middle of the 14 th century onward the princely residences and castles sradually lose their previously innate character of buildings exclusively for defense and sefety. In increasi- ng measure is attention devoted to the requirements for resid- énce. From the treatment of the proud halls and roonms,othéoGe- thic minor arts der¥ve great advantage. The walls were mostly . furnished with paneling, that sometimes extended the entire bh height, and in their treatment with bands and blind tracery w were repeated the architectural forms transferred to the minor arts. (Fig. 191). On the ceilings the framework was left ent- ively visible, or it was furnished with paneling, especially in the smaller rooms. In the larger aparbments the ceilings were cither treated as vaults, executed in stone with 9 rich arrangement of ribs, with wooden ceilings having cross strips or on beams, which were very showily treated,sparticularly in Hngland. Within essentially more modest limits were restricted the d dwellings of the patricians and well to do citizens. In cons- equence of continued rebuilding, to which the houses were most- ly subjected, and the frequently careless laying out of the streets of modern cities, but a relatively small: portion of t these monuments have remained to us, from which it results th- at also the well situated merchants and citizens adopted for themselves certain basal traits of the dwellings of the nobles, ser 8 pare sitt ton 6£6 oafs bus ne ri sca atedt aft @8 {fon as somsisedas fsaisdxs afsdé .onem wey bas Sibasiqe es allied ytio sdt aseqqs tedwua tao18 al -gqSita Satesetont bas atdatavolt sad to asoasbive svfeseromi -25709 ek medd a0 2988 olbbim odt at aeafo nesidio edt to dd ybsorle bsd sautostidois isluoee sdaied s tsde of awode ylito ao duomaiups sd? .vausneo dt Sf sdt to aninatsed sd¢ ts neats -d18 9kd¢o8 Yo elowet eotods stasaerq yltaeupert softredxe odds), asqo ytode bawe7g eft ut aistuos wod¢ sfar « aA =. (ret .8r9) Yrote T9qqG ead afk .eeeo0iwg slitnastem bas yidmecas a90t alisd to esoitto edd détw fisd Ltonvoo 10 *eanevitio tsaxe sds gated gateogakr yltmauoext bas visiste s of ostvied -Saemqtevog sdJ gemdotsew eit io soivwiee edt st0t hbosifit¢e asw iaw0os sit .sdSred “sii di jeaesttto ois yd ebizg aslwotsisq dtiw bobisgeq eaw Sas -tai as tauk .¢dio tisdd to oitstuesosisdo odd bomx0t yltaauo -d3tew tot ehnibliad .etnim sdt .aooltiog ytio sdd e148 Sattasye -doxs ,esttsnexs .eqode *etasdorm tee78 sdt ,untasacem bas ant atnemnnom es dvod .(8@r .869) aeatod. etatoor bas b{ivs .eebas -Yiib edt ¢edw to sxvasem 6 ae .mottaxtlivto to yrotatd edt at | =p81,anestsid to escisstooees eit madd atdtiw bas,esitio ta915 . ttedé to bus asvisemeds to ancitatneesicss sidatiue es detin | ¢tidois ofvto yd Bayot esr Bisit evittoubora radsonA .yttasrs ¥ ob od biuoo geod? .esisio odd fo aoitsoitisiol edt af s10tos _ ode sdv 30 .taetxe tied? tellame odd .yIftess stom edd bebust -sod edt ‘to tdziesd tsoxrk ods stote1eds teaflew gateolous edt Tes astée vletste sat -eoisupe mego on bas ayelis woiten odé .ase bas seasteb 10% bobastat aottovitesoo bas akiesb sav doidw ao eat dain aottentdmos at .beyolams stew Taemsnx0 citaisaa oels _ aovborq ylieido ex9wot yd besostoud bas aado1s sbin no seRbiad sesibem edt to ewsiv Leqwdostidors supasistoig bas kaiwisdo edt edt o¢ sted sbsm od osfs biuode sousxstet yilsai® .asitio fav ~foa edt at Saemooasvbs edt dtiw dotdw ,gezeffoo 10t santblind 7078 on? -aarxelloo fgotvastesiooe odt mort bevizebd yifetdo 94 | bowol fot slut 6 28 mods 10% betoess eanitbitud to au wtoef to adiquors eldstive s bsaovst doidw .nalq yrot F209 tee8 sda bisots ailsad esottos1q 3H eeidterevine edt sass 1oquit asigoid@asa of beatadts asoas .) 137 and also did not like to reject a certain richness, both in t their external appearance as well as in their internal equip- ment. In great number appear the city halls as splendid and ver impressive evidences of the flovrishing and increasing streng- th of the citizen class in the middle ages. On them is corre- ctly shown to what a height secular architecture had already risen at the beginning of the 15 th century. The equipment on /sethe exterior frequently presents choice jewels of Gothic art. (Pig. 191). As a rule theg contain in the ground story open halls for assembly and mercantile purposes, in the upper story being the great citizens’ or council hall with the offices of the sgovernment. Garried to a stately and frequently imposing height, the tower was utilized for the service of the watchmen and was regarded with particuler pride by the citizens; it fre- guently formed the characteristic of their city. dust as int- | eresting are the city porticos, the mints, buildings for weigh- ing and measuring, the great merchants’ shops, sranaries, exeh- anges, suild and society hebses (Fis, 192), both as monuments in the history of civilization, as a measure of what the diff- erent cities,and within them the associations of citizens, req- uired as suitable representations of themselves and of their dignity. Another productive field was found by civie archits ecture in the fortification of the cities. These could be de- fended the more easily, the smaller their extent, or the shor- ter the enclosing walls; therefore the great height of the hou- ses, the narrow alleys and no open squares. The stately gates on which the design and construction intended for defense and also artistic ornament were employed, in combination with the bridges on wide arches and pootected by towers chiefly produce the charming and picturesque architectural views of the mediae- val cities. Finally reference should also be made here to the buildings for colleges, which with the advancement in the sci- /SLences attained to particular importance. The universities we- re chiefly derived from the ecclesiastical colleges. The gro- up of buildings erected for them as a rule followed the monas- tery plan, which favored a suitable Ssrouping of lecture and p practice halis around the great court. " J a= J P é , Reid: ° ay re ae | Pe ’ i AF oe | i ¢ , } nt Sy } ss lt i ile Fil jak kG ch 4 bb ite mn ae | ‘a Bai, Us ae os ’ ‘oe is ore Tt Aik Po ; , ay wy ‘cual lore tefyoee at coals 1s0908 on \otutoss tdors dowds ai ef pew bas aslq .batd .19dmua edt oF Soaqes1 at .eistos | sHoetado: tots bas . eetsrusiivosa yasm .,edaow [aiusvedinow te 1 Ss -antsmo6 Lsigtostidows Jasistifb sdd ssias ~tas9o ott 7s efnidblivd asiuose sastaoami seom sit gonad al <9tvuod blo odd asw oted svitedasa2e1ge@ .beyortesbh ylteow .2el “byt .I etonetd yd aatoiiwd won edt of blety tedal teem dotde ‘yd Beeofons sistowite s eaw st .2ortetuioa Saneioas wort Bara © ¥lfeotatewnye ,etswot yd bebasteb (flow ellew Laviedx9 gaaise | .ows Ons arewos slans bavor dtiw aslq [eaogetoo ns ao boaasti6e “eat Yo sobre vod te 25808t odd motl &Sattostoxq arowot bavor -a@m Batatemsrt yilsisttsqg {Lite wet od? .wobatw betsvela sibbia ta eolteso odd .sooesist $s olsaso isyor eft as dows .adaow atefid +6 slteso edt to Yntwsdt bas .abacisvisia bas ateis od -2f%) aotaséat edt at beacinos viderts bas LIX eiged t9d%6 bamaa —fogmstnoo sdt asdt tauomtesit boaiter srom set s didtdds (Ser yiteom asf{don eft to eeltacs donestt odf .yasmxe9 at ediow vie --sq)eiewot ofane auorte déin (qesd) aoiaob evieasm 6 betsoterg {itau .beaelsveb yisext bas yfbsoid o10m seve esw dsd¢ . {TS 32 ~~ gebsors Isatedai yd beadfone tav00 6 odai Somtotanert ese ti =Lusv & digoiwds beistias eaw dofde .ebatw igot yd debasotysa bas a yito odd t0 ~.feqedo sit asw ywiietsass efdt svods ; > . © a r on * : y a) va i as —— Re 2 bs a BS ‘a F ayer re +) ae 5 : $k. 148 middle ages, and men finally reached the conclusion, after re- cognizing the high formal superiority of the former, that this was ever the unattained and the undying ideal of artistic exp- ression; therefore the revival of the antique, which contained the most dignified and most elevated forms of all, was what a art must everywhere strive for, forming the highest eim for a all artists of the later time. -- In the second half of the 14: th century Petrarch and Boccacio, the greatest poets of It- aly*?s best period, demanded as first and most important the a adhesion to the antique. This idea acted on the artists like a greater illumination. In the first half of the 15 th centu- ry it became a fact. Thus after centuries of strife between the traditions of the fallen Roman empire and the Gothic elem- ents coming from the North and not, capable of assimilation in Ttaly, men came to the conclusion, exceedingly important to t the history of civilization, to adopt the Roman architectural forms as a means of expression for the new requirements in the intellectual and material domain, changed from those formerly common. It was an occurrence unequaled in the history of the world, that an art was awakened into new life after being drop- ped for a thousand years. The new epoch in art and science thereby introduced, already in the 16 th century had received the name of Renaissance (fr- om the Etalian rinascimento = rebirth), although this appella- tion in nowise exhausts the signification. For the antique is not the deciding but the concurring factor. It was also actu- ally in the new movement not treated as a “rebirth” in the se- nse here conceived, but as the transition to a new view of the world. It was an entirely new spirit deryzved from naturalism and individualism, renouncing the middle ages, and which saw in the versatile bahanced beauty and maturity of classical an- tiquity the ideal of a harmonious and humane con eption of li- fe, regarded its language and literature as an inexhaustible source for the ethical and intellectual education of the human race, and founded that humanism, on which rests all modern ci- vilization. Certainly the artists conceived a revival of the antique, é entirely aside from the realm of architecture. With greater Oey ns 7 A ‘ ‘eu Ir ‘ ig / f 7 ae he ee : al a7 ia ; at - i e Kae ey re? iciuielplh H Fue: epathtesd to eatemen edt betbsse sien tiatge PAiapaddlims +s1gases toshaods ak beviene1q asdt .hoiseq fe .. ~asdogtidors oft ot 2atbaoqesatos efebom wet gud bawot s1sw wo P ~asem bad etotistai to tie sd? .bokteq wen edd to ameldorzg is { bed mem abodteom {soindoss bus aeteye Lergtostidois saodw vd eo sepitas sdf iaasldo1ig sivotliib teow edd asteem of baarsef 8s 10% aeol .asaobs0e19 sidedive sousaaisnsi od¢ of b5401%0 mteteY..acbsoa® Ya awiol edt 190t asds ,eaottedat to tasadasit ed2 .exseodt asmof sdi ot basiuil sx]e" yods . seeds o¢ bisast -9vee to mefaosivaes sdi bas ,2gedo1s L[sdomeras to stetosdidors ‘blvoo neM omit ssdt ts Quinteaue1 (iide .(f suolov see) aus ed¢ yiao tod. .boesd stew oasis dotdw ao mstege sd¢ yolqms ton | w990°sd¢ ai asv3 .aliseed sat to amrot sd¢. aabdeesxd to bodtss ~989509 awo eli beveruq somseataass offm axotistai add to aoites ",ee0R8 elbbim eds yd betsotdai sao ylewotvesa gon ano satwedil at yfovieuvloxs aeteva Lsantouttea aft bovelervesh bsd oidsod ad® -agevaoo 101 atcfietat to snewieess offs ok jexndoastdows doxeds -otd1eq Gf .en0itasoe: [stael aslaoese sot 10 aotésdidssat sast “qs Soaseeisnes edt sisd? .engesew ddaile ysev at ylao betsui dus” odd rot omusrz0xg bibaelqe s se0qo01g oF 1970 ai botseg _ #05 seodw .slyte Isniedat ae betsoto s1 “. stil Yo sbhom sdz to : -s9980 e1edmsm eti io bas r0ivesat ne to ysused sdt xOt 2a0rtib adi) .esley taeasmxeg to nettoyasanos to elaioaiva Isebit as 9m | ‘emis odd to sixtae weo odd yo beowborg exoiasdat io auotésexo i ¢ youpidas edt to saxrol fistsS add at sonsebisgeh sis bodtodo Z mavennee {goteeslo to sisde edt bas eonsttegmih oft eatl atertads eRe Shs sNoitudove esi at santos ; ie edt tsdt .eo0nsteauorte seedt Asbag oidsbioveas eaw Tf oi Foetreq) bas evoknomied)s of eats biwede tacateers feis0sti ~,Biedesm sastiogmt wet to ebusd ens at virs{voisisq .matassto | vase eaottoast edt esotcxe ton ob eiedmen snosottib ods slide eshagooet of bonteel sved ew doidw teansm odt ait .wsds yd be ; ~f emefov) areh10 abedd bas anwaioo astos1® eds to youta 2 ai _ atettrs asmof end doide ot .mutbste sd at yind .(38-S8 zoxsq E> Ser etbemmtos sis ao) supttae siy sstwpooss of benrsel yiltetdo ‘Dosieotonnetied (1 memo to. tsds. bas botasa ouisbasxela ais Las Sead tedd .ydiweq teds teoi pomunee bsi atedmom ea a Pe, a re ae ati _ -80R8 sfbbia a4t to Loodee betaveie edt yd t9vo enog ased sliday.. 4149 spirit were studied the remains of buildings from the classic- al period, then preserved in abundant measure. However in th- em were found but few models corresponding to the architectur- al problems of the new period. The art of interiors had mean- ‘»owhile been gone over by the elevated school of the middle ages, by whose erchitectural system and technical methods men had 1 learned to master the most difficult problems. The antiaue o offered to the Renaissance suitable precedents, less for the treatment of interiors, than for the forms of facades. Yet in regard to these, they were limited to the Roman theatre, the architecture of triumphal arches, and the Septizonium of Seve- rus (see volume 1), still remaining at that time. Men could not employ the system on which these were based, but only the method of treating the forms of the de’ails. Even in the cre- ation of the interiors ghe Renaissance pursued its own course, likewise one not previously one indicated by the middle ages. The Gothic nad developed its structural system exclusively in church architecture}; in the treatment of interiors for conven- ient inhabitation or for secular festal receptions, it partic- ipated only in very slight measure. There the Renaissance ap- peared in order to propose a splendid programme for the “art of the mode of life.” It created an internal style, whose con- ditions for the beauty of an interior and of its members beca- me an ideal principle of construction of permanent value. Its creations of interiors produced by the new spirit of the time clothed the Renaissance in the detail forms of the antique; + therein lies the importance and the share of classical archit- ecture in its evolution. Tt was unavoidable under these circumstances, that the arch- itectural treatment should rise to a harmonious and perfect o organism, particularly in the hands of few important masters, while the different members do not express the functions serv- ed by them, in the manner which we have learned to recognize in a study of the Grecian cdtimns and their orders (volume 1, pages 62-75). Only in the stadium, in which the Roman artists chiefly learned to recognize the antique (on the monuments of the ~lexandrine period and that of Roman art), the architectu- ral members had already lost that purity, that was peculiar to : “saasatanod at s0L2400e yok othastvaienbe anh ends bos sldixelt “a0 agtes18 eds to am1ot evevee odd mt asds .e1ss9esido1w 90 ~7ROy. Svat te: »20I5q35 f9edkb ofat {isl ton bib shnanetandll eds to atetesm edt tnd _ at doa dasei te .emt0l Ieastosvidow Lsotesealo to aoisetiar “easid .sinemele eds botqobe yeds sebotseq ¢ead bas yixee odd “) Wedd beilqgs aeds bas .olyte tot antlest awo tteds vd bomte? aii yot beeeesiqzes odd déiW s.acitasoaq09 wan 6 at ation rtedi of ~ed3 lo Baidas00s Soorth ¢elanewos1t bas eaorse ods bas sauden “pitas eft of bseoago yltos1th ii as bsiseqas yods .feubtvitbnd bad +101 to ytused s1uq biswos betoetib mia edd at neve 90 88 bedefasolt tegao0l om sonsantene® edt to gas edt saotsiads »eso1s s19edt iolyte sdt to yonsbast baiting @ gi aisottas at “afedd ai.ano Dsftatse astio siew doidw .stnersyo t418s fasta tticd vdeted? .exetesm anibsel snoniwo1g yd yawtaes s Tot abustares ~ofenoeteq edt jeteidis to yrotaid 8 emsoad d1s Yo. cioteid odd ~* sbaworke10f odd ni bersegqss1 ytiuptias at oust to aidesow agaiits lo ytilevbivibat tse1e edt to acitalovs sa7% adi 10% \ + edd heretio yasm1e8 bas yfstl .a2ske sibbim sat to bas sdt $8 ~od' sonseutene? sdt.eotitavoo seodt. ai sicoteteds tsasce tasbin ~ou@ bedtolis atead bas basland .oonei% sesiart sesdota add 9% ~ove.ods tol fier sldsiovsi aeel s aotéssifsitaes anoiwte risdé ~tfoq edt e1cdw ,yasmre9 asdt esitirsilyosg lenoareq to sorted somet1s990 eft of ebnwod Setotidess aes gee aoisivibdss Leste basi atemedt to@ .ystisubivibat cttettxs to soasuaitaoo bas “£9 d991fb 8 sa e1scqqs o1edd JI .ydissl ei souseateaeA siz to ~ftae edt to amrot odd ui siqosa edt to dintga ads to aoteaarg ~ybas Itoe asilesT no baaasiqase ylovidas isven een dotdw sue ~aibrodss of sidt belleqwoo ti asdw .otdto® add bersuoR0D neve _ -wele oiseitis taft ot agodt eeor tt teelgtonixa Lsasd ati sts | etttae odd tot somsticgmt [sersvias 8 df of taei dotaw ,aoits Se se eee * ak. we ae . ,eamit Sn fd5e9000e to gra Isis¢o9tidors >was ores af sonsdeteaot eid to sistosdidoyA if omer hei maser

Se ee be ‘al ed $ 153: how to solve the most difficult problems, to perfect technical methods to the extreme, to make the classical treatment of fo- rms its own, and to dray all arts inithe richest measure into the service of architecture. The impulsive pressure of life peculiar to the entire period was contemporary with a mighty tendency toward greatness. In the entire architecture was ex- pressed a feeling of the masters and architects directed to the monumental. With the entrance of the high Renaissance the centre of grav- ity of artistic evolution was transferred to Rome. After the middle of the 15 th century the eternal city had continually won greater importance, and had drawn leading artists to itse- if. ‘After the powerful and art-inspired Bope Julius II had ascended the chair of S. Peter (1503), he called the greatest masters of the new art to his eourt, and then arose on the ru- ins of the ancient world a magnificent city, in which was vis- ibly renewed the former splendor of the Roman emperors. Italy entered on an unegueled climax, into its golden age. Artists with incomparable gifts and creative power developed before t the astonished world their epoch-making activities. This was the age of Bramante, Raphael, and Michelangelo. Both in pala- ce as well as in church architecture did they complete the gr- andest works.- - Not long, scarcely a half century did this c- climax of the Renaissance last. Already before the end of the first half of the 16 th century, it passed over intoi-- 3. bate Renaissance. This falls in the time from 1540 to /b4 1580. fhe freedom in which the great artist natures could. mo- ve, which in a directly unlimited manner dominateddthe interi- or and the material and brought them into a harmonious organi- sm, was a danger for their less important successors in & per- iod, that required from the architects the extraordinary and the unusual; they inclined towerd that intended heightening of the artistic means of expression, in which ue recognize the first symptoms of the Barocco style. But there still prevail- ed, at least in general and for the next period, the high sen- se of beauty derived from the works of the great Bramante; it entitles that group of masters with refined feeling to perman- ent fame, who recognized the sources of beauty in the internal ) ies oes Res ate oe | ; Tae: Eatha yin checks te hak etenkslbbtossbihiniest/ to atose ,emottrogerg etiatted ai emiot adit to ¢asmtsoxt |dé od bisae% -~toatiq etse19 eudt bas ae5ds stazideovat of Sdku02 yedt aonite bemestae ed biveda gaittaw at due 98% ait ted¢ .olvte to aelq -9) sdaemdse1t ofdeitis ogiaaea to ebasbasta eldsoiluqs 1evs as eobbslisd bas offie2 .slonai’ .asainoads tee12 od4 16 seed bas "“eeen at eamitemoa,asitilide dota ated¢ begoleveb asdt odw ~9utd .ylatl ts9an bus sfbbtm to aettio sastiogmt si0om ods at ~\ geds serteb sediid [lida # at beatuyedsb eaw saeds 19% sain Sis yoo? .atsawo sit yd betinoes seomevetosgqa odd Ylavoivera & 9022 sit Tt aeve .adiow ifedt at Isatzico bas batiatae oals F Sas Qgauiveigolso edt asdt eaef elisvexa gedd agatlest ci¢aisxs * -gedt edt toteen ebasse eupitas sdf .antbastersiay gacatdaoo | ‘fstetoettdois edt asontesatss sser2 dsiW .aisaacosbs1g rtedt - ‘~bersesen .wo0s bossaiteovat asds vd e1ew atnsioas sdéd to 2d10® | ewdetidstes orem adivast odd mort bas .ateh10 yd baa estaote yd | sisqee I{s to enoteacnth [sencittrogo1eg 10% yaw sistiso 2 at ba | 808 Qattsatmoberg s bemzeas otutostidors ydersd? .atsdmem of | =8 (BSihveesq .f omalov soc) axiom “auivuwiY .r9r0stsdo otwab . edt asw ylesoiveta asds o10M .ybuse dayot0ds 8s bevieos1 ats | -n9nuent0 off .tasatcerd [siutostidors edt ot Sstoveb aottasdss | @ efyte yites odt at tasaq 8 Soysiq dotdw .diow svtisto090 iad a ~aeiens? deid odd ai doidw dud .isaudourte edt of {sues vinxsen besbat .sottslor stentbtod0e dad ewotnowred = at bsissqqs sous _ #éaeteittbar teonls bas (ooo s bewone tud .ytiauaq edt bontaset @,bettiasth beobai as bavieos1 santbliud sd¢ aud? * .evise94 ee at tadd ,sonetsseqs oftetooseias bas ttise vyltasepest tad -edngeetg erect bas emtostinors soslsq at dbeaestaxs winsfuots wort bebsesorg sed¢ .(sssobass2) aw9obae1a tang to nottositer s .s%9eds ytetooa ont St0easem Bateseicat ak batsatmob bas ,atea® ylexisas os of adute fistsb edi yautass edt Yo bas edt tuodA OF, aoftiens1t sit yelodu edgy to sotsi9q bedsers vlevototiase Brit 2 * * .bedelqmoo et olyte osnouse oda 8 SEHISIooeb Lotastonse KY Taamyotas std Yo sonebsosh odd ai #* * ibis: SAS nt Sanodton oat Lo aninessed wp hesgeraxs af ddow cian tine Riso: SHOMSGOM OLFatHamsd sil .sompestansh.sds Yo s4ud ioe? weno DINE YIStoos Komwd Yo Koisigibo sAquosd ts Asia *STOLetsdt oslo exrviostideia edt beaud lyons i" - as Hh) ie 154: truth of the architectural works and of their organism, and in regard to the treatment of the forms in definite proportions, since they sought to investigate these and thus create princi- ples of style, that in fact and in writing should be esteemed as ever applicable standards of genuine artistic treatment. These are the great theorists, Vignola, Serlio and Palladio, who then developed their rich abilities,sometimes in Remetand in the more important cities of middle and upper Italy. bhike- wise for these was determined in a stili higher degree than previously the spaciousness required by the owners. They are also spirited and original in their works, even if the free a artistic feeling then prevails less than the calculating and combining understanding. The antique stands nearer them than their predecessors. With great earnestness the architectural works of the ancients were by them investifpated anew, measured by stories and by orders, and from the results were establish- ed in a certain way for proportional dimensions of all: separa- te members. Thereby architecture assumed a predominating aca- demic cheracter. Vitruvius’ works (see volume 1, page 134) a- Sain received a thorough study. More than previously was the attention devoted to the architectural treatment. The ornamen- tal decorative work, which played ae part in the early style n nearly equal to the structural, but which in the high Renaiss- ance appeared in a harmonious but subordinate relation, indeed retained its purity, but showed a cool and almost indifferent reserve. * Thus the buildings received an indeed dignified, b put frequently stiff and aristocratic appearance, that is par- ticularly expressed in palace architecture and there presents a reflection of that srandeur (srandegzza), that proceeded from Spain, and dominated in increasing measure the society there. About the end of the century the detail sinks to an entirely capriciously treated portion of the whole, the transition to the Barocco style is completed. * * * In the decadence of the enjoyment in ornamental decorative work is expressed a lessening of the national. in the architec- ture of the Renaissance. The humanistic movement ortginating with it brought a division of human society into cultured and uncultured. The erchitecture also therefore acquired in its ke (eae ‘ alte +484 S0%Edod YITAuOd gueToRsmode«a & seduce 4985 4% “ydetedd ton S80b Sonnselansd off .sadnt yltoidte besbal * “9808 SAS 4Osssoous 631 ban Slyse oodo1nd sit. bas ats of amoo “9% SINT Hos BWASASMOA HI YiXolwols4aq [IHemeoleseh baw AQIS “808 ‘inde Se SOAs sists bas sasiuaqms won yrom o8 moth atius -S83qG940 Intooas o ni sseit a9bs -stowise supitas edt ytivolins [soteeslo to Leviver sdt ativ ‘ft To fadt oF FestsH00 at Jedd .9a8 Oni oms9 aisks meteya [a2 ‘bewolfoit taenovom Siswqu To bis eseeen add to aottulose: sat fe Mddyds oft at sotdsostatsss oiteddes da8u0e ,aidtod add ya | “u92 S03 bas eseasm [atstoedtidors [etnostiod Qnivenimoberq oat -etedmem Bediogave bas baiised risds to Veinqoifay bas avivacls 619610 isamsloo edt at beses1qxs ‘eslaroniaa [aad add yisyed? ~dT .soitowisedos ai dasntwobesa smsoed asiuisidsias aisdt bas $i dud jwoteye (etutovise wea on batnevat sonssetaned adt au ton bib si medw .somstioqmt sastse1y edd to tos as bamtotasa 1sbht0 ai ded .etnetons odd Yo soiniost edt o+ tfsart sofatesy amsteye [fs beyolqus .evoaqesi {fs af wilecottsy tovxtesoo os & Ssovbortat ydetedt tI . besa oF aaibrooos agisowitenoo to $f soute .tofasint edt to sxe odd ofut soht {send tnoasereq tei ox on passed into use in greater abundance, yet not as an indepen- dent structural material in the present sense, but as an aidi- né materiel for stone and wooden structures, particularly in the form ef anchors and ties for arch stresses. The antique had avoided as far as possible such visible means of construc tion, that must produce reflections on their permanence; the Renaissance made abundant use of them, not only in arched pas- sages but even in great halls and churches. The walls consist of a masonry nucleus, either of rubble or brickwork executed with asphalt or lime mortar, in which the openings for light ie 148 , yiteatt ods tat RPE oy i Raituoaque odt bas fre: tenet odd aetisi edt Yo Saiaeexb odd pI .axaldes dtiw aniost 910%98.m103 to obie add ao slisist yisv ileedi enode soases eobiesd tof .eg20siave Isnredxe déoome bed ylseom exsides st } af dommoo sisw agibism Sette16 bas aszeod dtiw axsides .seeds mo odd ai bas .eusmo% .ansoeuis% ,ede919 oft aaoms vticoltas déiw beatdmos e2Mofteottisioi at ylrsluottasq .boiiea sup2eas —e9ne8m08 odd af bus .antleatds [stuemsare &utved esnore dtoome nih _-220d dtooma déiw 19h10d bebivom odt pommoo esw betisq sup es eisides &nitive to asbom seedt wags batqobs soaseetansa sat sae0situs LIisw gnitsmias 101 ansem svitsie0sb tastr0amt yrev 5 asigastoe2 10 s1suo0a to mioi odd af betse1s yldota sion oasis seedt bas .asaeod beaiss selt dtin seodt bas ataldes bdbaomsib _§ dtiw 10,,290sosi o1itas osdt t9vo yimrotian bees redtis o1sw Rattato, asiske1 s broose odt 10% ,yiota aswol edt tot bo3ae% adooms to eisides sneld yloutias diiw .eraldes t94¢¢8L% dtiw “taf ed¢.mor% .(90S .8f%) .ytote 19q09 ode at vanoesm beaaw09 dt Seviese1 Soitem atdt esgeod diim tasmtasit v1 bas tsizke | déiw ateldes of bewtoleaest oals esw Sedd ,aoissoitess to omsa | atasesig dtow sitesi od? .asost ed¢ to Sasutssid Intetso e108 fasiis odd dtiw sousiile at dikacite abu to acitetasaetgs1 8” aidiw yiagoesm efdd esbiest -- .“aem to gittaa svisssio bas aqra ~of adotud ddin dowa oais ef stedt .eenote [sxuten to antost s “tof, etidw dtiw be beniste yltasupe1t aaied sasas ,esidiety ti Saode duo odd agowted ifaw edd to baisevoo s es yileves ata _ 78q bas Seteteala dtin aoitsuidnoo ag yltneups1t .sistostinore ~fey bas 6e1 to asetteq axowten s yd cafe .2eoetane s9918 besat ~Idoa otai Setsleasis asw nottsi09sh to ebow eid? .esaote wol a £ eudd Gas ,amotivouidanoo beiiasibd ylasluotsaea 10% saote 19 -12ib to anistisq sostaga at ofdism to edele ddiw aaaiosi ota vilsioeqas ,bsdeirwolt yltse1y tsdt sagbenoig s .2x0foo tn919 edt at odsyotae vbeorls esw tovsit 19tse19 .easitesasY sdt anoms es [lew as azoloo Istatsn at dtod .Bttoo. sii9s vd bott9q ylase 4 “29 I[suutoetidois 10% bosbat bas ,cossla be10L09 yiavotaev dtiw : Te at -enotts1t009h Istnomenso yleasq 10% as [flow 28 asiueolo , ae “tt seh hewagege stow elatrogng {eypens base roiset ak iy a SR “18 919m gsaeod isiuksiti bas Slod sJsdd of .notteuhex8 aistiaso <« Ny 156 and the supporting points are omitted for the finally applied facing with ashlers. In the dressing of the latter the Renai- ssance shows itself very fertile on the side of form. Before it ashlars mostly had smooth external surfaces. But besides these, ashlars with bosses and drafted margins were common in. antiquity among the Greeks, Etruscans, Romans, and in the Ronm- anesque period, particularly in fortifications, combined with smeoth stones having ornamental chiseling, and in the Romanes- gue period was common the moulded border with smooth boss. Tf The Renaissance adopted anew these modes of cutting ashlars as a very importent decorative means for animating wall surfaces; these were richly treated in the form of square or rectanguler diamond ashlars and those with flat raised bosses, and these were either used uniformly over the entire facades, or with a )>' certain graduation, so that bold and irregular bosses were ar- ranged for the lower story, for the second a regular jointing with flatter ashlars, with entirely Blane ashlars or smooth coursed masonry in the upper story. (Fis. 208). From the irr- egular and dry treatment with bosses this method received the name of rustication, that was also transferred to ashlars with more careful treatment of the faces. The rustic work presents “se representation of rude strength in alliance with the arrané sing and creative spirit of man”. -- Besides this masonry with a facing of natural stones, there is also such with bricks le- ft visible, these being frequently stained red with white joi- nts, usually as a covering of the wall between the cut stone architecture, freauently in combination with plastered and pa- inted green surfaces, also by a network pattern of red and yel- low stones. This mode of decoration was translated into nobl- er stone for particularly dignified constructions, and thus i into facings with slabs of marble in surface patterns of diff- erent colors, a procedure that greatly flourished, especially among the Venetians. Greater favor was already enjoyed in the early period by terra cotta, both in natural colors as well as with variously colored glazes, and indeed for architectural en- closures as well as for purely ornamental decorations. If in- ferior and unegual materials were employed for the walls, a p protective coating of lime plaster was given to them, to which was sometimes Siven an artistic effect by the sgraffito to be 3 ioe ay La i‘ ; p. ps PY om (. =e 0 as): a 4 rs ays ae ® & yi Ler Retsil ip Enlveson: bethttne A *.xetel bediaoesb vorcvon pageantachang eooute at baxboee audt aaw notdaroosb | whenell eset ods vd gilstosqes .cbam eew ean avieaeoxs fotde to , 999888 seaohtowrsence fantesxe odt ai tasq ¢eebom 6 sud saiust s bevisoe: aoivouxsanoo. smod Moh edd yd aevia eaoiqmexe ed¢ yd déod bebiotis siew aids 10% “oaploy isotbell evisai to elques sat bas noodtasa edd at) ane , | Betws oursedua {snoayloq 10 1sivotio dtiw (GGL .aéf asasq .f oxaupe eat beovieteseis doidw .meteve Saivassy4 edt yd oats bus at (89t ,p6% .f ompfov) sevigaebueq to ensem yd ,m10t bosors ~i4 928d edd o¢ ,abtossasit xo eefbastat [sotredas to m1o% sag =a -9t108 sdJ 9201 doidw to sotur0% edd evods ,emob edi to oa ~19Vv09 wieisr ton stew bas biloe sited yiteom sisw esmeb rsils ww -Iede ows af botos1e Bafed eeno 19g98f , toor Isbimesya s yd bs ; sonet0 £4 to lerbedies sft to om0b eds to [560" ods 1r9t%8) ef ~o1g Yo es0qtwa edt Snived yltetdo eno Isqredxe odd (ISL sbeq -3w edt to atostts avoliuial sd¢ mort evo Isatetai eds) Raisoos : “aaais tlevitsisaqmos sasoed asmob Jeet eft sictersdT 19476 a Sas yitsea be1u0ee alleda dtod to Bafastlits weqorqa eds yd sod _ -teuts2a09 eu06 Sesbnetk od? ,goitoursenog biioe to acastaieer r9I04 + to emob odd yd oetaeaexger et sonsegisnel eid to aot werd eds at e10dous sort be8asTxs bend olekasisdori .emoG ts ~oat ‘todal Siow doidw ,ewob odd ai akaix gosi bos [abom sia at -Hob- déod sdyied od¢ to bitds 8 30% -({Ig at svit won) boaser: -at dotdd 5 oti stsisqee yods aedt teu0 as biloe sliud es eo ~da nitds s to etatenoo doidw ,emob Isazatzxe as bas eno Isa19d _ =iw betsveo bas eis gaivosjorg yiksorte asewted antbassxs {is | Wob ont sit aoewsed sosqe wollod odd al .(OFS .9:9) .baet a3 | _awob seds ,atetnst odd ov au bsel evewxiste Baibaiw sfdaob es — _8 sesdt yd ylnd .omob asani edd to soimgoo nism odd of atsas ms vasy eat dacw . 19dsex0d betosnnco 2900 ows Sdd 918 ayswifarte st aeda stom .d2 4.06 ,,9.%) .t 8.062 to resomsid (surestai aid bebaesxs mei b & a0 afeer e‘reteS .2 to emob ods ,({etdgoa bene to adaiod 3 ts gaiblied Isezoloo edt to toot sd svoda stad eda ot -tt 8, 80d to taaisd sdt oS sutstisa eudsd bas dT re pthc 78d. yitostieg, odd mort shtes ewd? .tasmeveq od% evo ak a ae (ergtossifions est bas Letaesem o43 to Loxtaoo #, 7 oP ih eds teds ateanenter ort? sebaets edt es azsegas \ NO Sebo in Thee ' A at 158 frequently opposed by a corresponding strengthening of the walls by buttresses, which then extended théir entire height with the same thickness, with cornices broken around them and airy caps izge tabernacles instead of finials. Dome construction received a greater development. Models for this were afforded both by the examples given by the Rom-. ans (in the Pantheon and the temple of Minerva Medica; volume 1, pages 135, 139) with circular or polygonal substructures, - and also by the Byzantine system, which transferred the square Sround form, by means of pendentives (volume 1, Pig. 178) in the form of spherical triangles or trapezoids, to the base ri- ng of the dome, above the fornice of which rose the dome. Su- aller domes were mostly built solid and were not rarely cover- ed by e pyramidal roof, larger ones being erected in two shel- is (after the model of the dome of the cathedral of Florence, page 171), the external one chiefly having the purpose of pro- tecting ithe internal one from the injurious effects of the we- ather., Therefore the great domes became comparatively light, put by the proper stiffening of both shells secured nearly the resistance of solid construction. The grandest dome construct- ion of the Renaissance is represented by the dome of S. Peter at Rome. Michelangelo had arranged iron anchors in the drum in his model and iron rings in the dome, which were later inc- reased (now five in all). For a third of the height both dom- es are built solid as one; then they separate into a thick in- ternal dome end an external dome, which consists of a thin sh- ell extending between strongly projecting ribs and covered wi- th lead. (Fis. 210). In the hollow space between the two dom- es double winding stairways lead up to the lantern, then down asain to the main cornice of the inner dome. Only by these s stairways are the two domes connected together. With the vast internal diameter of 139.8 ft. (i.e., 39.4 ft. more than in 8. Sophia), the dome of S. Peter’s rests on a drum extended high above the roof of the colossal building at a height of 264.4 ft. and thus attains to the height of 404.9 ft. to the eye ab- ove the pavement. Thus aside from the perfectly harmonious control of the material and its architectural subdivision, it appears as the srandest structural work, that the history of Lae iy i a by pt * " ‘ac _ a ataswcve . |) setedwyas af s of asd ers oesinor oe ao duaateer? seat ts eat IIT B+ ee duet epelhstese $dz ai asdd ylsvigeszaxs bas ‘Ulbsbioeb esom [itse bas etdsoesidors eit of ilsesi viaqs S0nszefaneh sat bib aok ies Sadi oldsbiovens asdt esx tI -oaptias ent To aolts20096 é SaouyoLane bauot aisks ef0ttcots gatktate ¢eoa sad tino seait 2 r site {evestbem saT “¥iotqqo1g Sinags0 fooddin ylaneupert ~it3 ods ‘to aean gat Yo éaoidiogota bas aeiq OavotR odt to tas fs aes ge5scst odt of omit. vekaol 8 10% besatinao 9x sxudos i, isn edd ,e0fn109 nism aatawors & bas sesd s as ddatia navi “"eeitose OJai aotuiviidge « Baived wedt aeewded Qniyl sostive | ay) ofdsod 8dv ai bsesstquue easy sostive (few sd? .atled yd s dois a8 addais att ofat beietns atsts sud .ol[dfazog 4s toga odt to. eslitoiq od¥ -Hoitsoigens yd basae00s yfanoate asw bas ‘Eat fbasd afsdiecan ytev s wode ([fite esotareo aiem bas sid -to} aH AS ¥d siom Iulidused sd¥ ebart Fi yomis teiit odt at } ai at Metaye av to sabalwond « yd asdd .so8d Yo gafisst ago 7 ~aed odd Beds ,emi0t Snoxde bas tosaseD gad aegi seri ts: ols -ain bas” evewtoob oft to enoifelsd eesa sit bos notdudiaterb. MG, ‘dusagelsveb sviegsuqxe oat bas asigeolons 1tedt dd tw mae a edt geviseusadt ai yaieo dotdu .asvisemodd saostave {lew ead bobs todvisi sis seedt of .emiol ([stitussa to etasasis ea bae 5d3 duods 38 bn8 .28f2320f .awobatw vad .esiaoolsd .asdota | ~tastia to moteye supitas svitaes si¢ ,sodeeeisasa viuse aad Yo im ~tsidsdas bas @dioaque sdt 10% e1sbio edi dtiw aanofeo bas ate & -2etenss edz To Satnateed edt za vbseals Siomisdsigi bas este 4 “8070 beduted ons Toile yO aofts1008b dors yloweidxs as ,2008 -J090 “sin ‘adsie to betategos vitetds smd viase sds ai dguita oat oaode woi & to 90me70f% ai ,22b9 ao toe bas ekatdlvow duod ated ee1dd odai bebtvin asw if .9onsgaigns® data sag at :dona ne ‘ems fo¥) atuLos | & to Istesbeq suptias sit to ({sbom sdt 19¢is st0 sonsae isaek satinerol4 od3 ak etfed oat . (8st 2384 ste odd “to Batittoag sag dttw atied (fie wobnaiw avounitaos ye, es edt og 5 enol S19 yeast erst -s0igt09 teoame fod auiviees: qed bettote tastettib edt to axoolt tad IT = .eotad ‘tied eupitas ond | os yoasbnet s ds im a 98" siotsaetora sdarte gods seins 10% ove be ; - - x j “a ~ ae ah 1c ra ad Nias or i . ee ros vd . 4 +‘ RY: ‘orm ese gee ae _ a ha, ’ ‘s 459 architecture has to exhibit anywhere. TII. The Architectural Treatment. | Still more decidedly and expressively than in the construct- ion did the Renaissance apply itself to the architecture and decoration of the antique. It was then unavoidable, that at first only the most striking adoptions again found employment, freauently without organic propriety. The mediaeval arrangem- ent of the ground plan and proportions of the mass of the str- ucture yet continued for a longer time. To the facades were given a plinth as a base and a crowning main cornice, the wall surfece lying between them having a subdivision into stories by belts. The wall surface was suppressed in the Gothic as much as possible, but again entered into its rights as such a and was strongly eccented by rustication. fhe profiles of the belt and main cornices still show a very uncertain handling i in the first time; it finds the beautiful more by an unconsci- ous feeling of tact, than by a knowledge of the system. It is also at first less the correct and strong forms, than the hap- py distribution and the mass relations of the doorways and win- dows with their enclosures and the expressive development of /Pebbe wall surfaces themselves, which carry in themselves the n new elements of beautiful forms. To these are further added niches, balconies, bay windows, loggias, and at about the end of the early Renaissance, the entire antigue system of pilast- ers and columns with its orders for the supports and entablat- ures, and furthermore already at the beSinning of the Renaiss- ance, an extremely rich decoration by relief and painted orna- ment. The plinth in the early time chiefly consisted of slabs wit- hout mouldings and set on edge, in Florence of a low stone be- nch: in the high Renaissance, it was divided into three parts, after the model of the antique pedestal of a column.(Volume 1, page 126). The belts in the Florentine Renaissance were all continuous window sill belts with the profiling of the antique impost cornice; later they were lowered to the levels of the floors of the different stories, then receiving bolder forms with a tendency to the antique belt cornice. If bricks were employed for this, then slight projections were given to then, a Luaoq 8a. swoxpat: osiw ets io? 8 ORE asdoia sud F Ceheibs Mk: astiota seqq9 of¢ to ennivosterq ditw etoam oels ano eae Str aovei ,eefoano snote no ylsosatbire ssloemoo détm asdovs WHR as - (fo) gtttro# edd ak asdt yloommoo easfl set podiaae sdt of yiovolo es1edbs soimi09 wien eit afya 2 ef (PES) cat. 48 ompfow 862 LaeR .t oxpLow ausqmo8) sotatoo aoidit ~fq)d¢iw sotiourtenoo asboon ai botse1d ylesit oals asw ti tod “809 dtiw aotientdmos at otteven taser & a6 .8b9982 mo gatietss | Pisiatoeetzo: as §alomot esdd .aoiteteosh bexoLoo bas esdore ba ae i. «968981 ©43 ot awotD sasotitagee ~faee8 8 oved| souseetsaeh) yliss sursns10f¥ ads gi elset1z0q) od? ‘tomk 26 (008, ,2t%)i orveolons bebLoom obiw o Asin aot asigorts aeve bas erstesiia yo bseolone yloae Siiwp sis veds yhiadmod )) dott bas esisteldatae avereee asiw eougloo --' sidaiednao va | _- pemeay aretesiia io bsedent)". (28S (SIS Legt@) iacow Istaomsnd0 | baa tesusio-se1dt .tisd sm0% bas sical .30859 at 19090 agmrd “await: ditw eamulooeldsob es {fon es (GIS .8t%) shauloo Chek “(otacdtiw ylisait oafs bas’ .2aso Istnomke2 10 tasutbea bes ae ~wodisd edd 10% atroquye es abttsy1s> to kemted .aaarlos 2a ttoo -woedt lo tHeatses1s bas m10% ed¢ al imedtsvods gaitostorg wa ) smoitiosss [svestbou ois erosew {Lite ssec¢ yeqrl 78 wobniw ~Ediseat odd yd belquos. ylsasyesat .asdois bavor ai baba yod? _ sda:to aetittorq asaT .(98S ars -84i9%) .nméfoo elbbim a to. ao | @ edt al ,oversidois oupisas edt ewollot yLisasnee sxve0lone «SOR odd somusas yLIsida wobstw'edd sonsagianes 6t6f bas dbid gd tte awots- of Detisterq: neds at JT 4efgastoss isoitaey 5 to “91 yttagapett’ sasds ydotsdw .(EL (BLS) cers) aqeo bas eveiat: 8 wobaiw To) snemssext tofoin: 6 dsiH © .(68S).et8) .esfoanso no te bas) etetaslio to osstostidors snebmsqobat as 2e7T0% siweolors ~idetaerespitas as bas [stesheq s exit> 7598180 & dtiw anmoloo ‘+baiwesa) qso bsdots 40 tnomtbeq s oeleiates: doidw no ord ods mio setwedi le vasedemoW eset ait 24.) {88E (kal .eate at axo ~s10095 ylyaoupost| yaaot bedd1s bavot dtiw eednin .soasestsasa _ evitomstixovet 9 omsoed , (85S .S88 . tee seni) fiede s va ber -so0des¢ To aoisgs0s1 eas 10% bas aeostane ILew gattsmias 10% dad) {(O48) .2t8) wobaiw sigare 2 ot betimil ton) oxox esiaooted eit 27994 nS -sbs06T oxtiae 8 anole bebnosxe: ‘yisaseosai ye ee 7G =) on ; St 169 but richer ornamentation. In cities with increasing population one also meets with projections of the upper stories on round arches with consoles or directly on stone consoles, even if far less commonly than in the North. As a rule the main cornice adheres closely to the Roman mod- illion cornice (Gompare volume 1, Pig. 181; volume 2, Fig. 211), but it was also freely treated in wooden construction with pl- astering on reeds, as a great cavetto in combination with rou- nd arches and colored decoration, thus forming an extremely @ magnificent crown to the facade. The portals in the Florentine early Renaissance have a seni- circular top with a wide moulded enclosure. (Fis. 209). In Lombardy they are quite early enclosed by pilasters and even i, by candelabra -- columns with antique entablatures and rich ornamental work. (Figs. 212, 261). Instead of pilasters some- times occur in Genoa, Umbria and Rome half, three-quarter and full columns (Fis. 213), as well as double columns with figur- es and pediment or segmental caps, and also finally with proj- ecting columns, hermes or caryatids as supports for the balco- ny projecting above them. In the form and treatment of the w window at first there still reacts the mediaeval tradition. Fhey ended in round arches, frequently coupled by the inserti- on of a middle column. (Pigs. 215, 250). The profiling of the enclosure generally follows the antique architrave. In the bh high and late Renaissance the window chiefly assumes the form of a vertical rectangle. It is then preferred to crown it by a frieze and cap (Fis. 216, 173), whereby these frequently re- st on consoles. (Fis. 263). With a richer treatment of window enclosure forms an independent architecture of pilasters and columns with a parapet like a pedestal and an antique entabla- ture, on which rests also a pediment or arched cap (see wind- ows in Pigs. 151, 157). As in late Romaheartyclikewise in the Renaissance, niches with round arched tops, freavently decora- ted by a shell (Figs. 251, 222, 268), became a favorite motive for animating wsll surfaces and for the reception of statues. Balconies were not limited to a single window (Fig. 216), but freovently extended along an entire facade. (Fis. 26070 GEL % the face of the story above them be not set back, they were c composed of projecting stone slabs on consoles and furnished ec ammaeag dertt ts ssw + hes! e20dw .gntlisy s isin ie Shays fit BL edt to bae adt tuoda ts tud asmuloo ofttt{ 10 adale f wed. yloviavloxs tuoqqus 991% [fsaa to aot ¢ atotesfad ud yiag fj Yevettas ‘eds alisoer bs9bnt sadt sonseaisneA odd oF gathaol -boyoiqne yitasisti£s otiwp sted ai tad .ardslebaso edt to aot ti aove .90a3¢2isne8 asifad] sit ak 19090 satwoktl ewobatw ys4 dtvo? edt at 1eeqqs8 vod? .¢18 atedsx0m at asdt qiaommoo aasl 918 aommp0 stom od¢t dowm on tu .sstmooled Ss1ev09 23 9100 -isdo-a3teeb s mi9t sotasV Lsvasibes at ybse1fs doftdw ,astsagol ~ow vam 6as\,2c00Rel edt te vito odt to t1— ode tot ottetiastos nue » weisti To 1ts5aieme1 edt oF vow Sdt bavot svad soaeddt wort LI ~-12 8 sot 39892 avia .aist bas age sort gottsetoxg biotite ysa? ot baoqazet109 ylasqo7q of eadd bas .anocerea Yo 19da9a tatss i ~gobs sists sonszeissel etal bae datd ed? .atsut{o asiistt edt . .f omufov) oftss sit .eypitas 943 wort beoubosdat evitom s bat ae ~mtote wol etsrsqee sot beassteat yisaoupext ards +(TOL saaq . -dmoo af atwoco ti One .(958 .9249) awobatw Lisma dsiw babivors )(eamettetooed ete2tt bes ancitanimrat sbetterisd dtiv aotteai ~yolqss bebnetxs si9m ofnt ous tatit taamtosq edF .(S28 2829) -1993 nt asdd dowdto at eto toy ,s0dsaaisas# etal odt at tagm 0 agatiferwh to zasio 19tied edt bas aalliV .atstostidors wal ; -19¢ ,ootd10q 8 sdti sottibbs as too1 adzt avods bevisos net to i il evsitidow dtia aamgfoo 10 atefa ao .etebsvied 10 stseagol bom 2 ’ . -toot afd wol 8 bas ge edt suods ietienkhinnl sibasien 8 bantstis stusossidors absoa8 ve ~agisae® oftef ona dgitd odd at bas sonsestsnaa-yliss ant Yo bao 7 9 bas stetesitq to metaya auotéas sd¢ to sottaedo eda yd 9908 ;: -ut otom 943 fle ylisel .erntoasidoxs (satedxe (fs at anmoloo i 8 edt to “eanuloo to atsb10" od¢ bsssaiteevat e1ssesm taatz0g ee ~{4 beatsel sdi yosotfh4 .anottioqo1g arent baxtt ous etaatons ; af tleenutd boeasotaxs vilut od dotdw at .satteers @ stow ftta90 a fssomeo8 .slouziY atatiosdt oft sa1sb10 assmuloo adt of bis2o% ‘4 ¢ yod? .eane2 gototase just a ai total aide bro ofbalis3 bas asoen? ed¢ tot efaomunom asmo% odd ao nyt0l mosaya od¢ Hoos 98sq.,f emufoy) atabao etteoqmod bas asidéatze9 .ofsol ,2i100 | -29 ydoteds bas .atotsentedis {ettassedua tuodsin (.908 te SOL ; Bey ¢pee ‘to ¢a9mtse1d [stuemusom sdt rot aonso s bedaildes ts a -ouid rhaaitvses Jeon edt [itay sore! ak Soaismar tom i 161 with e railing, whose rail was at first supported by decorated slabs or little columns, but at about the end of the 15 th cen- tury by balusters, @ form of small free support exclusively be= lenging te the Renaissance, that indeed recalls the antique f form of the candelebra, but is here quite differently employed. Bay windows likewise occur in the Ttalian Renaissance, even if less commonly than in northern art. They appear in the South more as covered balconies. But so much the more common are loggaies, which already in mediaeval Venice form a design char- acteristic for the art of the city of the lagoons, and may we- ll from thence have found the way to the remainder of Italy. /£Afbey afford protection from sun and rain, give space for ae gr- eater number of persons, and thus so properly cerrespond to the Italian climate. The high and late Renaissance egain adop- ted @ motive intreduced from the antique, the attic (volume 1, page 107); this frequently increased to a separate low story provided with small windows (Fig. 236), and it eccurs in comb- ination with belustrade terminations and figure decorations. (Pig, 262). Fhe pediment first came into more extended employ- ment in the late Renaissance, yet more in church than in secu- lar architecture. Villas and the better class of dwellings o often received above the roof an addition like a portico, ter- med loggetta or belvedere, on piers or columns with architrav—- es end a low hip roof. Facade architecture attained e grander development about the end of the early-Renaissance and in the high and late Rensiss- ance by the odoption of the antique system ef pilasters and ¢ columns in all external architecture. Nearly all the more ine portant masters investigated the “orders of columns” of the a ancients and fixed their proportions. Already the learned Al- perti wrote 4 treatise, in which he fully expressed himself in regard to the columnar orders; the theorists Vignola, Scamozzi and Palladio did this later in a fart stricter sense. They t took the system forun on the Roman monuments for the Tuscan, Deric, Ionic, Gerinthien and Composite orders (volume 1, page 108 et seq.) without substantial alternations, end thereby es- tablished a canon for the monumental treatment ef facades, wh- ich remained in force until the most recent times. Figs. 217, Pi a Ae eset hi ean) +? 5h ei ie i i detail ef i hy 4 Jo alee orate eh sah eit moxt aorttasoao09 at o3ataye aM st iG? antes rSeanets x > i on -ba¢ofsveb yifssba i gatot edt ni yottav sett as $00 Beddow sonsaatsasaA sd? 09 6a8 ota0l to soteut esototagso yiemewtas aa v8 -alisteb Yo «bas hextisnetsasvace to 2atakwisetat 9d¢ bas 2ax0i asiatates ,29798fT bas amtot {seins .emoldme dstw sastlot ottarisiassa | dafval ai aveteslta bas anwuloo tot alstiaso waa b9oubo1g si9w 916" enmaloo o44 to avtede sa? (808 88 .2a¢9) .sonabayds eotsgtt (Lame yd ,afsiq 10 befdso .aete1t yd berasmsat0 vidotas a ‘Atow (staemenro déiw aeve bus .bitds aswol odd ao anoosest bas «Etqoedd satwodil bas .(OSS 29rd) sdateq aattaa stadt uaiteveo efensq nodnse at atasmanto (foroa to abasd Isotttey bed e1stec ‘“hsts1099) o19" sonsituxo£ fegps dse¥ (S88 .879 res09a0ds8) to eleseebeq. ons neve 68 iaisibasas dors odt A91steldstas ads “gaeq sidt af Ileest ewode sousaatanas viass 347 Jsanalos ang wyd lelyte beaoleveb adt asde alitestabas tasielot s10oa tos ‘tOtisas Istaemsare ylotsg 1ot-hbsoala-s19m atimil aistiso dofda ebtee8 .tostis Lsissoatidois tasnimobstg odt to titeaad ads ~s98 [sao3et00 bas aslskustoe1 ersu9e dsiw axgia .2amuloo sad aomTed .ylssl teqqo af viasivottisa enn foo-s1dslstasg ~AgOlt «8% ,abiswawoh Qatietaimib ateta aattxosags dtiw ataud +s.t) (88>,0% aeazeq Gt omu Lov) eetasits bas abiteveso as {isn 26. Cats ! sit ot Bbedostts saod1 28 19 attoqanve s9rt es taonyolome bSavot ~bai ns oved .oupivas sdt at es .¢om 0 t9¢¢8f edt to8 2 alisw ¢ ie # seatsas dotesaciqxe sidieiv déin esvigameds eaoago yods 830 im "eds Io stoetidois taatz sit sont? .mede no gaftes1 abdsol sat ¥sdt .atstatsq yiteom oafs bas arstafsoa oels a19y s0asagtensg ~ af seedt beosla gods dae .baamnoo te anftateq bos tstf{ss1 bad risee Bien -s1ytootidois to sotvies sd? ak gtpessm tasdota adg ; Aenea | sala | stottarosed 6 bas o1nt99s idork: IsatesaT VI _ boastoteasas s5asaaisael ‘ods omit ati ak oupitas ada atid ads 10, begolavab mod aya fsasso9d tdors od4 19909 aslimie » ui 00 aids es 1st o2 otto: SCTE? {eqisdaz edt ot oals aodaos2 vat 308 ¢HQOT add to ) 9209199 bobaatat eas of debabdaquos f 3s 19° toitst2bten09 sai 9u99 son bib eaatbited douse ae dastie ttedt ,“gatvil to sas” onzunsy s 2A vfteide soa Sead ) ri my ' BD Fo vara ay won Shee Ut tye Sibiceo Msaslivodeeual eN8 bas 68S 888 .e88 ens ~tltso ‘bas estnoolsd ad¢ to atxoaqua sda 2$ Sud .s80q sastesTILN ae : a / ( J a ad 162 243, 259, 262, 273 and 275 exhibit how, though somewhat unres- traified in conception from the beginning, the mature style gr- adually developed. Phe Renaissance worked out an endless variety in the forms of details. By an extremely capricious fusion of TIonie and Co- rinthian forms and the intertwining ef conventionalized and n naturalistic foliage with emblems, animal forms and figures, were produced new capitals for columns and pilasters in lavish abundance. (Figs. 218, 219). The shafts of the columns were richly ornamented by flutes, cabled or plein, by smail figures and festoons on the lower third, and evep with ornamental work. covering their entire height (Pig. 220), and likewise the pil- asters had vertical bands ef scroll ornaments in sunken panels (arabesaues: Fig. 222). With equal luxuriance were decorated the entablatures, the arch spandrels and even the pedes&als of the columns. The early Renaissance shows itself in this resp- ect more tolerant andefertile than the develeped style, by w which certain limits were placed for purely ornamental art for the benefit of the predominant architectural: effect. Beside the columns, piers with square, rectangular and octagonal sec- tions, can@elabra-columns, particularly in upper Italy, hermes (i.e. busts with supporting piers diminishing downwards, Fis. 274),as well es caryatids and atlantes (Volume 1, pages 70, 82) found employment as free supports or as those attached to the walls. But the latter do not, as in the entique, have an ind- /ifferent pose, but as the supports of the balconies and ceili- nés, they oppese themselves with visible expression against t the loads resting on them. Since the great architects of the Renaissance were also seculpturs and also mostly painters, they had relief and painting at command, and they placed these in the richest measure in the service of architecture. IV. Internal. Architecture end Decoration. bike the antique in its time, the Renaissance transferrred in a similar manner the architectural system developed on the — facades also. te the internal architecture, so far as this cor- -pespénded to the intended purpose of the room. But in this church buildings did not come into consideration, or at least not chiefly. As a genuine “art of living”, their attention olde Bek ec ‘edt o¢ omiminial [sues ak botoveb ean Ce Sepia bike at .mestsio ob oft Liew sdt Yo aatilexd edt of asva Sead ugtused oiveters: bas t10%mon .eoastuevaeo ti of avid ot hstse1d aedt siew emood Ratvil.bus aottéaqsos1 .alisd teo7 9 ade «-~edt eels ted ,ozedt yao tom bas ,oldéeeog as viaviaaszami as . om 910" emoot Batvil bas otste sdt esonta .asdt oF asoqs13ne ; eed god, oavod avettas ada at as .fevel bayer sds ao r9aa0L ot 9201 ayawitste odt to acitousstenoo sat .e8arftso bas alfew add a0 a3uithieg dati bas as1sta 4 -usav) egntiies yaneasm no bist axe" yods saso at .ax00lt sa? te atid .9.b) ossstaet to es1stouasa olatwa to botataaoo. {asl .(bedetiog bas aod beddut ,taomso to t9vel-s out bello sacte wofseom Sus sdaia oldism .aalid yelo boasly to aaano tad90ta at 8 10 8aftsvoo brseod namuhen 8 Setqebs stew aaailies asboow asv0 an ’ -toolt yrtesprsa .batdsieosh sites edt etsw ytsotasy bas eeondora smexdgxes dgih 2 .fedteaos Satdaow ,snetatsa bas atotalaoe 789%] sddJ madd ad ~i8 .dtvow oftteitus teedaid edt to aalvesy dbaoubord yitaauoe xt w odd: to agisivibdya Lsastoatidoiws. edt Yeblea ac aotduoars At ~iw sfaftoaiaa aseitas sdt of antows9:"08 batsers ayswis asw ilew ~foa9 Sfoasq bus: 2s09nT99 sa0dw .2t9te8 liq to wor s .dtatla at gsefit .eredasa od? athasd ods Somvot alevresat odt ak 5920 _ \ (G6f skt% tf emelov) afferse Seeslastak ati bas eudtasos (ns bass axewold .seveel .abatai [fs to smxot dbetseat vilsauteaa dtin ~olt sdii-sidslobaso to mete slaate @ mint teddies sede et fut .gaoesv bas ssilot09 dttw tedgjo dose avods 3atwora adilsta 1aH bas abatd yo Setemtos slodw edt .eisaiae to getase s wollot a0 ‘te te0k bas ebaed .eanted evoludat a6 ifow.eas .2lamias tadt0 _ AS8S,.8f9) .dsow tustq edt otak eesq vltesitd dotdw .aismias .8a98 39 80800 bas anogses .s9idqo1t To tareaoo alsasa t8ds0 «tnetetits seow adt to atostide déiw asiteg0s boqiuo1s 919 teas fot Isaotsa bas. bosilsaottasvaeo; vd detneusaxo sx8 bus 2o0td edt at bevtsoss yoserls taeusar0 aid? .xirow [foiog bas sas -sis” to sotssilagqs etstigo1qqs yvlfosxes sou eat ofae90173809 bas dd Gh edt at berseqas #I «(SIS ga6eqg .f sugfoV) .“aaupaed -91 tnsbacgebat ylisen = es yiutaso dt Sf sdt to antankdhed ods wort a1istitbh ylistsaseas tt bas .snit odt to sis 949 to tle -9uont? sd¢ to t9dasg0 taxit edd at aattag990 “goupaesora” sag qifsteae8 aofttetocsd sosiuse ¢ ayawis ¢f agegsdsia odT .otaso) befoeagos ,a1iLitt .mAtyda [eotasemoas of gatbi0e:90s. 69808118 -tofies at betuosxe ziisaigtio esw dotdw .tlseti vd anfwork bas bas sv00! 8 etasas199% t9dds1 scpesto1g odd Tua .( 833 ath): atil bas sisdsa .f18 wo1t 2avicom edv To Josmeaaeias Lvigonat -ofa Osmei1i dviw diow [ssasmanto to aoitanies{ea lasaitaos 8 at “19 to soitsxidmoo s as. betyooxe .2bletde.tea anotilsbem .asasd ~o18 on? «(FSS 828) .aattaiag tjiw ooouta mb terlet istaousa Si nedw ,9ay betsy siom ylotiattat as deoaatieaxs oals auggaad + Yo te¢oeIsd9 edt Oas aeme1t sit od Seavotateo1 1948901 on asw “tou 19818f 1evo bebasdae oais sod . godt agetlet edaemea1o sad (63S .8¢9) .e3atifes satta9 aeve bas elfaw odd lov anois _~«—«s« ST GE KBaLLO add Deddset hed teomsato eupgesora odd 19d t4 3%3 a8 yd qaomred tostieq at aaifest luttosr baa baat ton do tw i. ay she a PAM so 1p by betse19 aaotts10096 eaf .o9b0092 vlbtasa dt .asreeol asoitaV. i ana ae .miedo stedd se0k taom yliaaed sean bosanibe. sotuass aA “Sa £G i f a Vi “169 Purest in drawing and execution appear the ornamental forms ¢ chiseled in marble; for these are especially characteristic a. again the panels cut in the pilasters instead of flutes. (tej- © ected from the first in the Renaissance). fhe latter rise fr- om flower corolles or vase forms as organic combinations of ¢ conventionalized leaf forms, particularly ef the antique (Rom-— an) acanthus and its interlaced scrolls (volume 1, Fig. 138) with naturally treated forms of all. kinds, leaves, flowers and fruits, thet either form a single stem of candelabra-like flo- wer stalks growing above each other with corollas and vases, or follow a series of spirals, the whole animated by birds and other animals, as well as fabulous beings, heads and feet of animals, which dire¢tly pass into the plent work. (Pig. 228). Other panels consist of trophies, weapons and coats of erms, that are grouped together with objects of the most different kinds, and are ornamented by conventionalized end natural fol- iage and scroll work. This ornament already received in the Quattrocento the not exactly appropriate appellation of “ara- besques”. (Volume 1, pade 214). It appeared in the 15 th and. the beginning of the 16 th century as a nearly independent :re- sult of the art of the time, and it essentially differs from the *grotesques” occurring in the first quarter of the Cinque- cento. Phe arabesque is always a surface decoration generally arranged according to geometrical rhythm, filling, connected and growing by itself, which was originelly executed in relief. (Pig. 228). But the grotesque rather represents a loose and fanciful arrangement ef the motives from art, nature and life in a continual alternation of ornamental work with framed pic- tures, medallions and shields, executed as ea combination of or- nemental relief an stucco with painting. (Fig. 227). The gre- tesque also experienced an infinitely more varied use, when it was no longer restricted to the frames and the character of t the ornaments filling them, but also extended over larger por- tions of the walls and even entire ceilings. (Fig. 223). After the grotesque ornament had reached its cilmax in the Vatican loggies, it rapidly receded. The decorations created with refined and tactful feeling in perfect harmony by an art caprice adjusted most happily must lose their charm, as s¢on - etatostidors ot to daiietttanbned 39398 ofc b9db9 asw aids oF fea wt oe dotdw. .tostts Lequsourta Le19a90%8 403 basoluolsd -stebfeqdoo ofar 9m0o ton 646 atetaoeds otsvea adt to alton sig bas ,2elitota asi at ylavototiaso seomla detana109 ean .70re gt ot betLlags rohnol on asw eanids [eudtvibat tot avol sac sivetet ed? .taegmsse1s tom10t thedd mo daasd egw tud .aliasted wi Seteviesa ylluteiso os .Jasasat0 s1yq bas g1sktt asenwtod ano To oms1t 623 sorts .1oloo bas ‘coouta aeantsd .botiag teed ont aBottigogn0> edt .aistisong b14 sidsatisy suso9d ,o1ss0ro 94s otk ’jseatl to eetisa aselaeteastaxs bos sonIetteq 8 ofat LIfot ‘dt aud? .teflet ab bodsolievo altass6 to saeutesys yvasd « od? af taetat ottedsae ati ba8 sonsttoamt ati te0l avisatooed -Aust2 edt ofai Sseasq sivte9tidows sat dofdw at ,siwessK omsa “9 9dt To Sulassd3ied scolsauisa sede tot sviage geua baa sa0t peed dt to satfest evotreqms edt bia bluoda ssadt .tootte | eee ere etel odt ak agogqmog ad? biswot batos1tb 24908 {siusoetidowd sdf .V a -hewie otedossidoid domad .A 7 “siseqgs sid 38 dotwdo asitatadd odd at aslorte sasntmob oP ‘yd begagsitsdme vitser8 oot [lists saaw soasaeitsass adt to asa tat? gs toa bigoo yods dads tae To nottaqsodo9 Lavestbsa saa istnozitod s bas aebtea dod ta alaqado to wor s dsiw baleiea -ate fowe biawae vastaeo di 3f edt to olobim eit wor waeatiiess 8 asdotsio daiisg 10% borreteta oals etsw eedomads balats af% vd botosatetat .stiusv Lonapt 3 dtiw aedtia betiasv aia" bas. “18 ,29m05 tefl yd 10 .ewobniw sat 1990 atasmtisame5 gR2079 ant. ~i9dQ baleis sftaia sesd? .a2ixs Isattudianol sat anols bskner ' 9ms0ed yilsntl aehia edt gs. alegsio to awox yd babastxs asdo ~wot off .oastostidors dowsdo otfodéso to sayt aaifiavers add oals souszaisae? sit Yo emis odt ai yisstT at (GSS .ard) exo d¢ Of sdt ai ylwo saatblind ad¢ abiasd bedosted basta yiteino at bsdufoat bas eatec at dSe8asi%8 eemitemos yeds aisw vivdaso ,70ve5 e6n nottaetss aalucttusd .dowdo edt to aottteoamos sda | Heinsits o1sw dofdw .asitveiiosa add of soasazisass aad yo bad _ -~aasat meowfed ofaas add at doxedo ed? Yo shite aredtion ast a0 ) bas alezasv dorsds edt to antasadoteg edé aot .siodo bas tas -19l9 sf 101 moot Rattisw s es ons .ytetdtl sdt rot .atnemteov ~ofsibbs yldzom 918 yodT .ookviss anivid tests bas s10ted .¥R | ~wovite (srtaso {lene a8 defes1d yidaisteag gated baabat .2a ~~ - (06S. .SS8..22¢9) .beqatuee yldois viev yltasvoe1t 938 bas 29 . notetvibdse s ewode aedoasde beisie slants. r0i sxustouite sat “nid zgoeders dtiw sauyfoo Segeane 10 saeteslia yd affew osdt to 109. .2aataeq0 wobsiv edt to afsqsdo edt save madd asawtsd ha ~af S43 dexfi tsa baiseqgs aanuivo aeleaia isieve2 atiw anateasd - 9a% Yo attoaqve es sonseatesash ylise ed¢ at yLlsatontia bsab 7 ° » Bay * A a! > | 172 the mastere may be seen, tn. that such already tn the earliest time were represented with very parttcular faver an the back- groumas of thetr altar paintings and reliefs. For buildings with naves the three aisied basilica, ‘as it " had been developed in Romanesque art with its proportions. of masses in the width of the middle and side aisles, formed the basal scheme in the arrangement of the supports and the divis- ‘ion ef the bays of the vaults. fhe vaulting was either execu- ted in all the aisles or only in the side ‘aisles, while the middle eisle either received a horizontal wooden ceiling, ‘or if even more rarely and scarcely except in the early Renaisse- nce, the visible woeden roof framework. The Renaissance gene- rally continved as being opposed to the ball type. The ichurc- hes of the Orders strove for simplicity and were mostly single aisled with a row of chapels at both sides and a horizontal ¢ ceiling. from the middle of the 16 th century onward such sin- gle aisled churches were also preferred for parish churches a end were vaulted, either with a tunnel vault, intersected by the cross compartments over the windows, or by flat domes, ar- gvanged along the longitudinal exis. hese single aisled chur- - @hes extended by rows of chapels at the sides finally became the prevailing type of catholic church architecture. The tow- ers (Fig. 220) in Italy in the time of the Renaissance also chiefly stand detached beside the buildings only in the 16 th century were they sometimes arranged in pairs and «included in the composition of the church. Particular attention was devo- ted by the Renaissance to the sacristies, which were anranged on the northern side of the church in the angle between trans- ept end choir, for the safekeeping of the church vessels and vestments, for the library, and as a waiting room for the cler- gy, before and after divine service. They are mostly additio- ns, indeed being preferably treated as small central structur- es and are frequently very richly equipped. (Pigs. 222, 230). The structure for single aisled churches shows a subdivision of the walls by pilasters or engaged columns with arches turn- ed between them ever the chapels or the window openings. Por designs with several aisles columns appeared at first and in- Geed principally in the early Renaissance as supports of the } “99/9198 a1sta Isaozstoo 7O ,antot sehutes bas sased ‘a setuied ~edt gonssatsas4 atest baa data sad al .eeosdy afedt af baxoly - “eaefQlotsspe to mot edt mi eiteom eas azsoqque 394% Lantesat: ~eitmout gattosio1g eistesitag 10 eamedoo tod dtinw (£SS°.are) wied3iao sotetviftdva aslimte s abaoqestton doidw ot .eabia at edt baxsoie eoodstiog odt to ytelisv bas ysused ~togmt oitaitis asifyosa s of atsise afske yois .2tetq das) aan 8 bebastxs zilseas ore 48% Todid to aeitesasaoa oA? .aomed ~éi92 to tagmatgoe 943 at oteqmoo doidw .anaissb isus¢oetidors sfe9th ods to asoslsa adt bas asdonado ads dviw amoos ais -910T99TIAdO14 raslizos2 R ties A datd bas ylas9 odt at sexstoutte goafsa asiftast Tast& aa? -3098% 90 of a9fu2 odd Yo rOvVesbae ods Sihoa9q [lise s9084al8aeF suey Motttecqgo atoddutea yisv yisasnpe1t to aotsexsdtenoo ai .O9Nin ~29tlinst Isisnaaltat bas asizio -29uasel .sfaviat twxoazave of -aabieet afd sve2 94 nodw ,visisa [snoaieq eta tot 9489 of bas -3f betoat01q setwieddo did .boabhat goslaq 2 to miot sit 90 “aged tied .alfew bas atsom yd. aaltaso atsdt dabacorisa yas? atis 6 Rattoales oals es [fow 28 .esl8ne adv te atawod avia -s318 doua s008aaisuea egal ond af sexta .sindeaa yd besoetorg | adt to t20m at hotaev asiq bago1g sd? .bedtimo stow a399m94q - “oi ayswls si biswno Yataatged oft sort ted .emsfdorwy aachited -vs To isivsastos1) {sotatswoes 1s{5@99 af sa%3 Barhliad s amr -faw atauoo fantetat a108 JO 910 adteofone miot ({snoaviog as =n09 bas ysiltdstive 10% aavsebse tastanom 8 sonebive avawis do” r ‘ -9o09tney ‘L74: Novella in Flerence (completed 1470), thus creating a motive, that the leter Renaissance frequently employed, often superfl- vuously. With such a form of facade the cross section is expr- essed in a facade but slightly or even not at ell, and theref- ere it is only satisfactory in a slight degree. Happier are the solutions, in which the facades directly terminate in the form of the roof, indeed in a half or quarter circle, as ons some churches ‘in Venice and on the islands of the ‘Adriatic. Sea. (®ig. 233). In the treatment of the portals, windows, cornic- es and the like, the developed Renaissance adheres always to the classical ground principles, but eat the same time with the same richness as in secular arnhitecture. ® By fer the greatest number of the Italian Rencissance chur- ches hawe mever been completed externally, but have rematned tz the reugh construction. /7? Monastery designs were allied to to church architecture aid retained the mediaeval greuping ef the buildings, but by the beauty and variety of the portécos around the courts with col- umes and piers, they again attain te e peculiar artistic impor- tance. fhe monasteries of higher rank are usually extended ‘a architectural designs, which compete in the equipment ef cert- ain reoms with the churches and the palaces of the great. B. Secular Architecture. fhe great Italian palace structures in the early and high R Renaissance still permit the endeavor ef the ruler to be recog- nized, in consideration of frequently very stubborn opposition, to overpower rivals, leagues, cities and influential families, and te eare for his personal safety, when he gave his residen- ce the form of a palace indeed, but otherwise protected it. ‘Phey surrounded their castles.by moats and walls, built defén- Sive towers at the angles, as well as also selecting a site protected by nature. First in the late Renaissance such arre- ngements were omitted. The ground plan varied in most ‘of the building problems, but from the beginning ‘onward it always fo- rms a building erea in regular seometrical (rectangular or ev- en polygonal) form enclosing one or more internal courts, whi- ch always evidence a constant endeavar for suitability end con- venience. r F aipoess lh adnb btnthebat’s esx dotdw (68h maar hotted ofdto? 5 ~sxotmoo of yasbast asi at begoleveb tedzunt aew bas .s0naaat ~they isastoesidoiws gaststttb sda mI .wode of bas gatvil efde ~vti seeiiiss sd? § .eettixusifvosa [avbtvibatr beaolevsh siaw ano ~d3ogmt antatare7sb s asd dotdw .easneiB- sutsasi0l9 edt at aq mtot adi Io eebatasvbs sit vi viaslsottiea .viesT ffs tot s548 -aifsd) ods Se0bait bas eagota: nafa bagers en? . asta Saso7e Yo soasseidoss tot aflfed Safad eis dotdw Raoms .oa0ag10g fo89 10% “O18 (Sev0d onpitns oft me ee ..ote alaasdo senod’ ,rs9ey ans Yo 918 doida worl .zootti10q yd bebavoriwe tosop Setovenan as bag teqqn edv mi .ytote Savord sidomb Sekasias encot sAt boegatas ~dw moat) ,a09fs10q9 oft t9v0 exobiaaos dsaefo Sasol eta sarrotea ayswiisie to aghiaed ed¢ of .allied sds oat bal evanwtnod dot ao: beatsies yose1ls on svad eshsost 94¢ to sueadsead ois bas ~ksmofredt bas sistie% ,outdy0 af saiwedid .@NL) bas ‘88f asasq dud ,sag0to ai oats .lebow asoay? sda wollot seosisa eds sa sa bavors ods ait aehsost edd tend .vsiasidusea sds daiw sued -10q bedots avownitnoo ud Setquuretnt sie arasags eds SASBAVIG eS ; -200td asia. bavorm odd says asogu? oft mott oXst asos{aa asaod od? ~aa510%9 a8 oF Ssaffoni o18 sosast od¢ to @nemtasut edt at tod ‘ly bestiotosiedo seed bosbat as .taemtssat [siggosdtdois 63 ~*Qeatoesetsa tstdo edt §.(88S (ES £88 .earh) .oeea76% soataa -sLoo m9qo edt dotdw ao .t¢t009 ont to gostis bastR 8 ao beosia -it073 faxsvea dauoids Sastx9 yidaewpaxt eoeiti0eg asta ro Isd8 f onoa aiosssost ods at baoudoatat sonseeztenad steal oat ee | 12989 asti¥ .gon99 ,asasoiV at elislusisasa .9t3nNaals oala ga exetealta 40 anagfloo ¢s949 to wor s .9.f .“asi190 [sesoloo”™ eat m 943 03 déaiiq sit wort astrota sag [le dauo1ds da9sx5 dotaw ~eogmi edf ao yilatosagee eudT .(STS 868 ,28f3) .s0%av09 aten fetesatieqobuses add of6sff{a9 one olebastsdoi to asbsost ant etsi ode ppraets 2768408 ALS2s supisas ota: si¢ To shaaaoles -90ns2afreuas eG aorsose7 Ba01%a 8 beaestaxe ei asoslsg astteaaV sdz al ot boredbs vima tt autblind 9d3 to naieed sd? .tre Lavasidsem ot bisa ‘een anoo0as{ edd lo ysio odd at aetese adt to aottast ‘ nes > .o ue ae | -ts teido. ea? s(t 2384) .didt0d. $d3 yo Seqolsyve5 smedoe sda ae et ea a “1975 Fhe palaces at the iwakties already had a regular plan in the Gothic period (page 163), which was also retained by the Rena- ‘issance, and was further developed in its tendency to comfort- able living and to show. In the different architectural regi- ons were developed individual peculiarities. The earliest ty- /jpe is the Florentine -Sienese, which has a determining import- ance for all Italy, particularly by the advantages of its form of ground plan. The ground plan groups and indeed the halls for each purpose, among which ere dining halls for each season. ef the year, house chapels etc., as am the antique house, ero- und an uncevered court surrounded by portices, from which are entered the rooms arranged am the ground story. Zn the apper stories sre found closed corridors over the porticos, from wh- ieh doorways lead into the halls. To the designs of stairways end the treatment of the facades have we already referred on pages 184: and 179. bikewise in Urbino, Ferrara and the Bomag- one the palaces follow the Tuscan model, also in Bologna, but there with the peculiarity, that the facades in the ground st- orysrext the streets are interrupted by continuous arched por- ticos. fhe Roman palaces take from the Tuscan type the ground plan, ‘but in the treatment of the facade are inclined to an express- ed architectural treatment, as indeed best characterized by palace Farnese. (Figs. 251, aii, 258). he chief stress is p placed on a grand effect of the court, on which the epen colu- mnar or pier porticos frequently extend through several stori- es. The late Renaissance introduced in the facades in Rome as also elsewhere, ‘particularly in Vicenza, Genoa, Milan. ete., the “colossal order”, i.e. a row of great columns or pilasters, which extend through all the stories from the plinth to the main cornice. (Pigs. 235, 273). Thus especially 6n the impos- ing facades of Michelangelo and Palladio the pseudoperipteral eceolonnade of the late antique again appears also gn the late Renaissance. ‘In the Venetian paleces is expressed a strong reaction of a mediaeval art. The design of the building firmly adhered to //9 the scheme developed by the Gothic. (Page 164). The chief at- tention of the master in the city of the lagoons was paid to f tS ae avr . ger, iced aitse ads to emis edt at Sedo .ietnomsaxo Sat asamuLoo bibnalqe a 1stal tua .am10F Sfd709 bamgaas yitstds ff -Sagtar [utaeedo 8 dviw stutostiniois teteas adit dvix goala tastxoani aa doot e1gtosdidors eflitv Ratyed2 ot aotseatioat beaseraxs aft bas ayv3ea Yo taomvoine »botied sonseatsasa edt af Qatnatked o4¢ wort vatason sas ni ~od YidasoD teqgoTG sit azowted badatugatteto viass yosexls aeM .Siliv asdisdye” edt bas soashtec1 tekael 5 rot bsbaetat 300 ~teae1t 10 tdaife tot ysio edt s1oted bsisool san0d es1yassla 8 6 isotatemmya 3 yilfatenes bed aslg Ongoug adT .vousawvoos tae ialuzastoer 8 basots Saquosk ers emoo1 ens docdw at .xatesb ~daueo odt at auntbficd seaedt eont? .ifLad Lasiaso asfoxts 40 Stew Yods .JnBtsd ai saomagisaveh a 1c bebsstnt goa eaten v4 asifso edt at amoot aiedd bad atasviee an? -¥t0s2@ eso yitaon # af (oatasssem) yiote Mad “befssono9” ieqqu sdt ai to vuote ose ateixoeds out to owis odd at dotdw .sonaeatans® etal add ~$e sisthomiatai 23 s1om bas stom ss0also sdt at seu ofnt suso eitas8 s no baeslq yldarelsiq asw esiliv asdapdua aa? .eatxo -betsert yiintreado bas ylaaisivai esw st seavla -atsite asw sonstrcqat JS97B OONSAStsaseh ezsl bas deta sdz al -eaiity odd ddiw betosaaoo angtasd dasq bas nabuaa oda yd bs .R£9) nebas® wode ¢ aan siltv edt dtin aotsoanqor tosttbh aT ~auot ,aqeta to atdailt ,zadeatagiad .genetist yd bearobs (M58 “asm 49 gidfeasoos .ebaid [le to aatutaluse baa asbsoeeo ,2aret b to aweiv svitosaaisa suossiutota dtiw bas eyswetad dnsottia aneb4s2 matiet= saadt nl .askeiliv bas eettio 2liid tastakb “derlaqd” odt oJ Jastiaeg af .asail Istetoottiors deteatmobera i9at6t oft Ons .(6 sawiov 298) s19?sa 999% anixtatsra ansbi84 “aottaevac. stew ysdt jahaiblivd off Attw vaomtad s tot svorte -Siuto9dfio1s 983 OF Hatentbiodua anztes6 bastis a ar Hestecbs .2eesisq ods estrl .sattiro ede at agarifoxb sat 1 9a Qataquo1s 4d sidiesoq es down a8 asf{g bny018 supitas odd 990 99 a0otttoa yd oldteaoa ti Sbebavetmwe .Jigs09 8 tu0ds smoo01 wwiose togqy odt at asw vifstsa9y antilsebh eaP .2ahta siom to © ,2aldsze .2god2 rot bestiite yftetio ated viota bagows ans bsaisel bas ataisis ,alatotite 10% .adff edd baa 25e00d doa00 ~98028 bas afqute at vosetls betsots stew {atae1 rot aoav0d asm P -JSdgasesers dota afk esata % wh. piace hy ‘176 the ornamental, that in the time of the early Renaissance sti- 1l chiefly assumed Gothic forms, but later a splendid columner architecture with e cheerful intent. Villa architecture took an important place with the general enjoyment of nature and the expressed inclination to staying in the country from the beginning in the Renaissance period. Men already early distinguished between the proper country he- ase intended for a ‘Lenger residence and the “suburban ville”, a pleasure house located before the city for slight or transi- ent eccupancy. The ground plan had generally a symmetrical d design, in which the rooms were Srouped around a rectangular er circular central hall. Since these buildings in the count- ry were not intended for a development in height, they were mostly one story. fhe servants hed their rooms in the cellar . story or in the upper “concealed” half story (mezzanine) in + the late Renaissance, which in the time of the theorists also came into use in the palaces more and more as intermediate st- eries. The suburban villa was preferably placed on a gentle slope; it was invitingly end cheerfully treated. In the high and late Renaissance greet importance was ‘ ee he began palace Rucellei in Florence, whose erection he en- trusted to Bernardo Rosselino. (d&ccording to recent investig- ations, this palace must certainly belong to Rosselino). In this structure Alberti undertook an advance, fluitful for the | further evolution of the Renaissance, when he allowed the rus- tica@ed ashlars to recede and subdivided the facade by pilast- ers set above each other in the Boman arrangement. (Pig. 217). fhe church of S. Sebastiano in Mantua was comepenced in 1459, now existing only in ruins, he for the first time based on a pure Greek cross. In S. Andrea there he established a model for single aisled churches with wide side chapels and a eoffer- ed tunnel vault (Pig. 244), and a portico with pediment occup- ying the entire height of the interior, on which we find again the classical system of the temple facade. (Fig. 232). For S. Marie Novella in Florence he designed for the Gothic building the incrusted facade with the volutes already mentioned en pa- ge 196. Whether the design for the palace della Caneelleria in Rome, recently attributed to him, was by him is net yet as- sured. Alberti’s pupil, Bernerdo Rosselino (1409-1464), was chiefly employed in Florence as a sculptor in stone. From 1460-1463. and in the service of Pope Pius II as architect of the city of Pienza, named after him, he erected the facade ef the cathedr- al (page 188) and palace Piccolomini, whose facade is entirely arranged on the system of palace Rucellai in Florence. ‘Among the remaining masters ef the Florentine early Renaiss- ance, Giuliano da Sangallo (1445-1516) occupies a prominent place. He was cathedral architect in Florence and finally ev- en the leading cathedral architect of the church of 8. Peter ‘in Rome, His little church of Madonna delle Carceri in Prato, he erected in 1485-1491 as a central structure with a central dome and four tunnel vaulted cross arms. (Fig. 245). In its proportions it is a simple and noble creation with the happie- st effect, that has frequently found imitations in modern coun- try chapels. bikewise the beautiful octagonal sacristy of §. Spirito in Florence (1488-1492) was treated on the central sys- Ta ‘i i Ry . ott. ee q ae fi Bane Sia 1 fay A ail | eg : Aoi wi sa aaah aio ees (89af-062f) roa03 aoa “ oe 8 roaat yloupestutota edt dain sayoo asamulos aasottia - etiw \€88S .at%) Essoms? voaisg Omer e49 TOE .( E89 .229) .vaw Mi sea sth .febom a Gedatnist tetasm odd .865! at apzed asw dot «- eteei8!effeb strsg .2 Io oots10g antmrade edt d9¢8079 ole odu _ -~bese1qmt teom odd et issorg2 sosisd .(T0S .af8) .omaedA as80 09) akem evitostic yrev edt ‘Ulett at scetocute hersottena 93y ee er ebente vd) OOBL ae88q Oddi nt hodonuseroo sew gotar /°9f Geotaroo namof)s Yo notdetimi’ hedreine as es (BOSL-\abE) . neddent bas .tssorte sostaa to san0n eds setwedit wf sosn01p 7 >) fs eaget yiose teqau odd dofdw ni ,inkebes® ooslag eidon edz ~shiw odd ddesncd sbsoed otiees ext anole onibvetxe sibhof neac “ebosdt exoted otnoll Ie oncsonst® usb oels .fo0r anisvospore yi -eat sidteiv dtiw svebiO tnsotenem & Yo dowsdo 5 ,otsinry .2 s¢ ‘ _-Eedoth beetvewe coals. ytneed efamie seodw: to0a 343 to Anowem 1eidomd gs ,(hESI-G3DL yashisr sds) ofl eene? sh ofnetad .olskue “sdase edd teow Yetdo etd at .ewoda henoidnom onsifvad edt Yo . oneloinged not 166 otpet& .6 £6 snnobeM sng to. esusonrzte Is “vie bscoleved oid to etete odd no ebisda ybsetis .(NSel-erer) etedesm sends ent -- (RRS Lars). -Songsenians® did ext to of enitnerol® of3 lo coviststnseeiges teal six 918 denottasw dept 7 oti ot sottiensit odd rehome ean meds mi :sonscetsass viaee S| UP Rinse tes coopers: “e -Sonssetsaeh dard a ~{potsxeq dvi boeeergxe saw sis enténer0olF to sonselint edt 7 oe S Oo aa “ intteweo s seoxs sisi? .snewoolfsveh emer eng Sitivp feos sone Seelsarteitodeor eds ,(CCST beth) snerwed Bb. onsiond: Ai T9bs0L edd) 10% dotdw no). (688P exotes nvred). oveeeS ni otsigteter% eo dtiw evetes lia es bedsers eisresiseolonewwobniw ons oxtt seas | sivibdve Leindoed tore yletste s fo tovel ai: soistsoiteny. betos fer 09 od bib eeidsroques noo eid Ife neds. visreg sie .sote etd) at 300 2k pated bee txe Yo noieessoxs: Isoieesfo si¢ bao nat: NEE Rr ste 0 mh Oe ok Sek ae cee -ettow Se sbbudgpeuele qd Laake ‘ } Yetdo est af -bentmieteb toy tow at tleatt sotéeoexre adt at - ow (32ar-gnat) oasis’ 66 od¢9b9a94 benotsaem asitey ci tetesu a5 ~ oe : < a ar r ’ - a - ” gt Se ee rs re, i , —- — “bedenef ylxse' en? oredw .snei? anivedddien eds nt dasaecse 12 . {8801 seats) ontd10 ts) eos{sc!Leonh evomst edd bns .ssmndeldatne 4 eta Yo 4083 tdonn | oi wx -Susouss Gh Yor shoed sud sAt LAr Loenhdbubebee! faete yoatmoouns Gf sds me: YIAPIO RBHCU GUA BMOR _ ot) 30: teow -¢fsdT seqqn to tats basi tua asoenT Yo sorenl tat | (Sstot befieo bre wetnemnd) baswos besogaib yidesovst orn eecoo. benaeel) os batt ow Svedt: Brom. .do000) tens ot Etetere: ade een soot bnéffeant os os redder Bt neve .rtaedé we. ‘186 15 th story the Lombardi, an artistic family eorisinatings at 6 Garona on lake hugana, introduced the Renaissance forms into Venice, certainly at first with a predominating decorative con- ception. Pietro Lombardo (died 1515) built after 1481 the be- autiful palace Vendramini-Galeghi * (Bid. 252),and with his + two sonshAntonio Sdied 1516) and Tullio (died 1532), from 1480- 1489 the splendid little church S. Maria de’Miracoli, whose f facade is subdivided by orders of pilasters into two eeeee and terminates with a Sreat semicircular arch. . * The ouilding is dated with the year 1481 and the name of Pietro bombardo. Ft was first completed about 1509. But on the city plan of the year 1509 tit is sttil wanting. The plan and the cammeneement ef the structure have in recent times be- en attriouted to Moro Godueci. | In the remaining cities of upper Italy are crossed bombard, , /¢ Venetian and also in part Tuscan influences. Verona obtained ‘by the important Pra Giocondo * (1433-1519) its elegant palace del gonsiglio (after 1476), that just like the loggia del Gon- sighio in Padua (after 1493) has in its lower story an open portico with an extremely noble treatment. ‘In Brescia was ‘com- menced in 1492 the impressive palace Comunale, whose ground s story contains an open portico, after the Lombard style and Q- occupying more than half the width of the facade. The church S. Maria de’wiracoli there (after 1480) is a central building designed after Venetian models (Greek cross with four rooms ‘in the angles), that on the ekterior employs orders of pilasters with magnificent sunken arabesques and round arches as the up- peer terminations of the walls and candelabra columns in the interior, that rise from acanthus leaves and are: charmsaghy’ : decorated by natural foliage. (#ig. 253), * Besides Bramnante, Fra Giecondo was perhaps the greatest ‘a architect ‘of his time in Italy. POL ASOEL OER DE Saree ee 15i1l the five dooks of Vitruvius. ROME AND LOWER ITALY in the 15 th century stand under the vie ‘influence of Tuscan art and that of upper Italy. Most of the popes were ‘favorably disposed toward humanism and called fore- ‘ign artists to their court. ‘Amons these we find the Learned Alberti, even if rather as an impelling force than as an exec- Siasesseb6loivnsettin bas: iag leah chesd tanae, dnisposre : @6a lo etiow [ennsoesidors secit edd omof ni seore yuodnes a _-shvebneceisnel yiusc newof ons 30 boktteq bibselae oT .sdyte | A@EMKITAN) 2 ent xt og09 berodent-seh! ons: to. aries ed¢ of eff (OP (BCLL bekbh) senscersets sb omodei® caw roseem teido et ~~ bas feosisg isas9) asoteeY odd Yo) toeq 8092 8 10 sub et wid | Behved sebieed (emoh air (ESN-CTSL) onkteoks 12 Yo douudo sad _ +aée r9blo eno1esHm ens to nokderotess end bae coidoere sat ni ; Gd ov beaseler od of efvoeis yidedow§ .istiqno: eda ni eeardton | vedsiw obsoet seed notdw (£85 sed%e) sisens¥ th coslsa mtd | Nddioweson bniddemoe etnezerq sifted .notecexqxe Sissi visy 4 HPS) BOoTS100\ Sd3 103 suedw (DES: .of8) danoo Aptisesod ati ak | 9 to besten: beyolque sis enmpfoo ifed: beteane isin eisiq ose 2. Se 2 smuseeoloD end Yo [ebom est ascites .enintoo sotetenss3 edz hetelamoo esx (SCDt-28282) ILIV sescennl r8bnl (O8bL setts) omit ets more ».coneseiansA ibid. memo® eda og _ wHen netiszi ods Yo noissexp Ieqiouiaq & estsh .seifsao gon it W saedourte eidon eidT .omoh ni sissiisons® eoafiaq ,souseais emof ot emso tert t od) sud) dnemexG ot besudiadts vixewret eew _ s#elomoo yilsitostedue need bet siaediieons) sat aests {LOT nt wifont es enditehiteevai snsoet. +81s8ey' sstdd tesel gs x0OT be _ -Batblisd sof .itsaedfA teex2 edd of aditeed ont sdtioae of ben emttnerol® eds to tuemqofeveb) teengin add es erssqas vilsusos Otani: bnivedne ybserfs .isiisov® sosisq: soul xa0ibssoosa eivie 7 yxote Labor edd of ewode sbsost off .sonsecetsaeh aid sag 4g mpcornsen etefigorags sit ttiw evesealite neinsniao, 2nisd 25 i bévx0eesa bas beilinbib at .xaso Lesnoxtied déiw exoboiw baa Ds ceve: sot bnifest hecttet 2 taitididxe axredmem bos enoitosiora io ~etd etvesizcte ows ak Rootsieq neao ast dgiw: notsouatenoo sc? Sr Lbe 5% oes | 92) \.omo8 nt tau00!asameloo bassb teal q efibtereds duods sonstaas: ‘basel sosseatsushieds esiaqsi ogo _ ~edesm Torysivisos edt ydryitsino besbat .yansneo ag BP edt to | ease) onetsk eb onsiiutd -Visél segan, bas esonsi10l9 02% at fidiw dowsome .onenqe9!odea oldon ods (Z8bfi yeasts) besosre (808 -* jetewes ylesets ows neewsed oisss bas eesfat otis .evetesliag tb orsets -(S8L e969), ovonk offetesd no bekstoe oels esw ed i td Bh one to elbbim eis tuod4 .okfegnse sb onsifot® bas oni: _ »eksota Weqqueond sds nt (ewobniw bedosevbagos doin noissotsaus "i ie a el 187 executing ‘architect, his pupil and colleagues Bernardo ‘Rossel- ‘ino and Giukiano da Sandallo. About the middle of the 15 th century arose in Rome the first architectural works of the new style. The splendid period of the Roman early Renaissance ‘fa- lls in the reign of the Art-inspored Pope Sixtus V. (1471-1484). His chief master was Giacomo da Pietrasanta (died 1495). To him is due or a great part of the Vatican (Papal palace) and the church of S. Agostino (1479-1483) in Rome; besides he led in the erection and the restoration of the numerous ‘older str- uctures in the capital. Rrabably also is to be referred toh him palace di Venezia (after 14514), which has a facade with v. y/2-wery Little expression, butiit presents something noteworthy in its beautiful court (fig. 354), where for the porticos squ- are piers with engaged half columns are employed instead of ic columns, after the model of the Golosseun, Under Innocent VIII (1484-1492) was completed the oeaeadeaen to the Roman high Renaissance. From this time (after 1488), if not earlier, dates a principal creation of the Etalian Ren- aissance, palace Gancellaria in Rome. This noble structure w was formerly attributed to Bramante, but he first came to Rome in 1499] after the Gancellaria had been substantially complet- ed for at least three years. Recent investigations are incli- ned to ascribe the design to the great Alberti. The building actually appears as the highest development of the Florentine style proceeding fram palace Rucellai, already entering into the high Renaissance. The facade shows in the ground story Pr rustication with round arched windows, in the two upper stori- es being Zorinthian pilasters with the appropriate cornices a and windows with horizontal caps, in disnified and reserved projections and members exhibiting a refined feeling for style. The construction with its open porticos in two stories ‘is the last grand eeclumnar court in Rome. Into Naples the Renaissance found entrance about the middle of the 15 th century, indeed chiefly by the activity of maste- rs from Florence and upper Italy. Giuliano da Majano (page 205) erected (after 1485) the noble Sate Gapuana, an arch with pilasters, high frieze and attic between two stately towers; he was also engaged on Castello Nuova.(Page 182). Pietro di parang vabn. bas aon seented beswoexe neliM mori ontdxeX dm teegge ubsente elisieb oft doidw of .edteso sist to Lisa iad qtote ons edd ¢livd bas .emt02 oemof sneions Yo viiswa eds ¢ ~9099h, edi 101) bemeedce yiteor® .1 oenelié anid to fors ladeqas ‘ ties? off to ation geonit ons of .OVRE bag Lebl neswied egek ~t80 eft io suqzo sit Yo enoissioneb edt. anoles sonsaatane® se ~fthpome® sort eivtqinoe .¢.% .eenioswo) eft yd betpoous .Leubed apenstieddve beleis ee1dd s to moi sit eed fotdw .xisd?t sscan % 20) wseondisis cmexse9 to ctueseare yo bensobs et: bas doando Bi bevseserc nesd eved ollshaed sb onsiiut® Yo ekniblind eng ~bbs, .euetveiolo .acosisa ed? .anisuea saecsxoonian vino eelasi wiudnss ay Gi eis io tisd bnooes edd to ernthlivGes bus enoisi -e9oneuding enttasi0lt sebeo yiteido sxe cunan serene’ oF beaselet enoidqoexe wet wost ebies .YIIOTE 6d3 of inicdiel ysusaso ct Sf exttas oft ak bentamea {lite ~B% «Wandae od SL ods ni gneve .yledi vewol edit bas .elyae ofdtod -e2nthlivd dassiogmi diiw herssaga sebmol on ti -Sonegeisneh daskH .S i ehid Ja96. 943 heonammoo.otacoeupatd end to Snéontasd oda ctiW _ ~nedse ods bed ydevoiverS. .( 83 9869) .conceeisnel edd to bois » Leinscetidors edd to yeiteiduetedse eds o¢ bosoveb assed Nols _~-8iedmem esi: to meitnsti0 bohasats visebio sat of bas sonsiesade “node dion [stnomanio Latnsbioos yisiem bas ywisezsosanw yd tov 08 ,eeinogesoos syidisxoneh sd? .beonment{tag 90 tostie esi bi ‘ -f) betoiztess etoleseds o1sr .Céneocaddsu® odd ni berovel dove - hveaoadegingd & m0 beoeia caw Sdztow Yoino sat .eximad ited oi *7eGdeTq exotnomasd ent no .secese [aqmdoedvinors. sag Yo noteivib: j (edt Yo eioetis, benidmoo iviisueed ond bas eetsose ons to enoid _ xddointe)c10n oxen exebs0 iensuloo eat. ,emscd. Isautostitiors aoe eameio2g mo exedmam Ilse sence Supidos edt ak bedecad ~fod si obem s19ew .s¥id oft, bus ewolnin. .peditnsxoo edd ac 21978 on? .onsxb yilwtesso ero hms beiitesa ylisterso .Yeiiex rb @ bas etom has yitlidaotiqas aieds ni heyoiatess s1en zonpfoo nisp Adiw desosoos wi etyvogone coxt.es noigonpi siedt deol stom Ts etesesliq bas sameloo bebsgag vo bebivibdus yidoix .2i9ia ~oOfsonst siess of anibroces exvesela ge betauberxd sd blues dot ; Rise “ ie ba 1 ¥ 7 | =) ” ~ : y ‘4 ~~ woe deoth offs SniseLomoo .ovowll iedesD 1e9n .Reiles ot anokds |\¢ Read asdomdo bas eootsi0g lo esandonsde sbhiw od? en 188 Martino from Milan executed between 1455 and 1457 the festal hall of this castée, in which the details already appear in t. the purity of ancient Roman forms, and built the two story tri- umphal arch of king Alfonso I, greatly esteemed for its decor- Lj ations in relief, near Gastel Nuovo, completins the great show Sate between 1461 and 1470. To the finest works of the Itali- an Renaissance belong the decorations of the crypt of the cat- hedral, executed by the Gamacines, i.e. sculpturs from @emo in upper fttaly, which has the form of a three aisled subterranean -ehurch and ‘is adorned by ornaments of extreme richness. Of t the buildings of Giuliano de Sangallo have been preserved ‘in Naples only unimportant remains. The palaces, cloisters, add- itions and refuildings of the second half of the 15 th century are chiefly under Florentine influences. SICILY, aside from few execptions referred to foreign ‘maste- Ys, still remained in the entire 15 th:century faithful to the Gothic stylé, and like lower Italy, even in the 16 th century, it no longer appeared with important buildings. %. High Renaissance. With the beginning of the Ginquecento commenced the best pé-— riod of the Renaissance. (Page 173). Previously had the atten- tion been devoted to the substantiality of the architectural appearance and to the orderly arranged organism of its members. ‘Not by unnecessary and merely accidental ornamental :work shou- ld its effect be influenced. fhe decorative accessories, so much favored in the Quattrocento, were therefore restricted i .. ‘in their limits. The chief weight was placed on a correct sub- division of the architectural masses, on the harmonious prepor- tions of the stories and the beautiful combined effects of the architectural forms. The columnar orders were more strictly treated in the antique sense, all members | on cobumns and: ‘pile- sters, on the cornices, windows and the Like, were made in bol- der relief, carefully profiled and pore carefully drawn. ‘The columns were restricted ‘in their applicability and more and m more lost their function as free ‘supports ‘in contrast with, the piers, richly subdivided by engased columns and pilasters, wh- ich could be graduated at pleasure according to their functio- as. The wide structures of porticos and churches with their | | ti ; BEGG Seonevolosue Seba edd .etivev bas eomob ). “~avtoveb e0dntt ett: 08 emso' won .euesidio sds to exo! fen ods a enottee19 (savedot te! yeused of biskey ox trom g efdsrsonoont os atit .evedmsm [eant¢oetinore to enoiéxoqe1g - elnatie ‘hetsniwob evetesm seera ond .waOT To snentsexrd to rewo0S yifpreast. veda ee tent .eatol bas nektounsenoo .elstvssem bas oso © > .aeanem intueteem 6 ni eidve sviteomot [fs bes ivoairG aq) edd, ebor? sonseetened dhid off -~ .YdaTt AUCdTN Gia BNOR | 606 yoio {sarste sd? .omoh ai Hoitwlove att Yo eneoe Leaioni To! swab edt woe ot sais evitsmt0t eat base sietoetifiers at an ~ineq Isiveqnt nemo remtot sé? to robnslen sda dtin ete won 6 ' To otnbrerh teexvt ons yd bomuees eaw sobeat to slo sat .bo “wSdoogs eid boonemmos ef OSEI veey ont eI . [aoe 269) .onkdat to t1etetofo edd ni sastovxge bemob efaait es nt VGivitos. Sniten -gmed odd) To mio? boworb edt ai betoers Lofnoseow at onger .2 “8°70: benwe1d yrote tewol ofx0d « Agiw .ifoveT te steeY to si sidou & ofodw od? ,emob 6 déiw ysote telfeme «& bus ebeites {ed gui deot sd nsd? § .goette evisoeoeted betietwaniters s atiw drow w .Sdelsq nsciteV ode io enoisoradencs’ won bus satblindes edt Sel off) Leswwtonrse beocoute to betetenoo vlavotveso bad dotew -BHOL egowet ony dtiw bas . "id yd cesmsO .© bir feLissos) tapos -Tequp eds) seeretai sedvotsven biotis .feedqai yd botatag esi Le ae ; . (Leatiaeh yd eaw estaose an0t sit to teon ~itiveet’ eit Il ewiivi egoS work bevisoen stnemar® B0FS agoda @ wen'eds .beatasdo seve bed toscificis ag tena Hoteeiameo ta | Ons! ets to heetent: smol§ ta rete .2 Yo Howsio ang: to vatbhitod | es? geomved® .f0Gt epeq: \f eaufoV) .vered 1 Yo sottised! trek ©) wits eaeqetoos: Sonseereneh: otal bos asim eis to escetinore woom _ ~Sbned' feotatennye Yisnidne ns ewode osteed etesasmsr * veing. 9ef%e eelotiotmea at sniteniniss emis esory 1001 déiw asia {eo i. bemob {feme s90t .esob Leaqtoenixa yidbiw 6iyte’ busdmod ods 8 38) exewod sH0t 2818 BeOTD! ond Yo esikne eat nt gniyl ewoor oe nana emi BOND! eda Yo: Bseqe\ dee? eds .estane eng a ~mere) yderedT .clied eomentas es botacis Sefred esfknstos4 sd3 9 £ bas! ynowred: besostaea: Yo notgects [anretat oe. bensived sina : or ydiwottns ar Snidlied’ on es done .soette basse vidersennont 2 BoM! HoHId: oda atvotsosed? “voivesom Lenpe wt sidtdxse dives " DB Lo: sesoH asitersdO ott to wi deelaegiteon oft 10t boeesy x a * a = a ee * in oe < a ae a a’ 189 “domes and vaults, the Seneral spaciousness appearing ‘in even the dwellings of the citizens, now came to its highest develop- ment ‘in regard to beauty of internal creations and symmetrical proportions of architectural members. ‘With an incomparable p power of treatment of form, the great masters dominated space and materials, construction and forms, just as they: ‘generally practised all formative arts in a masterful manner. ROME AND MIDDLE ITALY. -- The high Renaissance finds . ‘we ‘pr- incipal scene of its evolution in Rome. The eternal city see- ms in architecture and the formative arts to show the dann of a new age with the splendor of the ‘former Roman imperial peri- od. Fhe rote of leader was assumed by the great Bramante of Urbino. (Page 209). In the year 1499 he commenced his epoch= making activity in a little domed structure in the cloister of S. Pietro in wontorio, erected in the ground form ’of the temp- le of Vesta at fivoli, with a Boric lower story crowned by a balustrade, and a smaller story with a dome, the whole a noble work with a distinguished perspective effect. Then he took up the rebuilding and new constructions of the Vatican palace, w which had previously consisted of stuccoed structures. Phe - court (cortile) id S. Damaso by him, and with the famous logs- ias painted by Raphael, afford ‘particular interest (the upper- most of the four stories was by Raphael). About 1505 Bramante received from Pope Julius II the greate- st commission, that .an architect had ever obtained, the new b building of the church of S. Peter at Bome instead of the anc- ient basilica of S. Peter. (Volume 1, page 159). he most fa- mous architects of the high and late Renaissance took part in this. * Bramante’s design shows an entirely symmetrical cent- ral plan with four cross arms terminating in semicircles after the Lombard style, a mighty principal dome, four small domed rooms lying in the angles of the eross arms, four towers at t- the angles, the four apses of the cross arms projecting from the rectangles beins treated as entrance halls. Thereby Bram- ante designed an internal creation of perfected harmony ‘and i incomparably grand effect, such as no building in antiquity ¢ could exhibit in equal measure. Theaceforth the Greek eroess passed for the most periect form of the Christian House of God. i ‘iit bbl aut ens to mis nvedtcos ofr nor? Sipsowidexsque eng ©9930) ehottsoao1e fennedni etd bexit esasmend .e078: sbie sid To 88 etnsmert ewole youeed bstsvelo etl .tare® .2 to dows eda 3 -itivi gesdbid vieds bevisost dia to ewal edtowodw. ot 18taem 6 | ‘Bed ets nt qenotverq cess sid as: .eanse emee ont ni tnomli i gt) stng2@ ee20 edd to anios? eldren snF -Supfins snd Jo 2oke -teeb betuoexe tied tud edt bas (OLah) ote100 to fsabedtan edt Oktectem edd as [iow as .c1edt cotdoteogs sosise sad 10% ak asin: dnowpols yebot {fiste ove sitiooeVY ettvtd oo elteso a0d18d eas To esonenling end ishon boagiam .siyte seoasl etd Yo! eosre “woguevo etiup ¢ heaiorexe etiamasS medt¢ ve .swo8 to esneauaom notéelove oft bas asiassoonsda0o aid (ls aoqu sensations baits ~ie1 ed of yitoe10h eedorsds evorsmon edt 19 .eautostigors to. ‘ ibeT nt snoitsfoenod alle’ sits .2 ‘gnattbe eid of beste -(286I-S80EN) .snesroamt saom ant Z aiawehs need .2 YO SOND SAT TO YAOTEIA GorAusoetivory oA * = tet oes don priboss sht e6 of esxsteos BHiwoll{ol eit euohe (aa8 | Sbhodetk apbow yboondn gnthisud wen 0 noged Enddseso® obvonaeg ~eOVURL TL Sued ebsw sadiaa lt befanns sow dotdu ARSSE-RSST) WN j “teiton edt bheonmemmon (BORE .LINGA ml becaote nest tus AS | XO MHoh bavowy eds nt nods wens beantseh sk .otnpmons Lo ys SAS NOl ynies emob © AtIw ban sand Soups Ad de ssoxm dsexB sat gattceve HOls obNUSy gniteixe SAT LO KROlsnog vd Nolsountanon edt) Yor SotsseGes sm ikea so si iuow Adee) AI anete SKob ait A i Wher ica “eb e*stnomasS sett .bsoune (e02L) sgeg eds Dd) oodeeb o4% BO S OLipyns® oh onpdiosO bro obmooose ov% ABLSL AL donpw) ata VE LQOK wONL) Hest) comes feof vp sO athesebs sf’ 843 beavesa f Avow Lo pnganiqsd sat WONT HUNKS Snow segnuol sas olingrne : SF ASASAeL QHIhI sud) SAT HO! bedando ban LOREM) aAtosh sda Lbtny — SUSTOD YHEHI Gud: Wid MBE of OEE now Letonnmas te sanee at Ret ate bao HFoys aw TH Hoos Ylinoisewyeme Til Guat besose ys wPostes ef ~(aegauoy eit) oldonnat BH oFHot HA of bral ss. bet Tuodo dood was besion .eseta Tonnstnt eds Yo siassebse sat be pa eth istom Sth LeoftonR NOISY 96s Hamvoy ands baw bY 8.08 «BB efeotn ban Teuwte§ ef nonesd sebeWocnigeserg prshsaon Setsnm Sogtanisa sit an besten ode lendanh os beesog 3s -(RLeL 199 With the construction ef the four piers of the dome, the vault- ‘ing, the arches and pendentives, .and the partial execution of the superstructure from the southern arm of the cross and one of the side arms, Bramante fixed the internal proportions ‘of the church of S. Peter. Its elevated beauty shows Bramante -as /) &@ master, in whomethe laws ef art received their highest fulf- “-ilment in the same sense, as the case previously in the best ages of the antique. The marble facing of the Gasa Santa in the cathedral of Loreto (1510) and the but half executed desi- gn for tee palace Apostolico there, as well as the majestic harbor castle op Givita Vecchia are still today eloquent witn- esses of his latest style, matured under the influences of the monuments of Rome. By them Bramante exercised a auite overpow- ering influence upon all his contemporaries and the evolution of architecture. Of the ‘numerous churches dorectly to be ref- erred to his school, S. Maria della Conselatione in Todi is t the most important. (1508-1524). * Fhe architectural. history of the church of ‘S. Reter. (Rtgs 255): shows the following masters to be the leading architects: - Bernardo Rosaselini began a new building akready under Hichokas Vi (1458-1454), which was carried further under Paul BI, 1470- 1473, but then stopped. ‘In April, 1506, commenced the aetiut- ty of Bramante. ‘He designed a new plan tn the ground form of the Greek -aross with equal arma and with a dome, using for the construction a portion of the existing foundations, erecting the dome piers with thetr vaults as well ws axvportton of the southerr erosstrme:. Under Branante Peruzzi and Antonio da Sangalto the Younger were engaged fron the beginning of work ‘an the design i(in the year 1505). onward. After Bramante’s de- ath (#arch 11, 1514}, Fra Giocondo and Giulktano da Sangalto e assumed the Leadership fer a short time. Fhen (from Aug. 1, 1514): tt passed to Raphael, who acted as the ptincipal. master untéid his death (1520) and earrtied on the buitiding further in thessense af Bramante. ‘From 1520 to 1524. ali butlding acttivi- ty eeased. Paul III wmepgetically took:it up again and entrus- ted the lead to Antonte da Sangallo (the Younger). He reject- ea the pedestals of the internal piers, raised the floor about 10.5 ft. and thus formed the Vatican grottos. His model. ‘te 8 sh) Ataoh ShA-osotod Yitvhe cnsteG .2 01 kounevenq 11948 9! 1o O83 Yo ste orsteos ‘2HD ONAhS HOS SAS Detiuay sa (set. 8 4 _b wnatsiase sa beisou tesuied esasenbied einetuh sebat se eanotah sobiecd beinionge oslo sou ef dtoeb sis Hi bsossg. doey — OL NOsE, (BEET cat Ned \O) fons oupe Yo sedens ondbasd o so A Yo shana. SAT St yRi QHibliud 245 Yo nokinuntinoe eds VRS VE «SOE BOB bind ok. dio ssey &T asKs) OLepaplesoin dbege ads - babueint baa 24 hei isemis tu 85 KONE 4G Vo ondesh Jarensg ect 4 ““G)8th. ,obonnolos eet a Agtu ooissog o 44 expied egnoaxn of -AOdAG Onis ivas Hi ,omob edt of Deioush eny soitnetss Jecteni | APOSEBE.6e4) Asnob sidish .opised s*otnemans broged neu es 4 03 .BiogQiT sou tseseoous 18 .betoustagen som mush sad wine _- bemadd. Aver 844 39, semOb esonibrodus, idows sds sub ana wodw _onooe se G3 SMBo qidssedosl edd (ESSN) win assth .olomgsd us ~ SHOTQ S43 ySiinen ofH4 beinson oh 112081 Litnw) sted aliab + se OSEL-ESTE enney sis nd omob oft 404 olegnolisdole (oe soslorg TOMO, .HEIssbh Inninss oft Lo nofesssaqms Issenen RMseoams sft — sORSS YOUNG © 40) QUdbiinud of9 01 S484 ylise cou Liseti si sted |) NOOR TOL onotsAbors O43 Yo wedu ni S0Ad. Robsesinos yarsio wat « 8S yitelecissng bao .srmpiostisorn dosudo oxstast ni S89 INNS NSO q | 399) BoA OnIS4ed00090 YO doiliced Heaton Ai Yo soid1oa 9 ssune 8.0% bstoush suds eou Jdoe betarssenoce seoiu S880 t1iu6 nese .witedieds 03 Sshsetxs e¢ bisoss ssord Aseip edt esau snduosa etmoo eft. yd POBL soso gnibliad edd Ye tehnol, onishal aise B04 beiiagaen sow actos ionnvesd agin duet sod Yo. bro " b okt. .eludiseey sis dtiu (Vos OUHSG) ewan eHsisixe sAs bba r /AdHMOS.O2 OAT Hd bed Sh .S8us OUTS AAS no bonodad Indanei. os (WO sebis efi. tm exewos hed out soene of. bebijned AHO TIA Sogmes ane®. Ssiusedto tue .ATEBL) .8561 ai. beomemnoo Neus Sit nook Deke Aebaai ares sebpnnoing sisuob dooisebide 943 Yo noises +4 - + (B emadoV) . atone s*ansebot bevomen, Wissag Ininnsg§ fotas glo bntblind odd gt qoeecooue baa Liqua.stixovei s ‘séagmer8 prstoedt ,(OSeL-c62n). teas? Jesiost esr 19399 .8. 30 downdo ond 7euq ylenti bas Sissaf odd ei Aton tagiluse aif .xsdndeq euvom | it | weed) 9m08 ag atid ilkeb ot&ilh .2 doaudo, banopenes ». a * ‘ . eer A esesod DrguHo LEEL mesh .B8Si sosy ahd ad benauono “obinos bed 4993 od ban node eins GOXb 03 bod gletonusse} su6 ebaont sds. Sas wt) egtseb lnrsneg sds OHI GOrging 4o% A ibesvo Sit wih ct sub. ac £91 still preserved in S. Beter. Shortly before his death (dug. ‘8B, 1546), he vaulted the sauthern and eastern arms of the ere- as. Under Antonio Baldassare, Peruzzi worked as assistant; ‘a year preceding his death he was also appointed besides Antonto as a leadéng master af equal rank fafter Jan.. 1586). Fron Jan. 1, 1547, the continuation of the butiding lay in the hands of the aged Michelangelo (then 72 years old). He held fast to t the general design of Bramante, but simplified tt and intended to arrange before it a portico with a free colonnade. His pr- incipal attention was devoted to the dome, in vaulting which he went beyond Bramante’s design. At hia death (web. 18, 1564). only the drum was constructed. Hits successor was Vignela, to whom ara due the small subordinate domes at the rear, planned by Vignola. After him (1573). the Leadership came to Giacomo della Porta (until 1604).. He carried inte reality the grand project of Michelangelo for the dome in the years 1588-1590, fhe imposing general impresaton of the central design, eomp- Lete in iteelf, was only left to the building for a brief ttme. The clergy contended, that in view of the traditions for many - centurtes itn Weatern church architecture, and particularly be- eause @ pertion of the ancient basilica of Constautine had not been built over, whose consecrated sotl was thus devoted to s secular uses, the Greek cross shauld be extended to the Gatin. Carieo Haderna, Leader ef the: building after 1604, by the conm- and of Pope Paul H, wtth Giovanni tontana, was compelled to a add the existing nave (vegun 4607) with the vestibule. The d dedication oceurred in the year 1626. From 1629 onward horen- zo Bernini l-Labored on the structure. He Led in the internal composition, decided to erect two bell towers at the sides of the facade, out fortunately had to drop this plan and to tear down the tower, commenced tn 1638. (4647). But otherwise ‘is due to him the credit for tmpreving the general design : oe the erection of the elliptical double colennades ' (1655-1689), which Rernini partkhy removed Haderna’s errors. (Volume _— Bramante’s favorite pupil and successor in the buildings of the church of S. Peter was Raphael Sant# (1483-1520), the fa-. mous painter. His earliest work is the little and finely pro- portioned church S. Eligio degli Orefici in Rome (begun 1509), .totourentk etd so xtbtides ebasket’ od dotdw nt edd bedSere Isedas® .egniw sbie snisoetote os dite mvt reLy 5 bentsitess yldon .elamie bas emoom besegoole. Pie “66 ltpinuors | ed eonseptensh skid sit to teteat seer 3 sh Jotdinetidores Pi, sok aliliv io noitoevs Iettie9 baa cbiesh oft of Bloemid. bsvete +«soum ylanevosedue ond beowborsnt od ers? .(atet ngbed)' smab | ',8bsote as base sivdidesy bedgis eesdd s .pnottevennt bevolane ~sititiors sit to esostq trode ows no edaer tloviders 6d3 cusde mot beatueos Snibited etal .(ITS .kf8) . eames “no geivaet ev tot t9¢99 .2 To Jadd stil sonedaoout [sotqys «a selLliv natilaest _ -nem 6d ot ésy sxe lJesiosS to ebothlind sedto edd tO .eofotpdo sive¥ .2 to dowdoe edz mt thid® [saeco Snsoitinkes sat heaott ‘ntiglobast sosisy sonsto£® ni bas (Sten) emoR ss olouce Ish af exssesliq evsd eeiveolone wobniw ens dotdw wo .(O8af-Sran) «itengetis sft tytote seaqe ent mt eomolos tad bas .1en0f add -630M sin9o9 texkt meds svodse saso snsmibsa bor {stnemsse to no > mee ek yvoses{s bevotg yinistyes ef noitsnsetie efit) " fetagmerd ekabegens) onemoa ‘ortni® een Liate sastaoqui- teom ¢ *fesdoad “bas 9mof ar seari feyofams .eteisa tasscoumi ywev & Setwoitl AS8EP teste) of [96 eoelaqg et Na0ow teido 2th .saineW ot rvetel “bassxe as ,sudney svoted sQenn0R Yo egwod sisessfa euomst sit 96872 6 guods betdetts wiot bryotk telokastoes Yo tathliuvd he Sofvetnk edt .sbhie nebred odd a6 efpsof bitnelae s atin ¢xad0 ; ~~ —— mio? ascilfesd edt benteser ed .sedusW Yo dtsos botacol ofteb -bim-edt nt esiney esors bstokoa sdd bas doundo Josrous sat to ; eféts tiotio s es asisin shite bstissy sia tafwatinon .slets sib , Su ng : cing isivoriormes edt tovors eleqsdo to slorto se attw 4 re one -oosqe bomoh [snogstso me beosiq sn dotidn 7 aiaiabibusins tafahtesb yileotees{o eit .yrexoosssn0o erk & .stuemsT§ to soseuftnr dnote sit tehay sew (NECt-~LOS!) iss ag) aeted 22 to doando edd oo beyoicms ean ef bee! seed® acbas | ett ni ¢isrsc. ,Stndoesidoiw nt evides yreviesw sh .(8L8 ezeq) — ) sagolod nt onsiolngednoy af yisasq ,snete to veto svidsn at a ofaoxted .6 to Bnianthed sat 108 emeciand oels 829 es osatang bopnsiis sistowrse sikeof sw .(fSt-COeh) sntecnied © ‘ \* a deotgaed eds dtiw sevod ssmene bsitindts e/ thy f ppd ihoteesfo: -9n08.8 dowsdo etd tA sxennes Hibselas teow ode nt fetarooeb | ¥ -* Mca te veaaeeE 192 in which he depended entirely on his instructor. In the villa »/¥ Parnesina (1509-1511), a logdia structure arranged in rectang- ular form with two prejecting side wings, Raphael erected the classical model of a dignified summer house with the happiest groupins of the elongated rooms and simple, nebly restrained architecture. As a great gaster of the high Renaissance he preved himself in the design and partial erection of villa Ma- dama (begun 1515). There he introduced two subseauently much employed innevations, a three .aiséed vestibule and an arcade, where the archivolt rests on two short pieces of the architra- ‘ve restins on columns. (Fis. 271). Phis building acquired for Ttalian villas a typical ‘importance like that of S. Peter for churches. Qf the other ‘buildings of Raphael are yet to be men- tioned the magnificent chapel Ghigi im the church of S. Maria del Posolo at Rome (1512) and in Fherence palace Pandolphini (4516-1529), on which the window enclosures have pilasters in the lower, and half columns in the upper story; the alternati- on of sesmental and pediment caps above them first occurs here. (fhis alternation is certainly proved aleeady in drawings by Bramante). : Raphael’s most important pupil was Giulio Romano (1492-1548), likewise a very important painter, employed first in Rome and later in Mantua. His chief work is palace del Te (after 1525). the famous pleasure house of gonzaga before Wantua, an extend- ed building of rectandular ground form arranged about a Ssreat court with a splendid lossia on the garden sidé, the ‘interior decorated in the most splendid manner. At his church S$. Bene- Getto located south of Mantua, he retained the basilican form of the ancient church and the pointed cross vaults in the mid- dle aisle, continuing the vaulted side aisles as a choir aisle with a circle of chapels around the spines mains choir, before which he placed an octagonal domed space. His contemporary, the classically designing Baldassare Peru- zzi (41481-1537) was under the strong influence of Bramante, u under ‘whose lead he was employed on the church of S. Peter (p (page 316). He was very active in architecture, partly in his native city ef Siena, partly in wontepulciano, in Bologna (th-— - ere also designs ‘Bor the bedinning of S. Petronio ete.) and in in ne 5 addin senolod etfs tate G8 ENGI sess) ique) to lexbdsdgso edt oefk ,(888 .2i8) . san yi eaasiers Mid o¢ besudiséss ef omoh ak 14769, ‘Abldtaesime j ». Debaiwssb Sifigenbotus: bevisessa fide! ois conpyelll/ bn pst330 — f{aqidoesivors bust sat gnionebive .1éeem sat yd ‘dteab wort | smi) OF bestimaeg: Jon new yostsanss0taw cditanifess seods .eesbi | (eb ofposnd ssidawi esw edusmerd to eliqna tefdo edt to snd ~msetes) yinhid sostidois ns ,(Sb6L-EBRL sqebawoY sag) oliskast end sew oh .sno anitemetiooqe ne eset tt neve .emis eid nt be a ~yofome’ ({6tS eraq) set)eS .e to showwsdie sis to Jostinois Baibesl p ~890' \efsoedo bas sonowsds nemof Seisvee to. noidoe1e edt ok be oH) (Vode istedon? .inecesbisS inotdorss) eenaieqg soe to t0vé etedeneded) smo8 ni: exonte® sosiso sesv eds ei) iow Isido aif ydi (86S .kt8) boowbes: ut sheost seodw to dostts ens (Lat exo i afs86 ef sud .ewobniw iieme bas eexs wobsiw gee vieeolo seat ~Iefiotw yd) besornd anoo eo0ins00 Hiss sasokilingss sds yo bovoioms weiSeiudiseey bedore ylotas ons ek intignesd yieV .ofsaas Se ee eee ee —s« few ileogs¥ to eedesid sda twordibesesinn ore esinoéie sewol ond © =Hoeovekaspal si(StGL rosie) ofedusledoiM vd ci yrode tecou: edd Soaked en iageo's lo. slamaxs sootyeq seom sdt evad aw o4 eee, . +2m107 supitas ylousq ai’ bers | Lauaiestiae? eoneeetsnes dati ods to omés og af bad souet014 w@ord) \. ysis Isiontvoiw 2 to soasssogmiveds vino swoh atin noe | -moo nt etinti sesbom nidaiv. doseixgesa esw veivisos Lexstosdt | vesqut: eecbisg’ lexeves ai betsexo bhe enotsiberd ateda bevases -wotoost sbaste bsed ateda aa: -eitor benbiesb: vyienit bas evites de yadinia® -@ 1690 inifodsssS sosisq astw (@aet-saar) ofonbAtd ~~ .bdtnemoG bas onsiini® yemoe owe 2th: sobasugesife9 eds no ins ) -feq Sntiiscet isnot sds. (gifavsuG bus tifemsxed sesaisa sLind | ~eG*obtosmA innavot® “tnbtties® sosisa asesteb sdt .seents¥ sos | fexsbrsdisve leq olden yiemeatxe etd nt enoifer (O8et-SEar) ote hr dsiweagnolsd 309) dnffosas& sosisq io eenti cism eds (083D) bireiwetC aby. ay “+ s.@omeeetsne® stel eds os eisow r8ds0 eid xen to ‘eneoe odd omsoed “y pogtigmamlanes odd nt YIATT ABS, | seoiw .dsnoo sat bas. .tinev fonaud berehioo' s yd bonasag . (838. | “no *eteseem edt FOR ~.b6t100) Antheserq) 93. do seotd: oF norissa ) yin Pek! ‘mike ws oels .ankeonsd 6 snnobal to doxpdo bnvog | ‘emst asfuscisasa Bhentedés ifedoimnsS .igssbh eid. iests beto a poiae¥ to Sifewaes edd to enoitsostisiaet sdt to toosisors edt 5 m odd fe enoisscitisxot edt to shuado. bed oa soivaes seodw at ot ogis: booseteban od Ifew wok -BuIa¥0 8s Isl es state vidbia 20 yem doetio oiteisze yluwt s sonesagiel tasiteb ots od evis oes doidw Saoms .snoreV te asdab Vio dnsotitabenm edd so ase “Qud€ ot88 sit bos (15E)) oped .6 otea .(ORSI-SEED) svouk ates ofseisis dbid eeseeog .VESI-SSEI s¢lind . {08S -2fG) of is9 10 so to Saidest benites sedw détin e1ssags seadt go saul .tesssedaié to ydueod 1sidvoea eit yolome of wod boodenshap an .1etesm sit 398 asioe1s diinv Josinos ss yd besbai .sivte ofaoG-asivss® sd —qni $49 iledoianss wort beviesoy teddawi edSimeY Istiass adT bas (226!) obtd edt no elses odd ddiw enoidsoititgict ankse =odw ,(OGEf tuoés) fenso basa sit no tneriz® oosisa sidon edd eetoneb ewobsaiw bas erwuloo ads to siudoesidorws Iscieestlo sa 1sdeam Yoifo edd tuG .elyte soeisa nsisened eds i0 xewifs edd -def oqoosl suitasrold sit ei sonegetsned détd neitensV¥ 603 Yo 68 Seetie yldbid seivis ae ,(OVGI-S38!) omtvoense bellso .is ~eitl ,emoh bose sons10!4 ni qe td&vord .tosdinors bas autalvoe ~iT yreroanmetnoS eid shtesd nedw tue .Siasmsih Yo ifauaq s sere 163 ts ) noivieor Siseriies Jossaooms ns mit o¢ beneso esw nats $id of soubet of Ynorde ylinsioitivge ton ifsemid bewose (Set moit Seitossx estogsinet evissroseb bnoxte end orsesew® Joe7109 ‘idietv ef acitesaemens® to siyte et .sonseeians® ylres sad sa dotdw no ,stosex8 ni ciatoian¥ Leb Soeleq mort £68 .8i4 as ',9dfn1eo oiem edd bas ebraso to esoiri {etitused sié¢ bhesuoexe ‘B*omivoens® snomA .{othetied yd ean opgoetidors wobniw 6d) teon eis beebur et (O88I) g0e19'ob otba0i® .2 .e2erblind doando ,iinsv fenaut « yd bennsgqe .abizeb belete elante s .jassicawi “‘e08ieq seeifiss sid ch .emob 5 vd betauooo et extaso seoda ) © doitds no {SE3r) ebnsr® lich sen100 soslag cosesa sintonide * ‘bos tte (sdaeauaon 105 mis e3£ sdiw eissags. foodies nemo sas | ‘eanuloo sfldvod Snied esiitose recou ond ot \noissoiseur ead Ji Gen (8€8t) ebtewsests noe nods neswded beosla estous déiw E ‘pyar ae0f syomet sands ,09%8M .8 to wieidil edt nsxed ny we usoetivore Tsnmsloo svoisus ead dotdw af .sisexeiG edd a0 4 .) Lhe Meee ame ee | = Sa neiles? oda to tisice ada ddiw feu sn0 nf asding ‘195 round church of Madonna di Campagna, also by him but only ere- ected after his death. Sanmicheli attained particular fame as the architect of the fortifications of the republic of Venice, ‘in whose service he had charge of the fortifications of the m mighty state as far as Gysrus. How well he understood also to Sive to the defiant fortresses a truly artistic effect may be seen on the magnificent city gates at Verona, among which the fate Nuova (1533-1540), gate S. Zeno (1541) and the gate Stup- pa or Palio (ig. 260), built 1542-1557, possess high artistic interest. dust on these appears with what refined feelings of the master, he anderstood how to employ the peculiar beauty of the Grecian-Deric style, indeed by the contact with Grecian art. 222. The capital Venice further received from Sanmicheli the imp- osing fortifications with the castle on the Lido (1544), and the noble palace Grimani on the grand canal (about 1550), who- se classical architecture of the columns and windows denotes the climax of the Venetian palace style. But the chief master ef the Venetian high Renaissance is the Florentine Jacopo Tat- ti, called Sansovino (1486-1570), an artist highly sifted as sculptur and architect, brought up in Florence and Rome, like- wise a pupil of Bramante, but when beside his contemporary Ti- tian was opened to him an important artistic position (after 1527), showed himself not sufficiently strons to reduce to the correct measure the strong decorative tendencies reacting from the early Renaissance. His style of Ornamentation is visible ‘in Pigs. 26% from palace del Municipio in Brescia, on which he executed the beautiful frieze of cupids and the main cornice. (®he window architecture was by Palladio), ‘Among Sansovino’s church buildings,S. Giorgio de’Greci (1550) is indeed the most important, a single aisled design, spanned by a tunnel vault, whose centre is occupied by a dome. As his earliest palace structure passes palace Gorner deila Grande (1532), on which the Roman school appears with its aim for monumental effect; it has vustication, in two upper stories being double columns. with arches placed between them. Soon afterwards ‘(1536) she b began the library of S. Marco, that famous lons state buildings on the Piazetta, in which the antique columnar architecture u unites in one gush with the spirit of the italian high Renais- Ok Ss omee white | savtsaepc0. neidoneY ves odd at sonseeisns® “tenrot): socel edd yieidrd aad Shised dfind onivoeasl Spiel nie? faea1ee bas e1evee stom tadwemoa 6 evek of doide | peat pensoe & 88 shite tedso oid m0 bos .esoqqua edt ddiw soneb eldaas SB ,(OBSE) atobtod Inteoe1h sdt oo16% .c To towed sdt to @ exom ei yinisdieo dadd .soeiq wots sgsoitingen 6 es ootd¢10g ii we pe “ontvoens? -Singoesinois sid nsdt oustaiuoe sas yd tnenimoig 2 to fisapdo {utituess efd to mottosse sit nt bexsene osfs zen ni benbiesb ylesotvesa esw doidw .Bear ni bstelomos ,s10devise ~uitat eidesingooe1 yiniela ead aebaw ofmevege ctsa0r® yd 80a! odd Ba" fbisdnod oiffeT ;{S0r egsq .f emaloy) coask .& to eons -vO8I at ebaedo ai sedvesm Ieatonizd ~s3288 sedst edgy Seonend iat yibaoade ooge¥ .2 to yvasadil aAF Omit 8 te iftte betsecer (Of8I-SSeb) issomeo? osneouiY .e7 besesq ybssile bad sonsseianes odd Jo oaudoedivors edd asdw 6) ak evitom Isusiostidors ati .snomaolevsb est Yo easte test sdt of doeits seodw .{28@b) eftsawoor% ovo sig to savdourtde edt , ae -yiote baids s to moidibbs eit yd beneenst vinialoa {4 asd r0qnt teen odd es exsoggs sisdd sltang e*ontvorasé %0 oosisg inietest eat bedosye odw ,(8082-888h) sinossiV onbacees -lens® Oasrk ect no died vd beoutorg tendxct eaw dasa seeddia sat to sedeam asdsogh -reHnou5 alehaslodoty fsaemoneda sad ni eonsecisneh asolasI ede eag io yollev teqqu odt ni sestgeD ni aro .(b8al-2TAD) isto “doi¥ .easigivoe baszbateatsq af soneto{? ei: benises bas .asdit edd oi yekvitorn ofdeisze 20 Lisw-69008 eid beonemmos olszasis “1017 it yltetdo esx od ‘SSL sasy ade {ital .onzA sdt ao ysio “205, B6W ons JezGol & 104 beshai bas ylbsdseces asw stud ,sone % 9m08 oa beyomes of medd yenbofo8 ai ylieito bas saof at boas .dtsebh eid Iitas sasdd beatamey bas skid asiisat edt to dossifiows tee12 dest edd et oledaefodort -dae8 .boises geod exisas edd og exnofed lise ony ,2oussataaeh j aidéie .eddeq wea dus 08 bewotie bas ,ileamid ni roWoy est baie : “mooos 9H .bisdoissas1 ess Jaswuoleveb oIeduT Sifjas edi doidw Rat gnoled axiow eid al esas soads Ils vi Jaedsid sas bederia ode ng ,bootasmiecse s destinam ef Smtinieg bas sivtaisoe of een bids 2i ,ottoesig oda os beeseroni ef miot yiseibio yieve Heeliesnt cioests 8 oxet eieeggs sd eaoisssio Jeunconstdogs { : ~ ye | ; ment y ‘ el ete ae t e et at epinoxtd bah . wid ya berizeb toate odd yd bsaisped — 496 Renaissance in the say Venetian conception. At the same time Sansovino built beside the Library the Zecca (fermer mint), to which he gave a somewhat more severe and earnest form in accor- dance with its purpose, and on the other side as a concealment of the tower of S. Marco the graceful hoggeta (1540), a marble portico as a magnificent show piece, that certainly is more p prominent by the sculpture than the architecture. Sansovino was also engaged in the erection of the beautiful chureb of 5. Salvatore, completed in 1534, which was previously designed in 15906 by Giorsio Spavento under the plainly recognizable influ- ence of S. Marco (volume 1, page 194); Tullio Lombardi was the principal master in charge in 1507. Phe library of S. Marco strongly influenced the later maste- vs. Vincenzo Scamozzi (1522-1618) repeated still at a time, 92 when the architecture of the Renaissance had already passed the last stage of its development, its architectural motive in the structure of the Nuovo Procuratie (1584), whose effect he Plainly lessened by the addition of a third story. Of Sansovino’s pupils,there appears as the most important Al- essandro Vittoria (1525-1608), who erected the tasteful palace Balbi on the grand canal. Another master of the highest rank was further produced by the Ital@an Renaissance in the phenomenal wichelangeln Buonar- otti. (1475-1564). Born in Caprese in the upper valley of the fiber, and trained in Florence in paintimgsand sculpture, Mich- elangelo commenced his epoch-making artistic activity in the city on the Arno. Until the year 1534 he was chiefly in Flor- ence, but was repeatedly and indeed for a longer time was eng- aged in Rome and chiefly in Bologna; then he removed to Rome and remained there until his death. . Michelangelo is the last great architect of the ‘Italian high Renaissance, who still belongs to the entire best period, sgath- ered its power in himself, and showed to art new paths, within which its entire future development was restricted. He accom- plished the Highest in all taree arts. In his works belonging to sculpture and painting is manifest a supermanhood, in which every ordinary form is increased to the gigantic, if this was required by the effect desired. by him. And likewise in his a architectural creations he appears: like a titanic intellect, sack pre io ebawod: Ifa. mort seceoes dotdw the, ibivibat beeeoraxe vixaowse te00 ena eervdem bes net ned te tev080 bas wid excted hesididae ever exvsossidows es do aed edd. od .nvebnsk baswot bezserth events esw eye eid mid ¥ ot Rndonsvbs to Shede bas. sd8if at etasq Io sszer3H09 bas yom \ | -eG@.eeeeen feqdoetidors detdasit bas fecsaso te pat besos bie ~oylanedea 8 no bodefunie> yluo 04 ‘yxoewsoos ns min 10% ef: {tas ea tote apes hi gatetaecnas oefe exew etvow eiB .toetes bsiasm b SO -otntoed iio1s to sottelove tedgast ent peer: Seey ods Ni) eniged soedivows es viivites. et olobreledorl “ofmi Sud .pon0701% ni oxneted .2 10% sisost & To avkesb 8 dgiw © 8dd qu dood of notiw .beaqoub nisks assel saw notdowrtenoco as akde ge (OSGI setts) forbes es Yo: dmot euomet sd 10% eiuxow “asiq etsupe & ao bedoers etusoorte sasupe 6 et ted? dogo “set eodoia bos ereteslia belduob dtiw .emob 2 wo Sevevoo bas “\Beapsaipos fota bos esnetage Lisw [snrsdni otd bntoivibdre beupt sra fas Sinsoesidore eds doin evotnoniad teow ese docte ~9tte: [asened beeesqiseas One botittas ylouttae as oftt sh dtiw di yrexndid ede to slodizesv bedetnitny oda at . (ERS £8) to ~ eaxtete sonsisne Snisesistai eft atin (BSGL-E8S2) sasiscered “19, 899)) nefq: et oLebasleiotW seyts taseaV yd 848l at besuoexe) ~soeqeos atoteises: Ife to dosesd atelonoo s beegoraxe ei (BSS j -e%esesn tsH10r wd hs eis to eofni0o nism bibnsive edd et ofedansisanty ¥a MOR al (4682 403%6) owit sess eid wort bus .(Or8 easq) setais® soaleg | t bos agieed Isvonee ode nt seat .BiT otea beesuoetd coum ada _ * e8¢ To etiaxrs ods Me axseo vossrte elisceb sag tO dnemsesis - *£q80' odd Yo aHors (savsoetinows efdon sa? 398 CODOIS| vets! . bos themckastis edd wf olbgaslovetivot bexaetes ai seiwexit fot ““ivde efit beonemmon ean Sh2l ar) dnewseers ens of vitasa. coals 5 ‘2 elduob bibnedae eda bas e10se05% S43 Yo. db0nlaa sda to batol. « Bas s9sef down suo beiatso. vino ean si sud fecese to Sdpst? Riis tases 3 +m@iesb eid moat ahottetaay: tnenpert daiw geil ospanseimrs to nismob edt divdoow teexb atretess off | ie e88q) dowsdo e*sese9 12 to Aniblivd won 904 ao evodel sin! at bed od: nodw « RofdoutseqOD sdz ao yIIs9 OF Jovsasbas oR .. (SIS a) ewod eth sti sid to az)ey ba ST ens besedns visors. Sottd iw seono: xeend edt (ednenss® Yo eesti ent patatates slide) fo: ; Oe See ri ae 19% which escapes from all bounds of antique and Ghristian tradit- ‘ion and matures the most strongly expressed individuality, su- ‘eh as architecture never exhibited before him and never after him. his eye was always directed toward grandeur, to the har- fjo mony and contrasts of parts in light and shade, of advaneins and receding, of central and flanking architectural masses.Be- tail is for him an accessory, he only calculated on a sharply marked Bffect. His works were also accordingly fateful for the further evolution of architecture. Michelangelo’s activity as architect begins in the year 1516 with a design of a facade for 8. Lorenzo in Florence, but who- se construction was later again dropped, when he took up the works for the famous tomb of the Medici (after 1520) at this church. That is a square structure erected on a square plan and cevered by a dome, with doubled pilasters and niches for subdividing the internal wall surfaces and rich sculptures, which are most harmonious with the architecture and are fused with it into an entirely unified and unsurpassed general effe- ct. (#is. 263). In the unfinished vestibule of the bibrary L baurenziana (1523-1526) with the interesting entrance stairs (executed in 1558 by Vasari after Michelangelo’s plan (Pig. 264) is expressed a complete breach of all restraints respect- ed by former masters. In ROME by Michelangelo is the splendid main cornice of the palace Farnese (page 219), and from his later time (after 1561) the much discussed gate Pia, that in the Seneral design and t treatment of the details aiready bears all the traits of the jater Barocco art. The noble architectural sroup of the Capi- tol likewise is referred toMiehelangelo in the arrangement and also partly in the treatment (in 1546 was commenced the rebui- lding of the palace of the Senators and the splendid double f flight of steps), but it was only carried out much later and with frequent variations from his design. Phe master’s great work ia the domain of architecture lies ‘in his labors on the new building of S. Peter’s church (page 218). He undertook to carry on the construction , when he had already entered the 72 nd year of his life. His plan shows (while retaining the ideas of Bramante) the Greek cross with gtentba helen bas, smob leattnteq: ‘VodRim 8) .2e8qe TOY ‘$e: bevieonos. oottiog tao1t 2 atin .eRoor ten100 sit 19ve. eeaob 1 nesd bad di tedd easo at ,eeoledssovem tant ,6lsce ebomtons o5 6 etd ed yLevoinowias tfeert bosanibaodue sven blow .betusexs ~ouadenoo viewoivera sat -9H06 atsm sdf To dgostio aninenoursve | *elisaretxe e1ew sxudourse od? ko eueLoga edd to svete aod bed ~tiquoo eis .busnsu0 seds1si bovom eiew eseas sdt .bensdsanside sisupe osaivbeititowie bus bevose1 stew serssourta sitas betes -vibdve yilearetnt ei (GES ,Of8 28st) muah odF .emoo0n se0300 ~otw yeanefoo ee12 beicneb yd yilaniséxs bas evetesiia ya babs -egebas bhedostotg ylenowte edt ni senatsaos eviton gnigtoes. 62 oideat easoqoses bas .ebiswow bedeininih .smob add Yo adia sen Lyleittas\emob odd yisiwsd? .nvedasil soinworo bes anitoeanos Siedt to noivgonatenoo edt 09) .tabisw to mofeeetaxe 942 esaol “sda oub ino si Ifeemia oledasisdoiv oT .{8Nf e&sq sae (mob: ‘sitevoo isnietxe off dneutsets lesedossidois six io bre ous - si19fq atem edt to bus aiedo edt to enotta0g rssH0 eas To! Sa ‘ afd of gnibtoocs betouitanoo asw emob at? .roraedni and at ‘bae beisopenu ei soetie esI -erotaam sesal yd Iehom bas asia basytiavose oiteoten ni cisoe tf omifdwe Sue blo8. .xateouat ~dgid sig to\noftesaevenqet s es ytio Lenisse sdt svods svoaes ~sot setecerdzs dostieqg teou edt aa bus ,ydiadtb bas r98WEG Jee eonsesisnel atid ott to siviae sdt vd ba t Saseeieneh sisi edT .& -ef edt dtiw at toe oxens (ENE aaaabt eoaseetenes steal odd al ~aeledotl ioinsivisosjise off +teniska aoktese. 5 aystass Quite ~inem sevtiogs $edd .evinsd Yo setiaso ‘sda dein 2niseors wed soetteq) teom sds aot r9ovsebss oft oc atuder s ee tloesi hesest _ *366 bas snottisoqora ati oF hisksi nit supisne est to nortetiat Ca dient ‘vd bonedsinsrte bas etnansad ditw seiasnoco ydserls ellis d aivsee oW -oliskas? sb ofsotn4 bas ‘basdisS o1seesbies .{se odd Io emit tsdt to stil Leudoslicini ett to fonsmonedg 8 eidt \ esete af stil Leubivibat bedessa0o doidw ,aoisesroisziednuoo A , (9d Yo eknidoes® sastons edd nodsdnai1de OF bedaow .dowdD bas > Caen tapande {saoisidoooun oft bexigsdans bas. doando + Ag 2 Ct. | oS el ah a ee } haa en a aE ri BARNS: hed fags ‘Shorqne edt es eam ttastedue an cnsineabiliiiaei teed etel edt to rasd0stsio 9d? 25) Maeabetiet ‘bas a yntbsel ond yd bext? xfs rey A o » Pe Ae® 198 “four apses, a mighty principal dome,and four small subordinate domes over the corner rooms, with a front portico conceived at an enormous seale, that nevertheless, in case that it had been executed, would have subordinated ‘itself harwoniously to the overpowering effect of the main dome. The previously .construc- ted four piers of the nucleus of the structure were externally strengthened, the apses were moved farther outward, the compli- cated angle structures were removed and simplified into square corner rooms. Phe drum (Pigs. 210, 265) is internally subdiv- ided by pilasters and externally by doubled free columns, who- se aspiring motive continues in the strongly projected and te- nse ribs of the dome, diminished ‘upwards, and reappears ‘in the connecting and crowning lantern. Thereby the dome entirely 1 leses the expression of weight. (On the construction of the 4 dome, see page 178). To Michelangelo himself is only due the - drum, and of the architectural treatment, the external icoveri- ngvofithe outer portions of the choir and of the main piers in the interior. The dome was constructed according to his plan and model by later masters. ‘Its effect is unequaled and ‘imposing. Bold and sublime, it soars in majestic security and repose above the eternal city as a representation of the higa- est power and dignity, and as the most perfect expression fou- nd by the spirit of the high Renaissance. 3. @he bate Renaissance. In the late Renaissance (page 173) there set in with the le- ading masters a reaction against the subjectivism of Michelan- gelo, creating with she caprice of genius, that at first mani- fested itself as a return to the eadeavor for the most perfect imitation of the antique in regard to its proportions and det- ails, already occurring with Bramante and strengthened by Raph- ael, Baldassare Peruzzi and Antonio da Sangallo. We see in t this a phenomenon of the intellectual life ef that time of the counterreformation, which contested individual life in state and church, worked to strengthen the ancient teachings of the. church, end emphasized the unconditional submission to its dog- mas as the supreme basal law. fio Bhe character of the late Italian Renaissance was substanti- ally fixed by two leading masters, Vignola and ‘Palladio. They ‘- Teds bisacegsv sas: es ileow as etetaoeds benusel oeis srew 4 oud besrsioig tuemiseit Lexndoetidose: beniasd cory sift .e%sHo ‘ead yuerdig ods bas £9 sisd oft no besesaaxs es .olehusledoi® pda?) bebsetto tons ,eotonsbevestxe as: bebisaex yous .sasizasag Sdi @¢ osedbs yous bib qlanosts ex0m sis doum of .*elua. book Senods«ytiuetines yd oxowe vous” .suotins edd mort bevizeb ronso -bas beatsnoa olegeeiedoik¥ to soweutini sd¢ mend dtiw neve se¥ ‘d) Tov toette isisewoq 10% .asebsae1k 102 Seiveoe sis at eldsine ~sedeoe: iseeoioo « ao soieivibdue baeceesenm Lsavgoesidorse odd sebsosives bebbs c1sew eamuloo Lisi: bas tisd to emeseye sitead 008! sebeost od? to teife 1 edt of «seta Liew ent to sosta nt ~s¢90@ odd) to Snisissiqnes segn0wde & abuocesisoo ydsaedd betas ~Sedidois! supitns edd ylenotvend asdd siom tsY .ewobaiw has ef ~gesnii sis es [iew es ienxsixe sit oi eeu odnti smso amaot Laxwd eténevaeD esom & of smoo vitnenpest veda +04 -sipdoedidows laa ~teq) 8, exft beilags netio .acisexcoeb io ebom bevieonoo yilasek V belies .issoxeS omoosi® emo8 ol. -- ,YJATT BICKTN. GA BeNOR -Seamiaaibsed odd eaw (ENGL-TORD). ydio evitan eid woud eloaaiy sebt0! edd 3s: 160d. .retoieg s\ 28 sadoloS. ai bonisas esw ah. 28 ~som doosisbaw: (RSEL) bebavot) smoh: ai ymobsod aseivursil ona to © nipesastt. ot gnew .oupitus odd. te eitew asmof to esasacigne 2 sadd od bebaolod of ssed? ..0m05.0¢ nisas OGSL ni bas .NEGE ~nhiso 6d. ey: jolskasfedoik bobnuosswe doidw .eisitas. ia sloxio ~esomst sid besseacs O6Cl aecy odd ol ,ifqug ein bemtes ed. so -~fo1exe doidm .(ea9610 fexsdoesidous evitoods. bo acleB®) Isgasa «¥85 eidd OF: neve bas somis t9381 a& sonendiag se01b bos -13 eis so beyolqus sloagiv, duit ow joesidors Leoitosxa @ eh ‘pedt stoted (eviivl sao%) oifvid eqs to siiiv beanease ylbas S) YIote reqqu ddim, ooisieg seodn .(GSI-O88L) efoaog Jeb séak Ssitine edt otit tos ,sfonioinse 5s. nti tuseo snort edt zeacfone ~tingth yrov. s. ecismaotresai bas a0iaesxe eid io. sandosditous ~biind teivoee stassioamé: teom ci .(888 .ef%) .poieroxaet bei ; ) odsesr¥ seen eloretas9 eltaso. sesnte® onisoumt edd ax’ Sai . ~isaobetneq ei .ds0m ebiw eyo: bebusormnme ef al .{Q88I-TaEr) bedefqmod mdteeh 6 2k seiwredso. dud, ,enotdend ud beLitatod bas aedeonto se eocolone: dottim .scefsa 8 lo cangostifows ond dein em 8 iviw .eebsows dsiw dsv0o imtigueed yviewerdxs: bas : ‘ a Se | j ‘ \ mea - Loe + a W" P" 4199 were also learned theorists as well as distinguished ‘practiti- ‘oners. ‘The unrestrained architectural treatment preferred by Michelangelo, as expressed on the gate Bia and the hibrary ba- urenziana, they regarded as extravagancies, that offended “the good rule”. So much the more strongly did they .adhere to the canon derived from the antique, “they swore by antiquity alone? Yet even with them the influence of Michelangelo remained und- ‘@niable in the seeking for grandeur, for powerful effect ef t the architectural massessand subdivision on a celossal scale. Bntire systems of half and:full columns were added to facades jn place of the wall piers. Te the relief of the facedes acc- ented thereby corresponds a stronger emphasizins of the porta- ls and windows. Yet more than previously the antique architec- tural forms came into ‘use in the external as well as the ‘inter- nal architecture. But they frequently come to a more convent- ‘tionally conceived mode of decoration, often applied ‘like a pat- tern. ROME AND MIDDLE IPALY. -- In Rome Giacomo Barogzi, ealled V Vignola from bis native city (1507-1573) was the leading mast- er. He was trained im Bologna asia painter, then at the order of the Vitruvian Academy in Rome (founded 1542) undertook mea- suregents of Roman works of the antique, went to France in 1537, and in 1550 again te Rome. There be belonged to that c Circle ef artists, which surrounded Michelangelo; yet he cann- ‘ot be termed his pupil. In the year 1560 appeared his famous manual (Rules 6fctheefive architectural Orders), which exerei- sed great influence in later times and even to this day. As a practical architect we find Vignola employed on the gr- andly arranged villa of Papa Giulio (Pope Julius) before the 4 gate del Popolo (1550-1555), whose portico with upper story e encloses the front court in.a semicircle, and like the entire. architecture of the exterior and interior makes avery dignif- ied impression. (fig. 266). His most important secular build- ing is the imposing Farnese castle Caprarola near Viterbo (: (1547-1559). It is surrounded by a wide moat, is pentagonal - and fortified by bastions, but otherwise is a design completed with the architecture of a palace, which encloses a circular and extremely beautiful court with arcades, with a magnificent * =0dF sSaondzege: bopaerse glinckackabe viev bas yawiissa ntea a té@a0t off to cays 243 bonidaos yltausd saom aac sloaat¥ 91 seabties ulsaebive bas stufoatidors s08fsq to teads dttw altess 6 edt setts bOSf 180% odd aI .s00874 at bentatdo agottasaaue edd to fostidors aatisel edt amsoad sq olokasilsdoiN: to itso6_ -19. dowsde act isttaenttat ys¥V .(4 IS egsq) r9499 .3 Yo doxudo” sy, aad MT ,atisash oft to dotsdo Leqkoniazg odt eased sistoatido od at ekasio edt beaastaxe vlsuselo eb tt al .9m09 ai (8.3L) “tiesavoo edt to 988 oft at Yntiirw9[0 estonsbast [sistostisors 10h Asasd [sotia blo edt of atsaa b5ea10t61 now .cottemtots edt Yo g10t evitoatie ods t¢ détw beatin sad 282079 atted to - dosedo. tigast odt at bstse10 asdt sfonatY .gathiltud fsttasa ‘to sofiedai edi to tnomtse1t bas aslo baso1k sdt to aotegfoa 8 9 edd of ove? 94 = .nottostieq oftattrs bas yttotflamte antesus to neqe to dabiw odt ddiw amys agoro taodg wot natesd [arttasg ,elete eifbim s omoosd of aia tao1t eft benadtansl .emod oda -d9 9d¢ ta bas of atdt bawolls <970ted asdt rsbiw viderebienosa fonnwa # dtiw tf Setlesv bas sags rslvo1isimes a-ni sbta tio -ats. obits edt to bsetant tu8 .emobd odt of anibaogasti09 sluav eds bextt oals sfomai¥ .{NG8 1.249) .aflsasdo bsRastxe 3d asl edt atdtiw tqod fitta .alistsb s44 beanelg bas aoitosa aaoro ~gasm bas efauta szom tad .20n88eataneh daid odd to anottqeosos -18% vidsteStenos tne" st105 slish omoost® Liaga ad sua ave anit al -tseb 2 *sloaaiV astts dowsdo edt barsiamoo odw tant -supsadua ebsost odt Ons soinsdat edt to tosmtseat tasot. .fagag ~org edd ov yousbast anotta sg OegaeTgxS af mid yd beagresh ylta {T dorsdo od? -728 000384 tedsi edt To senea edt at sunaciad’- s dé Yt edt Yo esdousds edt tot [shom [aotesalo 3 smsaosd y25d -19¢09 +@ Yo dorado oat booasultat weve bas eeixutnes at Sf bas to 9usa odd itiw 6ego9qm00 oals st doxsdo tent to viotard sa? vata emo 844 foo1e of defiso aan 54 asdw 8409 sileb omooecd | 8. od ot tloamid bavoug yderedt bas ,fabom e*ofsgasledoil x9 - atatroeds ads dain et iosqso evisostteges dkid to toedidors | A e8at bette) ofso8id omst9 r992197 d9tauo9 9d ot zi 9409 Yo | tuods) 3£9 alitv segod nepyes Orbasiae sit to r9blind sas testa) ofeG‘bh elltvodt one .anshre3 asordeY odd at 00 .agtaeb dasq 6bLsy0e05 ett xo avonet ,Hfovi? } tLiwd Ai80b be10) iqqid eisdtans sats aot0 La odds 5S. 200 main steairwey end very conveniently arranged apartments. The- re Vignola has most happily combined the type of the fortified castle with thet of palace architecture and evidently utilized suggestions obtained in France. In the year 1564 after the d desth of Michelangelo he became the leading architect of the church of S. Peter (page 217). Very influential in church ar- chitecture became the principal church of the Jesuits, Tl Gesu (1528) in Bome. In it @8 clearly ekpressed the change in the architectural tendencies occurring in the age of the counterr- eformation. wen returned again to the old ritual basal form of Latin cross, but combined with it the effective form of the central building. Vignola then created in the Jesuit church a solution of the ground plan and treatment of the interior of amazing simplicity and artistic perfection. He gave te the ec central design four short cross arms with the width of span of the dome, lengthened the front arm to become a middle aisle, considerably wider than before, allowed this to end at the ch- oir side in a semicircular apse, and vaulted it with a tunnel vault corresponding to the dome. But instead of the side ais- les he arranged chapels. (Big. 267). Vignola also fixed the cross section and planned the details, still kept within the conceptions of the high Renaissance, but more simple and mass- ive. Rut bis pupil Giacomo della Porta went considerably far- ther, who completed the church after Visnola’s death. In the magnizicent treatment of the interior and the facade subseque- ntly designed by him is expressed a strong tendency to the pic- turesque in the sense of the later Barocco act. The church Il Gesu became a classical model for the churches of the 17 th a and 18 th centuries and even influenced the church of 8. Peter. The history of that church is also connected with the name of Giacomo delia Porta, when he was called to erect the dome aft- er Michelengelo’s model, and thereby proved himself to be an architect of high constructive capacity, With the theorists of Rome is to be counted furteer Pirro fisgorio (died 1583), the builder of the splendid serden house villa Pia (about 1560), in the Vatican gardens, and the villa d’tste (after 1549) in Tivoli, famous for its unequeléd park design. On the Pincio the Florentine Annibele Lippi (®ied 1581) built the paleca villa 94% mans: ] -yasbaok doues® sai Won totbsy ‘Tontbr6% tol coibem mat: ebeost. nobr8g edt sud .elante ai vito adt S1swod ob ‘8 098t109 badors asge odd af aves ai (853 -2f9) .doia ylaaie “8% supitns ud Se0atiue Lisw 243 to nottssacuanto dofz oft bas ~59 asmod etel add to tevoeisio odd stagmsaie od0ut¢e baa etoti “betting ts tedt eousm Saiblisd sd? .aoktoet4sa aieds ai aoate to feodoa od¢ to adios sds of asifcosq ,gotastamt fuytasedo bas aaiviise gon ,iutooa1a bas aaimisdo sit sted soe oF .issdaea et ,tvebasi2 tot teitss bebta-ynas 3 ,(d03t-tret) tnsest ofgro18 somarol® a -sitous sd¢ to bsed sdt tes abastea .t45 ao 19d £48 bafvieesb bas satis” beakizeb ed slomat¥ dsrh -sonseatsned egal eft to atoae -iverg eds TT autiot sqod Saivol-siysostivove edd to aaadi ode meg at bas .{888 esq) oflsi9 sqe9 to alliv bsaottoen ylave d yd beomemmoo svtwoxkt (O88L) istttU 947 to Saibifud oft son ~1q tivoitith edt tonise yitetesm 6 at bevice 9d doidw ao mid 2ootti0g Bareoqur déiw ebatw l[afilsisa ont .mavft&% etedt aueldo ou8 bas $xu02 s airl te9a¢2 wortsa 8 Aas} viot2 Oavork odt at bagor 1990 as ssveel dofidw .gnibfivud saieveneds os vd Satosanoo 208fea af yttvitos totse18 A .ontd sdt Biawos sge2asq bedois awond oats .ttsaswsd oa dak hai yd beqoleveb asu sigtostinotzs emssed yiavofoeace od tases oid .(693t-ttst) qosaigoa 3 es aosisg adt to sbsost s1yoo sis a0 -Oloaasladoth to r9woffot s -mo 90 .iniitosed aedi itite stom ylatstiso O\NGI-963f) tasks 818010 eetds ifs ai anguloo iled bas esaddes betsoiten1 bsyola edt ao ifsgmid bowoda od tstesm beatter e10om s eA »{@B& war MW & edt gedsolo doidw ,ona4 od¢ seve etiata® .2 to smbiad 9. don ~9edidors seated yliqgasd yisv s af asag bedors eidstius teon SIT aooelg [sravee as ousoed sonsaeisaed sis{ sit mt YIATT 28990 _ sagolod at “yt ivitos %ideitis tastioqgmt yisv s to eaesos siz etd Opar naay ods ai bedatidva (S3cl-a\at) eifis& oasitesdss ‘7ts8t) ibIedi? onttgelled »"atutoedtdocA to stood” Isitnen liar ae to tjednoo 6 at sloazi¥ to foodse sdz beyatdnos e19ds (eet _ Bids e8w asia ot salwatid -aactbliud begasiis Blew bas Lie -tgo%9 oda as (iniadelle® to omsa odd s9baw) begsaae ftostivor gaol A@e82) Sf{sbe% .2 to dotedo Saim1ado sdt to 10 : odd to weT9d207 add 2s bas febom isoteaalo 8 as \ ase dads. \elyte soaseaisaed. etal edt at oha, me & 5 ~ 2 2 201 Medici for gardinal yedici, now the French Academy. The faca- de toward the city is simple, but the garden facade is surpri- singly rich. (Pig. 268); it sows in the open arched portico a and the rich ornamentation of the wall surfaces by antique re- liefs ané stucco ornaments the character of the late Roman ca- sinos in their perfection. The building makes that dignified and cheerful impresion, peculier to the works of the school of Raphael. We see here the charming and graceful, not striving for grandeur. | In Florence Grorgio Vasari (1511-1574), a many-sided artist and deserving writer on art, Stands at the head of the archit- ects of the late Renaissance. With Vignola he designed after the idéas of the architecture-loving Pope Julius II the previ- ously mentioned villa of Papa Giulio (page 226), and in Flore- nce the building of the Uffizi (1560) likewise commenced by h him, on which he solved in a masterly manner the difficult pr- oblems there given. Two parallel wings with imposing peorticos in the ground story flank a narrow street like ea court and are connected by a transverse building, which leaves an open round arched passage towerd the Arno. A greater activity in palace architecture was developed by Bartolommeo Ammanati, also known as eae sculptor (1511-1592). bike Vasari, he consciously became a follower of Michelangelo. On the court facade of the palace Pitti (1558-10/0), certainly more stiff than beautiful, he em- ployed rusticated asbhars and half columns in all three orders. (fis. 269). As a more refined master he showed himself on the 520 neb,e bridge of S. Trinita over the Arno, which clothes the m most suitable arched span in @ very happily designed architec- - ture. UPPER ITALY in the late Benaissance became in several places the scene of a very important artistic activity. In. Bologna Sebastiano Serlio (1475-1552) published in the year 1540 his ‘influential “Books of Architecture”. Pellegrino Tibeldi (1521- 159%) there continued the school of Vignola in a number of sn- ell end well arranged buildings. Likewise in Miian was this architect engeged (under the name of Pellegrini) as the creat- or of the charming church of S. Fedele (15.9), long regarded as @ Classical model, and as the restorer of the cathedral fa- cade in the late Renaissance style, that was executed after ha ivan! ene: bua - -— stolameo Jon d3u0dt yagaieob atid taste SfSt i ‘-0d9 ots" atisqd 19999 bas seserestad sf? -- .yfstaaussotay vse fr “0829098 aesfhainssa ouif assaqqs doidw .elistsh ofdtod at bade bas ayswioeb edz to anx0% bsisains odd dtiw soatisqmos ai 2eta ~tes@ beaties bas [wlseowog @« esw ibtsdi® .COTS .2:%) .ewobaiw -tasatese1s fewmtoetidois ai dae ai9isetad to.aoigsex19 edt at 29 dt Of edt at seots tedés9t yiasl 199q0 to txsq tesa odd al GZ sexbad Ssexb edt ,souseataaes od? to r9tasm tatds 2 YIssase sbedatenpos emoced ow mid al .(083I-908L) seneoi¥ to ofbalisd edt Yo toterenev dsontvaoo ylgaerts bas betkgent teaom odd Ati To bas. yrataeo ds To e1005 Sas getek ode daaoadt tsdt wt aotsevoani as be _ “9eqeiteq ydexedt bane atogite ai eweiv Setasee1q ots Liaw eRota loystudossidors. tem10t eddvot agis10t orem dotaw .sdsqed svit | *ow fs999 betanssis obbsiisdoatwoitd §.{d SS .2tt) .esqtseda k ~wdo Lsqicaiig aff eagtoetidors dorede te aiswob sit at eda _ +9dt af sacds to santtied?» seine’ at bavot ors azarhlivd do eh ppmaanen @930 seged) storaasy. @tg10t9. .2 to dowsdo 2038 structural elements could not be lessened thereby. Palladio secured the first great architectural commission in the so-called basilica in Vicenza (after 1549), an enclosing of the old city hall, dating from the second haif of the 15 th century, by an open two story portico (Pig. 271) extending en- tirely around it, a work op kreat and rich effect. This was followed by the beautiful palace Marcantonio Tiene (1558) tre- ated with a colossal order of columns, then palace Ghieragati (4566) with open portico in both stories, and palace Valmarane (1566), that exhibits a celossal order of Composite pilasters. To palace Barbarano (like those previously mentioned in Vicen- za), be gave (1570) relatively rich details, indeed with refe- - pence to the effect in the vicinity (it stands in a nerrow st- reet), to palace Prefetizio (1571) a massively effective Gepos- ite order (Fig. 235), which however appears less happily empl- oyed on the comparatively small building, than on the other structures of the master. Of Palladio’s numerous villa build- ings, his villa Rotunda near Vicenza is the most famous (Fig. 236). It has ea regular square plan with four hexastyle temple facades and wide flights of steps en each side. Entrances fr- om these lead to a round central domed hall, around which are grouped the rooms and the upper and lower half stories. On /2/the whole, this vélle makes the impression, that it was desig- ned less for comfortable than for festal occupancy, and as a central and view point of a beautiful landscape. The theatre Olimpico at Vicenza, commenced by Palladio but only completed. after his death, appears as an interesting attempt in the res- teration of the antique theatre. (Fis. 272 a). It contains in an extremely plain structure the audience room, orchestra, st- age and architecturally treated stage wall in the arrangement of the Greco-Roman theatre of Asia Minor, but so far introduc- ed an innevation in that through the gates and doors of the s stage wall are presented views in streets and thereby perspec- tive depths, which were foreign to the former architecture of theatres. (Fig. 272 b). Likewise Palladio attempted great wo- rks in the domain of church architecture. His principal chur- ch buildings are found in Venice. The first of these is the church of S. Giorgio wagdiore (begun 1565), magnificently loc- Sensid -< ots ‘etteoqqo bas omsa omes sdt to dralet 943 0 d93890! oe .9m06 déiw soaltesd befeis saxds 2 Be ages Son aotenetxe 1% 43 bekasi1s iodo: “aiinom ga0f 8 bas .asloxéoi ‘ebsaaotoo: 9g0 a6 yd betsisqes2 2i si dokdu mort ,risdo atem sda | *eedoenio soet10q s20m edt .ditow sastiogmt e10Mm bas bacoss sdT 2) entlat.e1o0tnebss. [95 dowwdo odt at ,s9¢aem add to sxstosrde sea, 900 ssdt od agfq bavo71a at isiimta , ‘TS! asked ,sooshsr9 “om Tedi0de ous alsqsdo sabia déiw Saleis slaaiea tud .bonoltasa ~asstqmi ns asouborg doisds aids to r0otaetar ad? waited texas le ¢aemtsers [utrewog 943 yd ysianolos Sas vtused datd to as fsevolos s yd aokeivibdsa erevea bas biod od¢ bas rotdastat-odd ~nom/bns baste ylisspS ssagteldstas zisdt bas aamuloo to 12610 8202) da0n% ofaiisd e028 sbsost sit Jeo1d 153000 odd 6th Easuens 10 aeb10 [agzoleo 8 dtiw aiets slbbim sdé to e8808t sds bar ed bedossts s1s dokdw teaisSs .sagntbeq wol bas samuleo isd Yiatatieo: .atnoutbeq isd yd bateveo asigts sbie sd to ataord -M0L3099nN09 SiasM10 Yas tuodsiw ~H0o 9d mi ysiuwosa {fs détw usilsoeq bas ts918 asw ofbalisG 16 9d¢ at usteye Isiutostidows supitas adi to 925 bas i9lsqs9 -eaottsoqo1g bas aicfistai to acitse1p ads .asebt Leiudostino ~$990199 sms06d sonewltat afd aettetocmataos aid Raomgs yoserlA / Ve qisatuea bfo sit to yse1dtd b3Liso~-oe visiss2 ofT .aidat “898 osnsoni¥ to feof odt wsbag oSstuoexe easy (STE -3r%) asasoi¥ “-hao1se 26 .ofbalisd yd donakiesh toa Bt dud .(8262-S3SE) Eavom ~Rat6Liud geiecogut seom sin ak saiwerxta .mid yd dsoneultat vl _ 7996 Tfoeatd ewodes rssomeo2 .ssas0t¥ at ant1e8-anteati? 998189 Wonien 998 osfs)egnibfind ctd yd asdt oxo. .oibalieS a0 sasbas » Seek eid yd bliow asse{ eit beoneultat tetaem aids asd (88S bab siwseetidows — . olsateving siutsidord™ drow - Asieg, -¥asmI99 ‘enooga ede: te yio aidienten:.: oat dtiw moftiteqmon soaks of aT * wdae soae9- to vito s0died dae otfdvaot odd Bee orssi1bA 9dd a0 wRSl edt ya .yvtneo dt Bl edt to t9s«80p tant? edt 19ssts dor18 _ + @ts008 so beatstdo si dotdw to .sasved edt ddiw sbs1d avianes : bavot doidw tae1k edt: at9e@1el edt dviw beasde od) ,sloaaty | BOb Ratiect stud: .seogrsq ont brewod sasea 8 tod: 21s aliwte W taatises eid to onO .efonai¥ to awsiy adv asin eanttsouona ewieg vlsesi0t .aslil aivotaioinok sonia [otisueed sit 2t eiaom ; a8 dé¢in:bodeeid at: saves sit soidw ar .(S86t acged):tntis! vos _ edtow ovitatgoeb beaetaiveoe base istasmeusxeo: ai’ eeondois [svarau | Taede een ecoslsq exeonsd afd to estues toork edt. (858 .3i9) wodt ya0ms sustiogmt teom odT .9G8t tsey sd¢ at tesasfk yd be peafsq bekasi1s af doittw ac .svonll abarsP exomat eis so basse Sfpresganiane e1eves tedwomea Litte edt 948 ened? .o0efsa-a9tite Sean ua) bsreveo ylotidas bas. elyee osmod edt ai betsord .oaaid (viiw devo: etasmibeq: nedord din, bodeinast yoserls tod \aoi¢esis retutota oe) 2160194) oSaleq: 3nted Jt sbteed ,ayswi00b: bus ewob sosteg: meds, bas: .yrote ascan eds at astaRel. ago est vd oupe dbiw tetsesai. edd at) boqqtepe tod besuteq yiisorssxe .sloaiak ,wbtesd. gawoo. bas. eooidteg 1sqqu) .vewiista .oluditesw kuteoani kk udiniotw sds nowl feeelk to agsiblivd siliv: enorewus edt 1@ 205 the late Renaissance in a Gertain sense represents a more mat- ure stage than the contemporary palace architecture ‘in Venice and the rest of Italy. The lack of space and the building si- tes rising in terraces from the sea to the tops of the hilis required in the narrow streets an abandonment of the monument- al treatment ef the facades. Men saw the centre of gravity in the interiors, the fulfilment of the requirements for living fjgend in reference to dignified assemblies. To the facades was siven an ornamentation better suited to en effect near by. The portal led into an imposing vestibule, but little elevated above the street level, from which by wide and gently rising stairs one passed into the court. This was certainly limited. to small dimensions, but it received at its rear a special dec- oration by a fountain erected on the middle axis. In this way were obtained picturesque views and effects of lhishtins with distinguished effects, scarcely equaled and never excelled el- sewhere. Tre evolution of Genoese architecture is connected with the works of its chief master, the talented Galeazzo Alessi (1512- 1972). Coming from Perugia and employed for a considerable time in Rome, where he came in contact with Michelangelo and Vignola, he shared with the former the great tendency, to which details are but a means toward the purpose, but a feeling for proportions with the views of Vignola. One of his earliest w works is the beautiful palece Municipio in Milen, formerly pal- ace “arini (begun 15058), in which the court is treated with an unusual richness in ornamental and sculptured decorative work. (Hig. 274). The great series of his Genoese palaces was open- | ed by Alessi in the year 1559. The most important among them | stand on the femous Strede Nuova, on which is arranged palace. after pelace. There are the still somewhat severe palace Cam- biaeso, treated in the Roman style and entirely covered by rus- tication, but elready furnished with broken pediments over win- dews and deorways, beside it being palace sercari, so pieture- sque by its open loggias in the upper story, and then palace Spinola, externally painted but equipped in the interior with. imposing vestibule, stairway, upper porticos and court design. @f the numerous villa buildings of Alessi from the vicinity of ee ER ee ee eee oe ee ee ae rae fee eet i. [ int gies blasassacd bdbvardine ed ot ei soned badons eae Aste sosrtsd nsb168 ‘gtd 8 m9 vifatitessd oa bate + °qeqaa edt at steaet tusaels att dttw ostées9 alliv safwodtt ; eae ‘edd bas Satblied odd to dtagb orttas edt aatinstxs Yiors _ Oh .ddette o900184 8 10T bebastat ybserls altste6 edt to tase er .ome Paid eursseeeiecs{A toastiows dowids as setwedtd bomeb s ,sons8 se (SEGI rests) onsadkitso 8h stasy .2 to dorsdo ‘dordo edt 197% e019 toeT9 s to asia edz at bokasixs dowsdo aiswot wot diin nsi@ etoleansiedoiw ot anthi0ses 19799 .2 to odd of eaaolsd vb99S60S s10w doidw to owt tud) esfaas sat ts (VS .829) sonseatsneA 944 Yo eaatSlivd dowwdo taatioqnt taom ~{o3e89 etettts? taasvoi® .teasf{4 to zetisiogmetaoo 44d agow’ | -fteqml soaisq to 10ofse1. sit .uoitnsn aovieesb (838t berth) of -)odaow Esfnemsnto bas aoruait dtiwv batateg vidoera .{053f)} offs _-due (fdists9 won) speqs9 soaisa bus \fexofeo seaord ai y.te189) ~30F" pane neato asiw befefaise bas .aietes{ia vd doshivib pte -ayawifsts eldvob Bas oludtt o99089 {soasseianed ofsf sas0ne8 od to 21ssaae tsdto siz %9 ~ 8 sdé at farcf-sitol sosisq botoete (¢988E tyuods b9rbh) oxsswa w .betsert yidod asdt yievoqmos 13dte1 yLnisstaso .sivte based -stasitq dbetult bas dsisottaua yd debivitbdua osbeoat Aste seodw 209fs10qg bedots asqo yiote sao at eebte dtod te aseaitaoo #4 3 a0 odw (8622) tuods bat6) oomsi® semmolorssd [95 otosa8 bas ~ast teanol On .S3l2 agasd .ysietevial seaist atd to shaoat sas -s8T9 tud .sonsaetsnef ead to avimil sat: afddiw Yfsemtd esotat 829) eamslos bs fas00 dtiw tan00 bebsors a5 bas ootd10g s bed 10 sph age Stow tdgsons yleotsoe sved Bluos sd 2s dove (87S sas al .oldstine s19q qiutass dy Sf edt to tisd baovee edt to svoatinore sdP “of edt To amz0% to seats edd aitdsiw baategs. [Lise bsaoitaon | odd” 98098 afstiso 6 af oteveq besattueo o8ls ysds :sonaceied _botteg Bids Yo atotesm tedto ds 2s soxb]eb mse ant of ton da. to taomebastzs ed¢ to tegasm bas yew 207 af aitow afeds ai’ tua i Pat? “eaottstacae1ge1 svtegetamt sosfa ot a1ske4 ‘edt .emoor ond “evitosqaieq oupastusota Sdt ts mis viedt? bas .favotas ret sad | Wedd ,eltats6 ots to WRteeb ods yd B90 e¢oatte gait dart! bas {serait smilie nah Sittae aes 5 tan ang’ voseuls a sme. ae Lo aa A wi ¥ a 7 ‘i J - ° ashe || a” va ae A . a ¢ ‘sslete ; poke ‘0 f | — ie 206 Genoa is to be particularly emphasized villa Pallavicini, loc- ated so beautifully on a high garden terrace with open arched porticos on the middle axis and a splendid balustrade crown; likewise villa Paradiso with its elegant logsia in the upper story extending the entire depth of the building and the treat- ment of the details already intended for a Barocco effect. j. Likewise as church architect Alessivattained high fame. His church of S. maria da carignano (after 1552) at Genoa, a. domed church arrenged in the plan of a Greek cross efter the church © of S. Peter according to Michelangelo’s plan, with four tewers at the angles (but two of which were €reeted), belongs to the most important church buildings of the Renaissance. (Fig. 275). ) Among the contemporaries of Alessi, Giovanni Battista Gastel- lo (died 1569) deserves mention, the creator of palace Imperi- ale (1560), richly painted with figures and ornamental work (: (partly in bronze colors), and palece Caresa (now Cataldi) sub- divided by pilasters, and furnishedi with acvery«beautiful ves- tibule and double stairways. Of the other masters of the Ssenoese late Kenaissance, Rocco burago (died about 1590?) erected palace Doria-Tursi in the ¢ sgrand style, certainly rather pompously than nobly treated, w whose rich fecade subdivided by rusticated and fluted pilaste- rs continues at both sides in one story open arched portices, and Baccio del Bartolommeo Bianco (died about 1.56), who on t the facade of his falace University, begun 1.23, no longer res- tricts himself within the limits of the Renaissance, but crea- ted a portico and an arcaded court with coupled columns (PFis.. 276), such es be could have scarcely thought more beautiful or suitable. Fhe architects of the second half of the 16 th century here mentioned still remained within the circle of forms of the Re- ($s; naissance; they also continued severe in a certain sense, tho- ugh not in the same degree as the other masters of this period. But in their works in the way end manner of the arrangement of the rooms, the regard to place impressive representations in the foreground, and their aim at the picturesque, perspective and lishting effects, and by the design of the details, they already exhibit a new spirit, that of the beginning Barocco Style. ‘ » 4 é ; S, th id, 7 un i pie Line i. r t f oy -,. L ae rs pol a, = ow ) f ag ® f eid * Oe pt daa w1a% fit AO gouacarawma.s. i Saas. Ot S4QU0Td someasiaasi ont to amit on? | . 1 far a5 to. bofisq s sgoush to teendteoe smsisxes sit ut tiene bas goaadioqui Iscidifog etki to xewtio edt bas ysti i se feqtostzg ond edt Yo soins od¢ yd. betenizixo OVAL 19% odd } go02 dotdw .mobgntd deinsa? teo72 s aohkasdhbas slitesD to 33058 3 fs 4 gedsagagtie O¢ ,soitestasg10:01 [sotvileg Aguo10ds s S30asmm09 , “#29, bésoorie tsdé to tnemgoloveb « 19% bae s9m0q Isasstai adi ; ~ivies odd at sovisewedt beoaly sdowagom deinsos oat -yiisata 4 $ 4 coor emsa.eds ai bas aofecasso eeodw aol .dowde sitedss0 sdt to a9 S@df asey od¢ aT ..bxuwe odd beyolume vess <40iso9701q atk to edd yd betevenos asw veagietevoe dainool. to. dusame: sasl edd P to agktegioisieq tastzoqsi as iatis DOSE si ybanexd to aatiss (3 ah to. mobaati edd. .visik 10t edsesaoo oda ot um1s dainead odd ‘ {fet stedd S832 at bas .ydowsaom defasqs 344 x9ban somes eala _ » 900 to: 9au0d Isixsqat of% Yo aworo sdt soustinedat vd Fi ot - @aiqms bizow 94% to s19059 sdt sasced sisgh aad? .aacedeqed i ~aaliedsoi eas .yasmxe8 boetiames aeds dotds .22109@qsh odd ko ‘id | bas sginemh at eataofos ad3 bas yltors .ositt .vbaykis8 .2b ” ~ag09 9sodw ai ,gbisinsg? edt to gisiaqs anistuqistnas siP ated 7 sete? ot Os belstea s1s¥ 2aoissa okis10i to existe aid cyrd a gbaotlA Jafeidest isodjinw sa0% .boainreted abasi sastaib to : ~“a8GS ds0%3 2 SIGL at :bit0n wea @ Ssisvoosib vedi bed SSM af ,Odixel to wobkatd odd .aseoo 947 bacyed, Dehaset saw ulsot dak etl, .dnemqgoloved bhsia bos wen o toot so1sms0o aaitixas en? 4 _fieiasg? edt etew atatoqg Isatmreas bas Raitaste sastiogut Teow Re bitow odd to etisq msq edt work .20ktin deiasae bas. argdsad. 5% ; “ 43 feou awogiag seadt otat bawolt . Mapai sah bas [snottesa sncottingsm s to eats atdt oT dsgoe odd to saftio sd? .c1usoas itor ed. List ansidowg gest, ods qelexbedss2 evtasexgmi boxiuyss bas meicl worl Gani sisw vd Sortwoex aew dvist aatteixd9 941 Yo Saiaeqesh bas aotaastxea - ritedasaon {eitaeuliat to anibaved ens debuemed dns doxsdo eda ri te, teeta, edge bee eo0gtig odd. tduogaua ottehasne Viedst dae. ; Bai (aay shed: Ot Saibaogesrs09, .gseeisq. wea t0% boanol yrsnwoo eds LaaT eth ob idng. ‘tiedd af esitio odd dns .dddsow sieds ons yota and? .a¢aemsitepe, begeercad odd wolsd Sonismor. vleouseg 28 sceapemnattse tip ee Doseixe suis edd To. eaotsroaee od — sha a a ee a om is a ues Bee aid i. dy ae c i K aX pa Wi ae 207 2eRENATSSANCE ARCHITECTURE IN SPAIN AND PORTUGAL. fhe time of the Renaissance brought to the great peninsula in the extreme southwest of furope a period of unusual prosper- ity and the climax of its political importance and power. In the year 1479 originated by the union of the two principal st- ates of Castile andArragon a great Spanish kingdom, which soon commenced a thorough political reorganization to strengthen i its internal power and for a development of that directed ext- ernélly. The Spanish monarchs placed themselves in the servi- ce of the Catholic church, for whose extension and in the name of its protection, they employed the swurd. In the year 1492 the last remnant of Moorish sovereignty was conauered by the taking of Granada; in 1504 after an important participation of the Spanish army in the contests for ftaly, the kingdom of Na- ples came under the Spanish monarchy, and in 1516 there fell to it by inheritance the crown of the imperial house of the Hapsburgs. Thus Spain became the centre of the world empire oi the Hapsburgs, which then comprised Germany, the Netherlan- ds, Burgundy, Milen, Sicily and the colonies in America and Asia. The enterprising spirit of the Spanierds, in whose coun- try the affairs of foreign nations were settled and the fates of distant lands determined, rose without restraint. Already in 1482 had they discevered a new world; in 1519 a great Span- isk realm was founded beyond the ocean, the kingdom of Mexico. fhe maritime commerce took a new and sradd development. Its most important starting and terminal points were the Spanish (2, harbors and Spanish cities. From the new parts of the world flowed into these unknown wealth. In this time of a magnificent national and material advance great problems fell to architecture. The cities of the South - were wrung from Islam and required impressive cathedrals; the extension and deepening of the Christian faith was required by the church and demanded the foundins ef influential monasteri- es and their energetic support: the princes and the great of the country longed for new palaces, corresponding to their dig- nity and their wealth, and the cities in their public buildin- gs scarcely remained below the increased requirements. Thus the conditions of the time existed from the end of the 15 th century for a welcoming reception of the Renaissance forms pe- aeeer . ty “4 stented daftnsae ofiioeqge «& t sta. edt at vel beta houstedan veoitsma detasq® oft to stig ad? | semis? diiw ountxim Saorta ett yd fatnemsaxr0 bas aupzo rst oF -elyte biaoll odd bus sizta asjebsli ed? .boold {etasiro s$eedoiy 94% si ed beouSora e19d (GEL. fot esasq) (obizoLi of » 9d9 ak notigevai tae asilesi odd basol ois ai t9Y .stinel $s ,mainsg20 [sautostidois beteflqmoo fas.bstisay a to soitssx9 . eldstebtesooat toa odt ot B8attafe1 anoitueonoo edt ai tesal ~dsdneesiges iagtoarag edT .agitalugqog edt te t1sq supssasa08 T wort Snttetkias.10 Ssifso etsatidorws edd gisw seedt to seve -[astidel edd mori etosdsidosws agies0lt asdtzo eshteed odw .yisal “G90 go) oonen(tai Sntaimieted s s19w ,yasmie® bas soasig .2bas -dmed edd teonl .exetosdiders detaaaé to axaow [sqioatiq aisd -legmr bas anoitibaoo sdifna dowe To atostte Leifaxeq bas beat -tevib tilswevas as benistts sisdoedidoss fataegs ,seo10T gait yh ne -Jasmaoleveb bettie =108 edt ai ts0G08 eoaeaetsneS edd to e9oneultat seetiass odF ~edt ovitea “oosetotel” ode at bSeebat bas nisge to tisd axeds -® .(88f 0259) 08D! 1294 odd Svods Batanigzed esi Osa Jans ,9% «Sluts eyttaressh «6 es sisecgs aninatked ati at oosex9eteiS oat -“nemesnto bas Set¢emise ,eciaqiontaq ofdtoD no baagoleveb yitetdo Saatasxel « af eeiva etiartioh ¢uodiiw asasmels detioow ya bes -meqt0 eoneeaiensh dotdiw at..seddo doses no bas sbtesd Rarquora “asq 36 .seRetit sdf ao ,s0ss9ve odt at beigutaresnt o1s etae steve otf yilnteosta bas yiseool .sAif eas das esaousn10 ,ale ze » vilsubers 918) em10% soasesisneh of? * .dwow at dtimabiog dial ; -d90 ,eantblvom bus) eamufoo sidalebss9 .eyetasiiaq yd beassaoat won od® evitsro0eb ylextsae 2s devigonoo deqit ta oxa doidw b ~msate\ eds af bas stosoVIve sad at steantmobesq yilsvbse1a emt oo sa. Se! a sae # oq eda sfqusxs 10% ,etaow atatico ao), baiwerb ai siva ylisen | ode a beasege ybeou ls. obefo?, ai se19 stas@ to istiqeod odd ts isd oad to, meinss10 oft to. 390 Bnimors at mee Se WA 99990 mo00a ataomsnto [fotos bas. eoupaedsis ated? .adaom Lada . - lieve a8 e6 Tesdqe sds nove yeds so¥ (TFS, bee): ng ee) , j at ae . ee 208 penetrating from Italy, and the external conditions of life w wire particularly favorable to their development. But by the- ir forced growth were they compelled to accept materials from the different soil, saturated with the precipitate ef the pre- ceding art periods, which changed their character and produced @ specific Spanish coloring. fne gifts of the Spanish nation substantially lay in the pic- turesque and ornamental by its strong mixture with German end oriental blood. The Mudejar style and the Florid style f€esti- lo floride) (pages 141, 142) here produced by it the richest fruits. Yet is also found the Italian art invention in the Creation of a unified and completed architectural organism, at least in the conceptions relating to the not inconsiderable Romanesque part of the population. The principal representat- ives of these were the architects called or emigrating from I Italy, who besides other foreign architects from the Netherl- ands, Prance and Germany, were a determining influence on cer- tain principsl works of Spanish architecture, Under the comb- ined and parallel effects of such unlike conditions and impel- ling forces, Spanish architecture attained an unusually diver- sified development. fhe earliest influences of the Renaissance appear in the nor- thern bealf of Spain and indeed in the “Plateresco” native the- re, that bad its beginning about the year 1480. (Page 142). P The Plateresco in its beginning appears as a decorative style,. chiefly developed on Gothic principles, permeated and ornamen- ted by Moorish elements without definite rules ‘in a luxuriant Sreuping beside and on each other, in which Renaissance ornan- ents are intermingled in the eavettos, on the friezes, as pan- els, ornaments and the like, loosely and gracefully like over- laid goldsmith’s work. * The Renaissance forms are gradually increased by pilasters, candelabra columns and mouldings, but which are eat first conceived as entirely decorative. The new forms graduelly predominate in the structure and in the ornam- j2vental work. Their arabesques and scroll ornaments soon beceme nearly pure in drawing (on certain works, for example the por- tal at the hospital of Santa Cruz in Toledo already before $514. (Pig. 277). Yet they even then appear as an overlaid decorat- ion, scarcely growing out of the organism of the architectural ma ie keewiels bas REE x EO ni ted .aredasa a : foots odd Qnfoasines euds .esebt to sonabauds sidisauadxent as so1stoetidors betesit vlivesd bas y1b yitasape1t odd to “.stonyed BAS seutg siyis Asisook e4% seans ast 0 fon al * | ~s8doc0 BUitatoosh 69 ABsaqgh emso> sonnsstnnsa han stasod nat ~09 ‘ghd otnt boiino sioativors anueDd ed$ alodw eft nd .sotxo 4 Ast. bp suoh Hesdinrston e190 bao sa1edt bentones ofu ust aa BenAoel bod ysiT .onestesols sas (® taamgolsush sAt at tena GASG S190 ~Qhitod settnn sAt sons WIikQworOdd Of AdsOV odd ah ~oF9n0s8m go ylaniusitiog (noftotmemonte Yo tan Ai at iytitas bus “etdbuk ads Vo ssuiltom wen sAt au 4004 ylibess dows en .84 ~iny a9 Qatouborqg suds .sonnsatonsh nosinsl sas Yo eaods ban Bx © ods hasolennat wonshisud somod exomol taom = ging Tom esi of bebba sA ban .Stwsostiiforkh mo oF S482 Yo se _sisnag wisps Ae tAsment{et eips 9 oho Sud .ONintnad Aguortods ) -MBISFIILK Hamass setos Heitesesth sat ms gisoiue , pat -besaiines mefoteas(o II agilida fo etoaaenoge ods noma’ -a0i560 ogmet eft bas edas bas asoqgeisa odd at sonsvbs I[auasaw 7m3d3 advedidois sad ddauota oats sotaiasas edt to Snifeak is . | =994, ateds io aoieseiaxe tesii 6 o¢ das aeaase iisdt of asviese | oa doidw .s1gipsdidoig doavdo ai sud .ddguods Io show rails .» 0 taebasaeb vleaitas pentaner baa davol 343 ai Seasl Js asi o ffshs aslg banosg Lagoitea ans "edaye Ipibediso ofdsod ada ai begoleveh ybsesfs dad ti as 2988999996 fsisash otat aneo “da an e44 ai yitaves oda to eaeitiog ated¢ues bas olbbiw. edd ati beqoleveb 19 ven aust oetifors sosisS .(f8f 9369) .qistaeo - anal reri 13 (0308599 scassaisaai ulase ed3j al .sqyt awo ” toda igwol bebivioas .aomnoo yi isioegas e868 s9bsost tdgisa | ~ve ite 7 eno 8 gaoiogoss bas fisme va. Sossaias gino ets are a a a Se my . ave tk rite -" » +e + 210 Italian Renaissance forms are more freely adopted, the organi- SH Wins in clarity, yet without rejecting the Spanish require- ment oi show. . 244 The period ef the matured style, the Spanish high Benaissen- ce begins with the reign of Bhilip II (1556-1598), After the theorist Francisco de Villalpanda (died 1561) * had designated the classical orders as a direct inspiration of Ged to the Je- ws at the besSinningcof the temple, a conception also propagat- ed by the Academy of Art founded in Madrid by Philip II, the antique canon appeared as a kind of dogma. The artists studi- ed the antique rules with Sreat zeal. Thus arose works of th- at universal Palladian style, which frequently differed in €a- cades and also often in the palace courts from the similar bu- ildings in Vicenza and London, only by their location. The cheerful and unrestrained enjoyment of life passed in them in- to a stiff and tasteless classicism. But on the few structur- es designed for show, particularly on portals, cloisters and also in the interiors of the palaces, there remains a peculiar Spanish architecture with a preference for gay ornamental work, even in this time. *® Villalpanda wae a fertile writer on art and at the same t time an eminent practitioner. He hed measured and drawn the mest famous Roman buildings, translated the 8 rd and 4 th Boo- ks of Serlio om Architecture, and he added to this not only a teorough trakning, but also a rare refinement of taste, perti- cularly in the direction tater termed Atticism. 24° Among the successors of Philip II classicism continued. The unusual advance in the sciences and arts and the tense nation- al feeling of the Spaniards also brought the architects them- selves to their senses and to a freer expression of their pec- uliaer mede of thought. Thus in church architecture, which so far at least in the North had remained entirely dependent on the Gothic cathedral. system, the national ground plan again c came into general acceptance, as it had already developed in the middle and southern portions of the country in the 15 th century. (Page 141). Palace architecture never developed its. own type. In the early Renaissance rectangular plans with st- raight facades age especially common, undivided lower stories are only animated by small and tasteless windows, richly dev- 08 ut ane) Mi dist iif Wer astiota 1saqu beaefeveb aH ceiton istom Satllsces egnisearo toor (ssasmeaxo bas asot ony og sd¢ moult Saitosiorg Jvodsiw bus yltoo1td ogt1 aefbas -eo1stsidetas baa asiegol dtiw esastouasa sifi-tswos wol “diteetis bes Sa0f tol s0as19tsi1q uisties 8 bas agailivd efeas =04 9d¢ 00 ystisilsseq datascS s mot coals sbaost 903 to ssail ag qwetitel sii seiwiedto tu9 .sonsaegisaed dsid sd3 to ezatblet -saom ,ssoqeuftar atetot tsbav basse santoetidors bas asle sid “0896 sd3 to bottsq on? .datbasfiedseA bas doaex® ,natlesT yi -a)° ee qifidd to nates sds déiw soods asaolo sonsagisash dat -(288r bet Yer soaseeisaed yviuss eft to etnemsnon Sasitoqar Saou sa? “~sdef9 sdi ered? .anoitqooxe wet doin aieq? aredtaan at bavot -oitiagem Stbaslae ati soasbauds tasiagxel ut beqoleveh osast *953x8 siftne S43 no 28 [low 2s lersdetols bus afesioa ao S008 _=bedtso odd to a9teiofo oft a8 .sautostidors Isqtotat bas fsa ted yitos1th stiup (frat asged) sfleseoamo” ob egsitas® to tet bas asfogaoo ,esseitt souseetaash <19N0SM Bitimasds teom sat ak -diis% .emr0ol lavestbem asented bsisloaredat ore anautoo Lilemne (O3GI-0862) nosed to fexhedsés0 oft to a9tatols odd at besaavbs +19 “ub yd befoe19 .s19dd eoo1sM .2 to viedasnom odd to shsost an ~ftse7s teeldon odz déiw betasoo ai (SIL xssts) soisbsd ob ae ~do%s dotasifa ett yd alfsosy ytote iewol od? emis sdt %O ano. -gau edt .¢fetil isqus to ss ot¢neoortdegd ods at doum s1pdo9se ~asasnte Sosiasxel saz bes ensuloo sidslabaso eds déiw yiote +9 vlues datbasixedte ads ,eedsin bas awobaiw sat xsvo daow Lat bobiotis st says sidd to sflomaxe redois [lige A -90oasauisass | =SsfoT at soz9 sins to Issiaeod ait of {[stxoq [weiitusasd sat yd s@feseuc8 wort asd sb suptaad toosidoxs sig yi (Srst-s0ar) of eresaam Isids edz to sae obeloT at asssolA oda nO . (TTS ar) ‘bstos19 .2eideiisvod osdotlA .soaseciaasl viase -detnsae ad¢ Yo “08 satwoifl wid word ~.obsos8t naodtaon osesisdel9 edt VEEL ak S tadeylos Satsoumi oat bas aditaed vawatste Ivtitused 363 aon _ (86D) aersmel ob elsofh ts o0818q e*qodetddore six to s3a00 a to staowunom ant cont bas etorsmyi .efebom austissI aatlisoor Lsttog sdf .sonsms{s@ yd beeesegod ora siyte ooesietel9 aia ~Ousisas ows oid revo betoeys 2i (OS8t-atat) wwiarevias gdf to _ tlorttse essty wode 8 @8 .ewobaiw soodsiw eetaota s5udt at 25 goowted okey bas avis ,etetier oasatt to bea0qmon a) ? i f 4 4 = 211 Geveloped upper stories opening like loggias, showy main corn- ices and ornamental roof crestings recalling metal works. At ‘angles rise directly and without projecting from the facade, lew tower-like structures with logsias and entablatures. These angle builings and a certain preference for long and unbroken lines of tne facade also form a Spanish peculiarity on the bu- ildings of the high Renaissance. But otherwise the latter in the plan and architecture stand under foreign influences, most- ly Italian, French and Netherlandish. The period of the Span- ish Renaissance closes about with the reign of Philip TII. (D- ied 1621). Fhe most important monuments of the early Renaissance sre f found in nherthern Spain with few exceptions. There the Plate- resco developed in luxuriant abundance its splendid magnific- ence on portals and cloisters, as well as on the entire exter- nel and internal architecture. On the cloister of the cathed- ral of Santiago de Zompostela (begun 1511) quite directly but in the most charming manner, Renaissance friezes, consoles and small columns are interpolated between mediaeval forms. Fartk- er advanced in the cloister of the cathedral of Leon (1520-1550). Pne facade of the monastery of S. Marcos there, erected by du- an de Badajoz (efter 1514) is counted with the noblest creati- j/ ons of the time. The lower story recalls by its pilaster arch- itecture much in the Quattrecento art of upper ftaly, the upp- er story with the candelabra columns and the luxuriant ornamen- tal work over the windows and niches, the Netherlandish early Renaissence. A still richer example of this type is afforded by the beautiful portal to the hospital of Santa Cruz in Tole- do (1504-1514) by the architect Enriaue de Egas from Brussels. (Hig. 277). On the Alcazar in Toledo one of the chief masters of the Spanish early Renaissance, Alfonso Covarrubias, erected — in 1537 the Plateresco northern facade. From him likewise co- mes the beautiful. stairway design and the imposing columnar c¢c court of the archbishop’s palace at Alcala de Henares (1534), recalling Italian models. Numerous and imposing monuments of the Plateresco style are possessed by Salamanca. The portel of the university (1515-1530) is erected over the two entranc- es in three stories without windows, es a show piece entirely composed of figure reliefs, arms and arabesques between decor- hase Sa 8 We ee iatiest bottta mae bas eangfoo tisd betsr999b . s#BSGE) ereds ogntmod .2 to Istroq qstel tadwomoa sia vd awo ab gett tt .omid efit to eedoisdo to alstioq yasm oAFd .(0.82 . dé OF aottosso1g ebiotis isds ,edoia dedors data bas sbiw s 886 af yetotao% sosalsd .aedteew ont JYentsgs asautaluoe satt =tostado .(088 .9¢%) saiesd sosleq beqoleveb yldoiax 8 2i sonem ~9elmeq Jeodgid odf .sonaeatane® yliss daineq? adt to sitairzs ylegsassiotas adi at olyte svitdsi00s6 od¢ yd bedosex sew aoit . s@flive’ ts (odasmsisaoyA ob sess) lad ysio bedelqmos raven esd dod déwot odt ai ditow ofoe odd ylisem at gt .(08f-laah) bas .Atow yIsi0"mesaoo on of 10itetnt yYSuaed bas sasadora s awode si soneoitiagem Yotdo sAT .beaisits ais&s aeven aasdieq ~mo9 28d 919d ytota aswol saT .(ISS .8i9) .ebie axetess ont yd elyte od3 of acugzedsis seit1 aleusg saodw at ,eistasita siiaog .beSivibdse gated yiets xsqqu 9dt .otasoottiew® asiissi adg to -%1i to abasiass yd beni0bs acagloo asidtuirod botult xd yisisg Qated ofsost siidas odd .gumuloo sadalebass yd yitisa .ativ , d3ie 2eosties {isw edd bas arsdmem [stutogsée dtiw botlague | -t7on [adaomanto bas so1stalsor daivel saom ¥¢ Jaomucom deatixzss edd as awode 2it sixtea asmof~ooss9 oat -Sidasdid edi ts botoore, (8:8 _.8i) V aolasd9 to soslsq odd © asivoito Isesoloo « dtiw nsiq bavoxs asiskastese2 2 asd aint odd m0 yléoeiib adesa oisdisldsias sdJi dotdu ai .sanoo xsamslos 3 a0 Seyolqnme 2i tebie of105 od¢. .2ebso8t of¢ a0 eA .samuloo doetidows 24 .ano a99gqu edd ao viaol odd bas ysode aswel add OSGI most antbiind sd3 to shisdo bad odw .soudosl boaoidasm ef -betouateno® otew esbsost ssids bos dag0o odd asstd =, SSEr of rele s atididxs sosisg od? .bosataites beatsmor stutogide odd ~si Lsigtootidois od3 to aottsaiuod sdafqnoo 6s .toemstaaiie tA dosoigas Jadd,,a2lisied twieoe1s bas beaiies ,qusd2e bas .ase9 ~aeggs t1, .(OSS sxe4) .ifedoimas? to sqwdoetidors ods oF 1290 ited hithenehane ois to debim.eds ai aivte Isexavian ett at 2% ea3 to fodmye sviszeigxe as 26 easoebusl sitsae odd baa agaid -V asiaed® yd boavees bltow adt ai aoisizoa at en Ehenuaheeshs Aabhoonte af Saibiftwd doawsdo ¢eait oAT “moo 8d 2585 9b owoiun9 .(5dI obaq) sbaaexd to Isibedéeo odd asiq.oddt af aoail otdio9 Yo stasd edt no exusourse odd bsonsm _ ~emedas od3 bas ayed atiouaisneo. xie déiw aslq beldis ovit os as _. god ,afono Isnoayiog est bagois aslets sbie teduo 9A3 to nok wy : a” fio Ti ae ‘ SS ya 212 ) a decorated half columns and BAN cad Fe Allied treatment is sh- . ‘own by the somewhat later portal of S. Domingo there (1524- 1520).. bike many portals of churches of this time, it lies in a wide and high arched niche, that affords protection te the fine sculptures against the weather. Palace Monterey in Sale- manca is a richly developed palace design (Big. 280), charect-. eristic of the Spanish early Renaissance. The highest perfec- tion was reached by the decorative style in the unfortunately never completed city hall (Zasa de Ayuntiamento) at Seville. (4546-1564). It is nearly the sole work in the South but has. &@ richness and beauty inferior to no contemporary work, and perhaps never again attained. The chief masnificence is shown by the eastern side. (Fig. 281). The lower story here has Gon- posite pilasters, in whose panels rise arabesques in the style of the ttalian Quattrocento, the upper story being subdivided, partly by fluted Corinthian columns adorned by garlands of fr- wits, partly by candelabra columns, the entire facade being supplied with structural members and the wall surfaces with most lavish sculptures and ornamental work, fhe Greco-Roman style is shown as the earliest monument by the palece of Gharles V (Fis. 2/8) erected at the Alhambra. This has a rectangular ground plan with a colossal circular e columnar court, in which the entablature rests directly on the columns. As on the facades, the Doric order is employed on t the lower story and the Tonic on the upper one. As architect is mentioned Machuca, who had charge of the building from 1526 to 1538. After the court and three facades were constructed, the structure remained unfinished. The palace exhibits a ele- ar arrangement, a complete domination of the architectural ma- sses, and sharp, refined and graceful details,,that approach near to the architecture of Sanmicheli. (Page 220). It appea- 942.28 in its universal style in the midst of the surrounding buil- ae dings and the entire landscape as an expressive symbol of the position in the world assumed by Charles V. The first church building in expressed Renaissance forms is the cathedral ef Granada (page 142). Enrique de Fgas had con- menced the structure on the basis of Gethic lines in the plan as a five aigled plan with six continuous bays and the extens- ‘lon of the outer side aisles around the polygonal choir, but Br eb okskg .bstelawoo erew enotssbavol sds yiao phese sorbeb aswitt tout at ckatdLied ons no bef (688! beth) ) =go9/ ¢@oreves qisvy s to attmil sit atdtimotatsmen oantoos tdors ~oidiew edt q200geeltat otdto® rebaw {Lite .2ouseetenss bsviso giisottezi1en9 s2s8 e1eiag edt .be3n9098 viawosts ats sentl Is aiuitieas to aagSsolievo o6% to sanee odd ai ton .bsbivibdne ofdsoD beakteeb yileataixo 943 Yo nottsieasct 8 to teads at tod sat to esefoun oct .{SSS .8F8) amxot comsasians® osat axsia Batyaquoso asbie aet dttw sntblied feasase «6 yd bomrot ef rrots <#9i7 Gtiw ewollot satéivev sit .sisis sibbinw sdz to dtbiw sis eoftG eb ob0rS = .zifvsv iste beteert yleviteroosb vieis@ sad § .8Sr reris) esoele¥ at [arbedtss sit to rebfiad sit oats et ‘teas afisce2 eltaespe12 saeutse1s bas asla nt dotdw , (68S .atF ~sinsybs feds mo1lt ayeliib ebie sidisiy asi no tud .sbeaesd at O¢at siutonxte sdt te sofeivibdwe berator {lew ois va vlauoab »atewos tao1l odd agented arsh10 sssHefoo betasxd vidoa ows 8 @efs sest: to [esbetitse sat boinsa aatbiied sax or Sa rbroood # Wtie S66l at awed ,sonsaetenel elise ads of adsoled [Lite “68 90293 odd easeqgqs sisks #£ 00 .saivebls¥Y 9b o1689 to anefa x 2.668): ofgnstoex s es (C\8 .2¢9) asla dawork dowd Lanots -its' Isnidbutignol avounttace sexds dtin (109f9 ods ar stk D.OM selfish ebfe tatvo sat Baofe afogsdo: slats saievansad s-.agfe “18 od? ‘.sbeost edd at avowed antiius(t ows bas .bns riodo bas ~Bdid og arsed ybserls acivesxs hos teorastai adt to sistoeatido ; ia Oy) @ -bot1eq &afbeesora edz te alyte edt to: re8t981 Spebichoe: bas stolses s If gtitad at bed conseatsned data gn? 6 \°. ‘foitersqesq sdt at yifenoatea s18q Yoot anid ed? .noassa oi ~afreqae odt ni yisoerth boxetzesat oes bas .eoefo antbLiod to | “nommod sd ,aRiex aid To atsey teri eid ai vbserf4h .90nebaed to: Joo? odt 3 bas Hizbs to fesrdtaon 2eliavGlTS snoe te bao ~iawos8 ed¢ Yo aoitgsexe Lantoniaa 2t8 anistauom emetzsbse8 sag \ Eeseofoe « 66!~S.Gh at bengitosssa od st nT .(068,.259) Ls ~ascom (osnetod .2) downdo odd antdweo of asw taddt .erasourre _»vaediss sastoia bas muelosssN . yretdil ,eoaisq isyor .¥i98s °8.666 bas 9.882 to eshte dstw olbastoes 6 2¢ wx0t bavore ent ~=tasveds’a0 tads .gntbdLind eit to esaiw asot yd beeolonus ..5% _ ont o@2 .sod0tgetdaort bebivibdve yldota s satwode sbta s0a87 t892 odd tud , dose sot ent olaaie 8 at enaisnoo enaiw ebie Ve kes! » Pod 2 he? Ue Ee 7 rl be “ee a only the foundations were completed. From 1528 D&ego de Siloe (died 1563) led on the building; in 1561 it was dedicated. The architecture remains within the limits of a very severely con- ceived Renaissance, still. under Gothic influences; the ‘vertic- eal lines are strongly accented, the piers are energetically subdivided, not in the sense of the overloading of the Barocco, but in that of a translation of the originally designed Gothic piers inte Renaissance forms (Bis. 282). fhe nucleus of the choir is formed by a central building with ten sides occupying the width of the middle aisle. The vaulting follows with rich, but purely decoratively treated star vaults. Biego de Siloe is also the builder of the cathedral in Malaga (after 1528: F Fis. 283), which in plan and treatment freauently recalls that in Granada, but on its visible side differs from that advanta- seously by the well weighed subdivision of the structure into two nobly treated columnar orders between the front towers. According to the building period the cathedral of Jaen also s. still belongs to the early Renaissance, begun in 1532 after t- plans of Pedro de Valdevira. On it again appears the true na- tional church ground plan (Fig. 279) as a rectangle (223.1 ~x 144.4 ft. in the clear) with three continuous longitudinal ai- sles, a transverse sisle, chapels along the outer side walls and choir end, and two flanking towers in the facade. The ar- chitecture of the interior and exterior already bears the cha- racter ef the style of the succeeding period. /o Phe high Renaissance had in Philip II ea zealons and energet- ic patron. The king took part personally in the preparation ef building plans, and also interfered directly in the superin- tendenece. Already in the first years of his reign, he commen- ced at some Bf. 0«mniles northwest of Madrid and at the foot of the Guadarrama mountains his principal ereation of the Eseuri- al (Bis. 284). In it he established in 1523-1581 8 colossal structure, that was to combine the church (S. Lorenzo), monas- tery, royal palace, library , Mausoleum and picture gallery. The ground form is a rectangle with sides of 524.9 and 656.2 ft., enclosed by four wings of the building, that on the ent-. rance side showing a richly subdivided frontispiece. The two side wings continue in a single line for each, but the rear ie | -decud9 ed2 to ‘Tiodo sit yd asdoid at ono | ott ae eth fotmuds ed? § .aexsusonuate odti-reuos wol vd betas 8 d3iw aeo10 toow® 2 wevo kaibifud Latsaeo « at bas etxs cise -tevane1s bus islfisisg vi .ea9ewost taoad ows asewsed efuditeasy ~astoes to (ile at 8!) sedmya tsexk 8 besuborg at enoiaivib 9a my ““foretetq 20 eobsors yd bebavowive Lis .etasoo Leauesat. sige oboe? eb stetsusa asus hbevelame exew adossiiors ef .enmaloo :) feel eb asc tang $8079 wid wid ratte bas .(893L bbb) Last) yviesI at zataiess vieds bevieoss bad atog . (883r-osah) ae emt0t Isiytoatidors odd Senitsloxe ef yderedw .(em0d bas 29 *Lefasoed oft to dowrds ed? .a9toexsdo wsiiasl eat of viexiz ‘Steeelé (slougi¥ setwedtd .aatow nwo e*esedted et (B83 .9r8) ~[s0. eaw' {stivesd sd? .anatesbd bedainiwt oved daus ibisdi? bus eqsdieq ef 31 .bl10ow edt to t96a0R dtate sda sure ast ak bs “one bas beviseneo i9sve yatdstisbas [sysdo9ttdois Jaebasl ong “aogtea bas sivtea [eyo edt anitsorbai .ssm aflrate s ed dbetgd | ‘a nelive jettorotte bietia to stataa seodw . 11 atlas to vetLe ~ @ yd bosestgxe saa ,etiaotsiler betituiss pas qsool® . stutag fd off af sonesioget tse12 tuoddin st setwiedto sud .dt0ow ode “edt \dsiinosl odt te soitvefamoo odd 19t%s aco8 .f18 Yo viota ‘,tteqé to dition edz nt sustovite tens tadto4s besonsaago Sate } b stots ob asw& © .(a3at 1st) .bifoballaV ts Lexrbedteo ong Yo mot [seed edd wt aslo bsvison0o viboeth 8 J 10% beagieob a90% fas emob dtiw .aseio sax ai .a% T.88G .Jsom bas ilew s yd bsbasotise ets teds anata yoda ted? .beaasiss oe 318 eantiliud aism edt bas .séag0s e10m ; ad djiw .togod to tavoo ods .tis09 36973 8 Bavors beqno1g 948 J we. oe 5 ~aad) dau09 saat brodue sav bawol ak .daw0eo sds io san sax 107 3 ‘eotkas egeiasv edz gh .katqosdseuod sdz 10% Hshiaetai (anos se pan -Onuox ylstaom {lite 918 dotdw .atewos baase usstedo 343 %Xo oy as evise bas eaasteb to 22001Nq ateds teol vbse1ls sved ae ~Isaa gated t1s0o aism sd¢ to aisai0e ad¢ 3a (888 ~3i®). amoodt 3 ~ftio odd mi betsoo!l geosisq otsvisa sf® eranog Yeawiisss ist “ue iw atmo ois din bag .0leoa isilsxe 2 ts a8fasb usetsdo odt Yo mele sien ved? .saneteb 10% dohastat ataouezasits 94% Yo ao avd mods sort beJsisqee sidiezog ti at2e1se sii aoxt USNS 198 evisvaviseaoo oda dart -olyy B a8 eflsd wzio eas yd eas Gt Litas ofas0d vleviesloxe L1tss 10m casds ,2sitio ong. #900 asdd sod UIgsas0 me 8r one to 19d180p baoose sa? tonne ae A) ia yy Qaivise agvots isigéeetidois eids - ebfets0 .aaaktw avet 10 392 ‘ : motgase}tiqute & wode yileieas$ (sonsaf ai “alesoa* bemits3) as - =e ony asn sbecst dota 4 .tisn 3ateoloag aid 8 dtiw tagoo. i si pe 217 monarch and ea zealous promoter of art and science, who had al- se among others secured the theorist of Serlio from Bologna (: (page 229) for bis service, systematically carried on his buil- dings the Italian Renaissance with allsits consequences. Thus it was the court and the second line of nobility dependent th- ereon, who appeared as the supporters and spreaders of the Re- naigssance in France. Thereby it received there this predomin- ating character of the court. Its entire evolution was deter- mined by the reigns of the different kings named. Therefore the French also designate the different periods after the nam- es of their monarchs. Since the formative arts first of all have to serve for dignified representations and personificati- ons of the royel powers, architecture takes the leading part. Painting and sculpture appear in @ condition ef dependence up- on it. ’ Until the end of the reign of Francis I (1545) continued the period of transition from the form world of the middle ages to the matured new style. Therefore we have placed the French e early Renaissance from about 1500 till 1545. The chateaus of this time permit the recognition of their development from the mediaeval castle. They still form irregular architectural de- signs, that are surrounded by a wall and moat, contein one or more courts, and the main buildings are so arranged, that they are grouped around a great court, the court of honor, with th- .¢ pee or four wings. Outside this architectural group serving for the use of the court, is found the subordinate court (bas- se cour) intended for the housekeeping. At the various angles of the chateau stand towers, which are still mostly round, yet have already lost their purpose of defense and serve as living rooms (Fig. 288), at the corners of the main court being smal- ler stairway towers. The private pelaces located in the citi- es (termed "hotels” in France) generally show a simplification of the chateau design at a smaller scale, and with the omissi- cn of the arrangements intended for defense. They were placed away from the streets if possible, separated from them by a court with a high enclosing wall. A rich facade was exhibited by the city halis as a rule. With the conservative sense cf the cities, these were still exclusively Gothic until in the second quarter of the 16 th century, but then occurred Renais- 1 ars 7 "Wat: “7 900soitiokes tastamxul at ewt0l sonesatsnes a -d2 todas tisd ylteow exe enesitio adt to ecanod slaate sat --« Bataego bedow asbiw bas ssusidas sewed worisa dtiw asistoc4y “befquoo bas .ytote bavorwd edd at qodediow oa3 10 gofe sit a0T dd OfF =. am001 Saivit tot &nivese yr0se t9eGq0 ods at gwodntn OfUs09 94% eateso1 Sonseatsasf vwfase edt to eassostidors doa “8¥8 e49%s7u0 odd diiw asve oissouxre bas aslo bagorS ak agtesb -adted anty li <258e09sT0d gO enol ifadeb sas auttalanasis mos -e0T01 Sonsaaisaed otat yltoexlb eteqsisq bas elsiart 29289 -tbdte ordto9 aistes qidgeuperl ewobuiw ad? .{@8S .e8t .egr9) _ +S8bs0estdo1s taluoee al .evsetedo to eleqsdo ak geve .enoteivy Geb) .2edo18 bawor 19900 aedors betatoa to soaly ai (ORS +3ar9) #) eedoqs tdkte1se ets wowmoo ylisluotsasq bas ,2eiors besesy “80 9%8 ewobutw edT .(atsar0d bebavet dtiw fetal fetnostaod) . aefwaneto01 s 1012 ea0ts saote 8s svisosy vitsom bas saiel ab _ "setiss bessr0ti9eq yd bsoslass 918 eénomeltiad oc? .aere tTdged ‘tot ,aloot geste bas dkid st0% s2agstSto1g beagetaxe aA said | 10% bas fesobaiw toot) aremrob betsext zibibaclas bas azorsava etedwyiews eiseqas esitasn bedsers ylavottowred bas Lseaofoo “tian on efaseeta tf tod .antteeresat viemeasxe ek songeatsaa® -iSe to estisa etitiae na tosfsa blooo 9q0 ROfLtstasesiae1 bet ] _=baogeen100 sive sdt to sr9d>sxeK0 [sitoeqe s tidtdxe tedd .eloo "* -aofislsaeg tfeds bas esontvoiq sdx to ysterevid 943 ot ani | esl sag .8ofones5aed Istdo ows bestndo0e4 od yee [st9ne8 at to8 ot aead ewottad-deas1t aisdsaos ade to eoneu [Tas sd¢ mort esive ,0fdt08 ovitten eds atventom botoor at asttel eds 1s natisst “9 dt af seodt asdt 991996 2acl ist 8 at oats a46 eeo1g0e efT il a0? .yletl to bas déwoS 949 Yo atiow Leautoss indore {soteeslo onde se odt sidtageses elistil taxtt Ss etew astasazo seodn Og. “91009 {{tte .sottslugoe eft to actti0q dakdaax8-olis® odd Yo ti mort eto doymt beviaeb esw tl .eaotatao lavesibea yd bali 87 ae sodrtl sid bas enoktentenlli Nood .wlesT az 9bso 8aigies ateldes Sseoord Sos eSaiveraas seqqoo .ekatwarb [eatgisto asifs sot 89 ai ,nolts100e6 to ebom nea odd tals Si AoW oaadd at bas Odase0 et edt ae 9 beissqas si as Saomeato betsuina odd aslo me} cy x ‘ | bomtster ased tasy tseva at ead soda a distinctive: markoof ithe later French art, was first attained in the time of bouis XIV, but it then appears as a piguant mixture of a severe academic classicism and a free and unrestrained Barocco. 2. fhe Most Important Monuments. After the reign of bowis XII the chateau architecture stands in the foreground of artistic creation. Ih it was developed an extraordinargly animated activity. Today more than 30 chat- eaus may be counted, dating from the 16 th century and in sre- at part famous, that were not infrequently laid out on such ¢ i ay oY yas Dasesdtiaes’ os ‘sdee q9voa qodt tede .9fs08 L[saaoloo a a ‘edd dai" .enoissfoved ods to ewsose ods of sottiqosa 6 Lisi | _ylletosqas .ettod edt to mofSe% sdv ak etnengaom to s0ashanbs | Lane: -ei%ow tJassiogat teoa edt of ister ei9d a te uastsdo oda mori giste 23f dood sonsaatansa vires edt fo yaoles asilstl ns 8042 soute ddfeten aesd bed sxedT .ostod bebesdorg etetasa ovisen dsiw aottstecooo. tisds word .eseitce ~aA -a0litsd ta bas sifod siz mo sonsaaiansS doasy¥ foxkt 30d * ga04 ed GO06I gi b9lfs0) obaoret® s1B etotsesm msilas? saz ano fetsoted -2 40F sokditoqgmoo sivink steatottisa of TI entioh #80 Qaitsqtoisasq rzevts{ 9d7) saoti09 ostnemed mid teste das “& $8028 beatotexs (.0t5 viv ,bsodmsdD .eiol8 38 euastedo ant ef s@gedwA is ssotsdo 9dT .sxetoetidote. doasx¥ xo sonsaliai “g98t133 dati 6 ano beaoudsas .aantolisd to xelaqmeo gaisoamrt as dotdw G9 .,Aiswot Havot svieasm yd babiess bas arted odd evods “fo bas ei¢ eoxt 9386 oxssouxse aid Yo anoisaica atsatiss yine 4880. edt a0 .estaudneo Of odt to Qantuatged sax bas ad Et ond seodm TIX aivod yd bavoote afold ts gsetads ods to 3aiw ato we) oda <9onsasisaeh odt to sats odd ofat dosd ebastxs viotatd -od0eb 191018 .auiol sonsesismed afdsiysuer yiev adidinxe sabes | ddton eft no sated ef sonseatans§ eds to tiniae ods ar notted. Ww .maf9% aid to aninntaed siz ss I atonss4 wa siiod .hatw ane. oat®). Cawitste satbaiw tneofiiadem oie dtiw sheost dau0o saodw } lass fone1t eds to drow Luti¢esed geom sd ea10t basbai (pee Baers edt bsonemmoo sontso suse odd LSE tuodd .sonsaatanst “Bavorg isf{vanst09% 8 a0 3aibiiod L[sqtonire 8 déiw ocala tefuner 28 bsdosteb 2 bas eefgas edt te e19wod davor ysdhia wot 8918 a Attn) (2) tagoo si1 to elbbin 94% tevo betoe1e YevOs vswiista ; | Qntbaodes eaod? doidw no .yvewtiste Suibatw-sfdsed avousi add ) 6 @& :t007 ods to satltvo botanias vifsueuan 944 sveds ascia ‘Sada ont tA .sovgel er19f9 bemsa ai vestelo aidd togroatinogs = [Io wsetedo Suttayd odd et189 1890 betoets T aronard smit \ / aéfugdetoo7 hetsmofs as a0 .s0N9btess {fsis1 telfsne a .bt4 3 Tedwenoe ett at bed eae Si tow Ywode Sedat fone vistforly ae wet * wal). = > wher j ~ Soe { i.” Sik ‘ie eee “ylto nso 6w .dtvoe sd bas vSasmtol af ,smis tadt zs borretetg *} a arstast 8 Yd aoftsntm1ed seodw . {team ton bth Ruibaedasd bas» =00 ‘won tad ouorg elitomrot edt .t1w0S 8 suods ie aala wena Ws ee (8S 9:9) aiOLd Yo dsx00 coltw omoe biodmsdd Yo ssadado | ~« 0 ae | 220 a colossal scale, that they never came to completion. Many f fell a sacrifice to the storms of the hevolutions. With the adundance of monuments in the region of the beire, especially - ~, preferred at that time, in Normandy and the south, we can only A & & i here refer to the most important works. The early Renaissance took its start from the chateau at Am- boise. There had been settded since 1495 an Italian colony of artists. From their cooperation with native masters proceeded the first French Renaissance on the Loire and at Gaillon. An- ong the Etalian masters Pra Giocondo (called in 1505 by Pope Julius II to participate im*the competition for S. Peter’s), and after him Domenico Cortona (the latter participating on t . the chateaus at Blois, Chambord, Bury etc.) exercised great i. influence on French architecture. The chateau at Amboise is an imposing complex of buildings, enthroned on a high terrace. above the boire and guarded by massive round towers, on which only certain portions ef the structure date from the end of the 15 th and the beginning of the 16 centuries. On the east- ern wing of the chatesu at Blois erected by Louis XII, whose history extends back into the time of the Renaissance, the fa- e@ade exhibits very remarkable Renaissance forms. Richer deco- ration in the spirit of the Renaissance is borne on the north- ern wing, built by Prancis I at the beginning of his reign, w whose court facade with the magnificent winding stairway. (Fis. 294) indeed forms the most beautiful work of the French early Renaissance. About 152. the same prince commenced the grand chateeu of Chambord some miles north of Blois (Pig. 290) as a regular plan with a principal building on a rectangular ground area, four mighty round towers at the angles and a detached s stairway tower erected over the middle of the court (?) (with the famous double winding stairway, on which those astending okeand descending did not meet), whose termination by a lantern rises above the unusually animated outline of the roof. As a. architectcof this chateau is named Pierre Nepveu. At the same time Francis T erected near Paris the hunting chateau of Mad- rid, a smaller rural residence, on an elongated rectangular ground plan without ea court. The formerly proud but now com- pletely demolished showy building had in its somewhat recessed FE hevevetare i ane! gated lores seed ‘ows ons at .t1sq ofbbtm =10f7 gout siddod sites omafosi® yd) esitoo sy19t dsiw 2ebso1s Bese ated oeeds ‘evods .a9do1s eng to aferbusaa odd at (90ne pub assess! sat eldon bas bogoleveb déiw getieta Seaolons ona “ao~aisai1eD .2 to wsetado edt to sistosita dotad oiTf .aa — atousi4 yd Os3L tvodsaeiggse tot at tiinds1 .atie4 as04 “vse ‘ei : .a9n0b Lsnggado9 yd beawoxo bas 20° atn09 to szodds bextasdame sd of 518 alisd véro ods an0m& sant Tem10l sdt atster i{fte desbat vod? Lyonsauess bas aasel edt to Sutsa59008 YeRaOTtE 8 sin tud ' @8teeasa) asiq Lanie _ fkeae g awwooo yitisd edd to basteal iyswatera bas eluditiesy lsscmcauned bas bseofoms* ars eebsosit sdf. seqaus [led to xo0l5 *silfvoo® L[esoh edt e6evorm ytio tasaimorg odat 10 . tow as andee srg ‘goad’ Yo ysio blo ee edt af (osat ay fesdoiv | -@ to dowsdo ofdsod sit to sbsost ods yd bsvisos2 S197. “wen odd déiw bas esciai09 tteds bas aieseelia atin Ors 226 1532 without ever being completed, exhibits in the facades on- iy a few Renaissance forms, but it has a winding stairway inc- luded in the mass of the building, which scarcely finds its e- gual in grandeur and as a structural work. The chateau ef bu- de (Big. 288) was begun in 145: and rebuilt under Francis TI, completed in 1535, by tlear simplicity in the ground plan and extraordinary refinement in the treatment of the details, aff- -erds in its entire appearance a harmonious representation of the self-conscious and defiant supremacy of the higher French nobility, appearing in graceful and dignified clothing. bike- wise the remaining numerous chateaus of the French early Rena- issance have the mixed style resulting from national and Ital- ian architectural principles, which unfolds its picturesque charm on the always preferred court facades. Among church buildings (page 248) the choir of S. Pierre “in Gaen, built 1518-1545 by sector Sohier, presents one of the m most interesting examples. It is still arranged on the Gothic cathedral system as a polygon with choir aisle and circle of chapels, constructed with buttresses, flying buttresses and f finials and the like, butsotberwise entirely clothed in Renais- sance forms and ornamental work. (Pig. 297). Also S. Bustache in Paris, begun in 1532 by Pierre bemercier, has an entirely Gothic design, directly translated into Renaissance forms (Fig. 299), but on the exterior Doric and Corinthian pilasters with tricglyph frieze (the magnificent double colonnade of the faca- de is from a later time.j fully expressed Renaissance forms were received by the facade of the Gothic churck of 5. Michael at Dijon with three great round-arched portals and two towers, subdivided by four orders of pilasters between bold buttresses and crowned by octagonal domes. Amons the city balis are to be emphasized those of Paris, Or- leans and Beaugency. They indeed still retain the former int- ernal plan (page 154), but with a stronger accentins of the v vestibule and stairway. Instead of the belfry occurs a small clock or bell turret . The facades are enclosed and furnished with pilasters and their cornices and with the new ornamental work. Of the prominent city houses the Hotel Ecoville (about 1530) in the picturesque old city of Caen presents a model ex- ie work 918 dotda bavors e100 dabbivelestavede: dtinw olqusxs = 19 ebso2t 3 ifiw bas .etasasisas gnivtd edd bas {Led 36978 s 7 » eiyte at Satdesretal .eno0itr0ge1te [utttused yliszsatbzoeitxs | hv Sdt emt NSELyqt botooss (st1s9 te I atonss% to! seuod sit at ei1sG of betiogansit tsedsl .wseldentstao¥ as9em to10y, to saail S18 .,a91stoult2 asdmit tisd bas eaote diod .esegod soasaeisash nis jegidpanamed -2798aA ,moued .eea1909 cnuendea af bawot [lite 2239 ow Di eakseed dsfid sds ot ylase sdt mort sottiensat edd FA “td's ag,0t Seotiinansis esd odw ,foedid0%8 as rsbieM0D OF svsd ~osb |ehaiwerh Isaysoesiders etd yd eusetsdo doust8 to 9absino sasoed yltetds 28 .{833!f suods-OL82) sseoten sb teuorbad song ~ Sibeatie: 4 ssw .sanssastil tie at ywivisos. dois eid yd awoark -siote wilsoitossq beissags ylsorsee dud {teisas d9ts08b9 bas Mid ot botudiatis od aso Axow I[avutostidous gaadtoaut on $58 asdq Isebi as bsakieeh of O8GL as9y ont al syaatstie9 dtin -goaaneo sgool edi atididxe ylowttse ifite tsdt .wasssdo a 10% | ,asiq at eelteso Isvesibem to es1stowate staxsase ead to aot ’ *8N101 somszeteush af bedsolo yierseas sie saeds sud ~fdoveddeyd besitesosisdo af (GDS _exeq) sonseagianad dzin oat - “6 doidu ,c1soetidors doaes% to eteteam tsa12 ows to aXa0w to _ “0m pasas io teict ed? ».snsmqolsveb atin beoasudtat: yietinited | _ ©emsoot: atons14, ,déaeb eid etoted yltiema .oavuod sat ai axa _ tte edt ao equtourte woa 3ataoqmt as toe1s of aoieiosh sat og ~Buadne o8 sawob at0ot: bed sad stadt ,eitaso Lsavesidoem bio. sdt to 7 ea9 aivatod ,(8S6ieOLG) sooeed 911929 bonttes odd of Bids bss _a0m fe1atoetidors supttas edt io yoote sist vd baisoube bas ara G 20ivad ebatw isol déiw agtesh s beansiaveR © .omof: te adaouy _ beleetypenlinns etsupe & Savors Ssquors ,eaoitLivsa bas bas sibbra gest Barbitud ods Yo sa%edo bad odw .setasmedt atds YO .(L0G «ott eh). (205.329) ofgas teondtuoa ods besgens .88GL os OBaL _ -ebfe sag00 tedoia bas aenai odt ao beyolque.ed mesave 363081 skotiquia tee ssididxs: safe sdt beswos shsosi [anisdxs sdf) _ “839d ,90s01s ae ddim eno rewel ons .2t9b20 astddaix0es ows (ye hekesetsebvens:sv06ds sexsesoos bus: amobain odd sif dofdw ues 3 el + (tus08 eb effec) “zeve-xo” bomzet sisy bas tovst " . . i Peal da” bh te tee ~tdow as ei at. .(008 .929) .eooeyE% eqmed® ont ai an soe bass. ~ euotemuA .someotifaugem [ayeuas to soetq Lataesmaaixa Isistoat (04 Osatsdse totel doidw: .gwobatw bavor edt boRasat8 >)» > se ae) ad 27 example with charming areaded court, around which are grouped @ great hall and the living apartments, and with ea facade of extraordinarily beautiful proportions. Interesting in style is the house of Prancis I at Raris, erected in 1527 in the vi- llage of yoret near Fontainebleau, later transported to Paris 2/9 and. set up in the Ghamps Blysees. (Fig. 300). It is an archi- tectural ornamental ‘piece of unusual magnificence. Numerous Renaissance houses, both stone and half timber structures, are Still found in Orleans, Bourges, Rouen, Angers, Gaen, Viviers ete. At the transition from the early to the high Renaissance, we have to consider an architect, who has transmitted to us a kn- owledge of French chateaus by his architectural drawings, Jac- aues Androvet de gerceau (1510-about 1585), He chiefly became known by his rich activity in art literature, was a refined a and edecated artist, but ssarcely appeared practically; at le- ast no important architectural work can be attributed to him with certainty. In the year 1550 he designed an ideal plan for a chateau, that still entirely exhibits the loose connect- ion of the separate structures ef mediaeval castles in plan, but these are entirely clothed in Renaissance forms. BObG The high Renaissance (page 249) is charecterized by the chi- ef works of two great masters of French architecture, which d definitely influenced its development. Tne first of these wo- rks is the Louvre. Shortly before his death, Francis i came to the decision to erect an imposins new structure on the site of the eld mediaeval castle, that he had torn down. He entrus- ted this to the refined Pierre bescot (1510-1578), born in Pa- ris and educated by the study of the antieue architectural mon- uments of Rome. He planned a design with four wings having pm middle and end pavilions, grouped around a square court. (Fis. 301). Of this the master, who had charse of the building from 1546 to 1578, erected the southwest angle (fig. 30). As the facade system he employed on the inner and richer court side (the external facade toward the Seine exhibits great simplici- ty) two gorinthien orders, the lower one with an arcade, betw- een which lie the windous and doorways. ‘Above the latter he £,6arranged the round windows, which later attained to such great faver and were termed “ox-eyes” (oeils de Boeuf). The upper | as: besser cists \as ese dotdw ovods: jeqso Saived enobaiw doin geamido-edt bas woliers Raiw 2ids a0 etoor ed? .ytose tisd 5 noisqeozs os olen enotiivsa ody yiaO .elsdrl sud toeiorg eqso T9dGH a6 I9ds140t ysote ifad sds svods bevisoe: si .stds most or daid dtiw bas ysose Isqtouiag edt to sdated sdt dtiw vrose 9 yonmido Istasmunom dgiw Toor sse%8 s bas ewobatw dedoxs-bag -qmsxe [s6om 28 es: 69618891 esx sbsost eft to meteve aif .eq8o beissing yitnsupe1t 2aw 508 siutosdidore eosisqg Istest to sif * vidoia sdf .botaeq anibesooue odd ai aaatbiiad eso1smua no 886i tuods beib) aoivod aseb yd esw aotsstasmanto bexsdaluos Seiweiil eax oduetad tot alvor teetestk e*sone1@ .(yfsst ai -281q 3189 ni ese bas .orbdossidows ditw dbsiniesoos vitasor0ds ~isdivo yidsid @ asw toored .sosdidois as as bevolans vifsott ifs; saidaoo ot wod bootaisiny ofw ,m8teeb beatter at teitys bs -dgid ed¢ rot ¢asnsasad Saeidon sds at saytostidois to atasmels 98602189998) SavH0% 94¢ To. 9bsdsti dag00 if) « ,eounsoittingen tes fies dons1% no beowbox1q sonsesisass edd Jang ~3inxT tasata eda edtoyd I aious1" Yo sas eseoretigs® sd to antyiiavg oft 19¢%8 | -Mtekb Sntiest fsoteasio af: oouseatsaed datd donest edt tovrstsam tse18 baoose oA? -*fuos yitaerstiib etiso .(OVEL-216f tuods) smaO*i sb tisartiag seve bas tasétoamt eae! on ts¥ -00899 o¢ sostisaqmoo ai beag -aibao: ,dosdidow 23 ytivitos bebia-vasa eid sort awond astded -fonemmes yhseris ome ni vete Saof s aestA. .tetaosds bas 199 fins edt'wo1b bas beisasom od etedw .aasy dz OS aia st0oted aa <986!' nods sone14 of baanxate1 94° .atuomeqom Lerytosdidois 9n0 bas. .do9tidors goftteertisicl s as beyolawe saxit 91943 asw bas | sd4 afd betatogas odw ,If yrae8 tonsotvise sax betetas Bbat at ‘-ahanbigedchegod: tassicqmt seom sat to Snabussaiisane 1soqn - mt ,(S88t settee) tomA, Yo seoteno ods et adzon yixss ein to on0 - beewso wie dotdw 608) .aottulover ad¢ at beyouteod t1aq:ts0%8 jae Seow odd 2f trowesid? .er]etsio§ to eaekG t0t tliod 2d oF etetssets seonouftaiay yfoatsae as .t9tesm-edd to d10n [ant _cdw od Jagoo axsupos 6 bug0ms boacore at Raibfind {sqioniag sdf k e19b10 tsnmaLloo off 4(806°.2£%) vswetsa Qatsoami as ebsol dok vesTvedaeto astosisdersdt aieyfeaitne {ftte ,bevolame aise 576 (mort Ssvieced om10*{ 56 SSELosgodd. .soaseateaasA ast ‘$it0ted FO619 OF aOfearasoo saz F1tbs¥ 36 sattsdteg 203 with windows having caps, ebove which was an attic treated as a half story. The roofs on this wing are low and the chimney caps project but little. Only the pavilions make an exception from this. It received above the half story further an upper story with the height of the principal story and with high ro- und-arched windows and a great root with monumental chimney c caps. His system of the facade was regarded as a model exemp- ‘Le of festal palace architecture and was frequently imitated on numerous buildings in the succeeding period. The richly . sculptured ornamentation was by dean Goujon (died about 1555 in Ftaly), France’s greatest sculptor, butwwho was likewise thoroughly acquainted with architecture, and was ‘in part prac- tically employed as an architect. bescot was a highly cultur- ed artist in refined design, who understood how to combine all elements of architecture in the noblest treatment for the high- est magnificence. His court facade of the nhouvre appears as the ripest fruit, that the Renaissance produced on French soil after the purifying of the capricious art of Francis I by the classical feeling form, The second great mastercof the French bigh Renaissance is Philibert de 1’Orme (about 1514-1570), ouite differently equi- pped in comparisén to Lescot, yet no less impertant and even better known from his many-sided activity es architect, engin- eer and theorist. After a longs stay in Rome already commenci- né before his 20 th year, where he measured and drew the anti- gue architectural monuments, he returned to France about 1536, b, and was there first employed as a fortification architect, and in 1548 entered the servieexof Henry II, who appointed him the upper superintendent of the most important royalibanldings. One of his early works is the chateau of Anet (after 1552), in great part destroyed in the revolution, and which Henry caused to be built for Diana of Poitiers. This work is the most orig- inal work of the master, an entirely uninfluenced creations. fhe principal building is grouped around a square court to wh- ich leads an imposing gateway (Fis. 303). The columnar orders are here employed, still entirely in the character of the Ita- lian Renaissance. About 1564 de 1’Orme received from queen 6 @atherine de Medili the commission to erect before the Bates © rm SS oa PF ceasiahserns sit to Sotntnet: odd at eee sd a0 bobaseh asec ehes6 1s fogast091 Oe2o0lcaseas es asiq bavorg s benaiseb istusn s§406. .bi8) .ett000 t9ffleas aot bas nisa gateogmt as dtiw ak pasbaeacedt to noikiveag olbbtm ods dttwoasgsd aoitonasanco: ad? -ooneoktingss tsetsexk eds ai bas enotsiouoxg avitseam at ehs0a% ~aevat “tob13 doaet¥”: eds bayolgme od (SCR .ar%) sbheost saz a0 -(23800R09) sdsow (sqtoutiqierd at bedtvoss& das * aid yd bod _-gijeaeetoo cornell dtiw eetrosendaid ont bevieces aeifivea ea? ovods) .etote tedqs odt at sistasifa astdtaizeS bas wswol saz 9906 8 bas awobuiw bacor [Lene dttw ytote isd s Rated ard \9st8n ebatn gaiatolbs ont .toots as nivdasl gatawo1 6 dsiw s#seas ytote Teor s doin ersiq ae saaibiiud bébsoxs yi0ots sao 8 ebinyao boane11s otew ewobaiw dard dotdw ao .otsts as a8 be “901 sbsostieds tsdt o8 .noissatatis otudavds at saasd wol bas ‘Rafed asbieod .euiG‘{ 20° .eaif Qntawox dotsmtas yisy 6 bavie ~auds ytevs beqeleveb taiaosds boaxsel s as onig .sossidots a8 (8065m 78 .totouttenos bodatwgaiteth s esw of -“iivitos dasb to elfed hbeansaa od .wid. t97%s bomen etoor vot matave ade to2): to, aaiatotbetaivolso {iow s yd besbat (dibiw Leveunn vieatéas ~{sisne’ notsouttedod to boddem s euds ,do1s 3sa1 & nt atedata _~) Mottididzs (bas -pawlies tse12 10% r9878L cisey 004+ doe 0ioRe vi @othie church of S. Gervais at Paris (1616-1621), on which he employed the three classical orders with severely classical + treatment for a powerful. and indeed purely decorated building. (Fig. 307). Dehrosse was a Huguenot, and as such was already ‘inclined to a severe conception of architecture in the sense of a purely intelligible classicism. His ground principles were even made more severe by the requirements of Calvin, who for a longs time exiled all sculpture and paintins from chureh- es. {ut otherwise secular and church architecture, besides the tendency pursued by it, adopted a second deviation there- — from, that indeed adopted the same basal elements, but “in con- trast to the simplicity there intended for show, freouently took to Barocco forms and often to luxuriand overloading. But always is it the Senuine national spifit, which prevails in t these works, producing that interesting cembination of french Glassicis& witn Italian Barocco art, from which the art of the succeeding period arises. i i io “ oe THAME UT aavTOMPTaogs, HOMAGST AMAA .VT Bhi; MFA Pee 6 «3 . -91ya@ bas etesd {s1sa93 .f ‘ods ‘goqs souseatanoe asffesT sit to eeonsultat testfaas edt tart? oad at oldttqso1ea omsoed abnal Sinsates To cistostidois “Faaisgs -Dbetsloat xine Ti asvs .yastaso dé Sf eda te aabsoah ‘eviten .sivte ordde® edz to auoistieinuoos Igiasbaow dbeabar edt -asis yasm o2 Tleati ai bebsloai dordu bas .estatavos seadt ai ~s% lanotssa sdi befiaitse ylessilamoo ,déqow dasnsuisa to ssa sarki $i} to dtow Offeitis bas [eautonxsa a berogaos bus sts -yaivoiliro tset8 déiw soasvbs yioo biaoo amtot won sdt ines -Iaisg ai easdg won 8 osat Ssaeta5 besbag dgaoW edt to tre sat omit edz 3s yossals .siutqivoe ait oals sbiswiedis acoa bas dat aau S¢0gisq edi tu@ .yladI ai betseqas sonsestaus® od¢tnade -lesnk o1ttae ody ols es .d3008 odt to tadt ao1t taexsitib sao 8 M%9dsIon ods Gatusmud YE .9n0 SaeteTtirb s ssw stil Isutoel efgaeq sid joonevbs lestosllesat tdaife 8 vino beonatreaxe s48 “oS azel ({fto .mailssbt beaisel asi a0% Satbassaxebau on bad : -eupitaad .-espisas odd to Iaviver™ s as ¢t rit besste od bly ~ai y¥tagtw edt .abasl arsdtiea edd at omod ts toa esaw sausigo .2to9menom t48 bas Leigtossinors atedt wort gaibosoorg eselpa “bod -399908 ti9dd 3s gvisost gon bivoo aetsitvais atodtz0n te0m -eisat Jeqqgu Dnoysd beeesq ylooisoe yadd .seso sda sigK atid ti -ond emedsd ton bib astatnuoo ntedstu0e sat to e1sdo9tidoig sat end easf isi aaw si andl .worttsvasede awo atedt ¥5.medt OF aN @ {iite edt to aeods asis .euotsas odd to attow isindossidows “O91f9 “9a sad hetéimensis isds .yletl rsaqs to gas becolavebny geve s8 -89L4 eat baoyed Sabonsvbs exstesm oF aarot to sf 4 bexilite ed ton bines yataus19q4g0 sidsi0ovst visvidslor aids” add ai atetasm anitsoté-disa edt to mots1oq Eisme 3 yd Jq929xK9 ~s19ttio 2 ot Sesagte1 sian asd to wsistoctess tseta of? .dta0r ekaioitnd edgy worl Sewollot sairt etas bed .yasibomissni ta -ifséi 29269 evoiemya ai .anstistI yd ebask asmted ai batoer1s ak ylasivottiss .2doxsaom to ecivies edt beieine atedacm as Ow ,dese ofvel2 edd es 18% 2s yaam1ed davoa ai bus statavd 80 qideacittsiex vd yisdT da tw ecoitsfles odemttat sx0m at ete atesasa e2oas isdtedw ‘og aathr090A -eoftosaaos norsdo yd ~tiw _seanieed bodataxe) vino 10 moitwoexs edt bebastaiseque ce fs astisst odd .etesaem aiedti0n vd tuo beiaiso a9d¢ ste" d9 Set, pele Sas 2 288 pe L IV. RENAISSANCE ARCHITECTURE IN GERMANIC COUNTRIES.- wel © 41. General Basis and Style. The earliest influences of the Italian Renaissance upon the architecture of Zermanic lands became perceptible in the first decades of the 16 th century, even if only isolated. Against the indeed wonderful acquisitions of the Gothic style, native in these countries, and which included in itself so many elen- ents of permanent worth, completely satisfied the national ta- ste and composed a structural and artistic work of the first rank, the new forms could only advance with Sreat difficulty. . The art of the North indeed entered into a new phase in paint- ing and soon afterwards also in sculpture, already at the time wheniithe Renaissance appeared in Italy. But its purpose was one different from that of the South, as also the entire intel- lectual life was a different one. By humanism the northern a art experienced only a slight intellectual advance; the penple. had no understanding for its learned idealism. Still less co- uld be stated for it as a “revival of the antique”, Antique culture was not at home in the northern lands. The mighty in- pulses proceeding from their architectural and art monuments, most northern artists could not receive at their source, And. if this were the case, they scarcely passed beyond upper Italy. The architecture of the southern countries did not be@oeme kno- wn to them by their own observation. Thus it was far less the architectural works of the antigue, than those of the still u undeveloped art of upper Italy, that transmitted the new circ- le of forms to masters advancing beyond the Alps. But even this relatively favorable opportunity could not be utilized 4. except by a small portion of the path-breakins masters in the North. The great majority of them were referred to a differe- nt intermediary. And this first followed from the buildings erected in German lands by Italians. In numerous cases Itali- an masters entered the service of monarchs, particularly in Austria and in south Germany as far as the Slavic east, who were in more intimate relations with Italy by relationship or by church connections. According to whether these masters al- so superintended the execution or only furnished designs, whi- ch were then carried out by northern masters, the Italian art - 2ow atstie9 .e10t sisew s 10 teqwG)s ut beageigxe caw siaiae sod edd vivo tsdt ,eea92 askissl eas af yisamq o2 taed ana eit -asegatensh astiss} eds to eXrow eas moat weds eeteraqs2 notes ~eddion edt 10% eonsgeisned sds to yrsetbemietat asddant A .a9 6 fi0qauq 4df Yew aids ai teG .soner% dhworwds eaw aiesesm a4 “193ni doge1t sdz yd bekaado dowm ased bad eoidetastosyedDd bas bo eseqgisia Ons exsntseio sdt Jeol ds asvisom ati notteserg . -aokeasiqns {saftario sdt “£0 edd 2ew siudossidow nisddton 10% sometaogmi tessexg 0 vd betqobs ta1i? stew smt0T sonseetensh! oft tang .dones smug ~lwoitisa bos ,ekaidéateg aieds to ebavorkiosd ait rot sisdatag evotemua af bsistteoe auted .atevsagae hoow bas asaqge0 vd vias boovarshauaim bae ysesd eltaenoe1t sa? .etaiag bas aaniverkas od3 Senistdo yléeom etodtus seodw .eacds yd betneze1q eodorane -ofsm tse18 at 10t e190 .basd hbrtddows baooes Ss gino aovisom ~aa afead to esc1soe letdo edd ebas{ asmis® nt erstesm to vis “ito hebbe siex sasds of .art0t “sikieespisas™ oad to s5siwo “ast% mowt boouboxtai s19ew sadd .etis 4tonim sat Yo edoubora a4 ~‘etataq-astiss] ,asisistat .saudiniwst .altaneso .vfasl bas 99 tsdd ,19ba0w on eaw ti ototetedT .20cd to motrsio‘eb ant bas “ma sd? Ot youshass « bad teail eds wort studostidors nxsdéxz08 of sesisseubat gre odd mort déatd ast yd borogmad eaw st + {Ls' ‘Batt diiw sonsesisaef sat to notdqeouos t9bas1a bas xsdeie 2 “DP eiow seedt a8 .exotietnt to sasatssast adr to ausidorg Jaei3 “to ls1utostido1s beitiasio ast of bas ~vlatt at anvttaloe 10% ; ot Rafdost eaw stad? .bsas0e isvem issesm masddiog |A9 mains. astistl tol aaiateais ai as antbasterebas at doum 2s tast wodt | ~tat déiw Sevisces hoobat c1ew eutvew iY to abattiaw od? .t15 “s0i9 .tetesm datbasitedtel s S63l-asey sdt ak vosotld .des79 ~o# 005. / lanterns. A rich treatment was enjoyed by the portals. For the opening of the portal the round arch formed the rule in the developed Renaissance. The treatment was bess architect- ural than ornamental. The windows mostly remained very simple in comparison with the portals. ‘Phey terminated with a horiz- ontal lintel, but also in part with mediaeval forms of arches. @n their enclosures they longs retained the Gothic mouldings, particularly the deep hollows in the jambs, down to sbout one - third their height, and the late Gothic tracery in the railbin- gs of the Day windews. bikewise in church windows is this fr- equentily retained, even if with a transformation of the lines and details into the conceptions of the Renaissance. (Pigs. 335, 359). En senéral the architectural and decorative ornam- ent was limited to certain especially preferred structural ‘pa- “rts, which thereby received an almost independent : mange Cause aver the general organism of the building. * Fhe gable isa just es characteristic for the northern: hedads as the towers for the northern church. _ sitingosen odd aimasq eliateb isustoetidoxe siz ‘to autet sit stones, omsoed eauedon to sau od .dagmisend es1k viev s to a0 \sonseaisoe? beonsvis odd at ylno e1edess aisddion ong déiw ts , -betqobe ton sien yodT .yvasdaeo at SF efit to elbbim odd duods - ~9829998 evite10096 ‘to eta0e [is tod .emt0ct Isotaealo aieds at ~ ebasvis amyfoo edt to isteebeg sdf meds oF asviQ sien asit “90 asw disde off .{OS6- .2f9) .a0iset0096 Iatnemenxe beviens4 s9voi edd ai dnow Istaemsni0 bisltevo dtiw beiataast yidaasie yd.Seds1000b mobise ton bas betult anied webatames ans .b1tdst whe yaavetieq egacs0l ao Istige asve 10 (O88 .3f%): genoesdsis ~dasw et aieetas edt ofox s sh .du8 sonsestsash ar as virsii ~3s bas beilewe vitasepeat edt yssxdaoo add ao 3{I8S 1.32%) aad ~d3 (886 DLE .eari) amuloo sidsisbaso 10 asdeuied beoubsy ats totfetl seqqa to esaseatsaed ylise sat at hersg99:0 vbseils ts -enodain yad edt no vileiosgee .19evst seta bayoiae .(SIS are) -diqeo. asidsdat109. ads mort hevixeh s19ew ei{estase edd alot s 3A 7 arkeoastiisaxs yitaososutwey .eonseaisneA astist! edt to La shofieittse stew wea isxem9k al .cotssmiotanssd biswivs yluad % dofdw moat .eeveoi audéaeces to estise sbya yidsaislos a dviw ~ti betseas eaten e1stecliq edd setwetid .2eetulov wth sds werk _ 90 nemted citi Siawaxob bedeiatmib anisd usdte yaasudeo eds oi Basot oals sattal onT .somted aAit bemiot visiisno s19m, yoad “e180 s eved yligom eeoiaioo ed? .edtoaaque seit 25 taemyolame ~sInentsao1s anotoiaqsos yiertdas as yisaouoeti baa yvsed ,2aef etiaiteG . .s0fn1t09 oid ott beiiterq oetto asw svacdiaors oP “om Pnoteitio sdt to motsoefota bas adgied sdt 101 anoiducgord _~bs18 tutetso s dtiw ateom ono ti .0d beredds ton e1ew suatbdn | | @i ef eyewle yireon .m10t to amonso bextt os antbr90e2s nortan 7 doertth eda 10 atetaam asiiedI to sottsateitraa dt bousess sa “adéton eid .sfodw es as berebianco .2lebom asides to conewdiat -~ baktied asi nismet soaseatsasS sit to adson issetoesinors a19 a9 ab bas ytian -Jasagolevs® oiaasio oF Bisk)ex ai ostiesl odd f 18, aetistl od¢ wend ofw .gaibaste t9dgid to asuidtA © .o1us0f0 ~edee-eeel petivccs ,aoktavieado fesoateg yd ction Latutesiido -m1e8 aiedéuos ai sasek ta bas iasoedidors eviden sis aod ms aisq sbsost yd th 10% etusidedua 5 saezexq oF tdauce yadd yas ~dows asda 8 wd ceostive {ise aisia 948 Herevoo yedt medw .ants “Fide hetateg yd YO .s0208fk yd badsntua savsosst 238 Phe forms of the architectural details permit the recogniti- on of a very free treatment. The use of columns became gener- al with the northern masters only in the advanced Renaissance, about the middle of the 16 th century. They were not adopted ‘in their classical forms, but all sorts of decorative accesso- ries were given to them. ‘The pedestal of the column already received ornamental decoration. (Fig. 320). The shaft was pr~ eferably furnished with overlaid ornamental work in the lower third, the remainder being fluted and not seldom decorated by arabesques (Fig. 319) or even spiral or lozenge patteras, sin- ilarly es in Renaissance art. As a rule the entasis is want- ing (Fig. 321); on the contrary the frequently swelled and ag- ain reduced baluster or candelabra column (Figs. 311, 332),th- /.at already occurred in the early Renaissance of upper ‘Italy, (fig. 212), enjoyed great faver, especially on the bay windows As a rule the capitals were derived from the Corinthian capit- al of the Italian Renaissance, yet frequently experienced a t truly awkward transformation. In generai men were satisfied with a tolerably rude series of acanthus leaves, from which g grew the dry volutes. bhikewise the pilasters were treated li- ke the columns, often pdeing diminished downward like hermes or they were entirely formed like hermes. The latter also found employment as free supports. The cornices mostly have a care- less, heavy and frequently an entirely capricious treatment. Fhe architrave was often profiled like the cornice. Definite propertions for the height and projection of the different mo- uidings were not adhered to. If one meets with a careful grad- uation according to fixed canons of form, nearly always is to be assumed the participation of Italian masters or the direct ‘influence ef Ftalien models. considered as a whole, the north- ern architectural works of the Renaissance remain far behind the italian in regard to organic development, unity and in en- closure. ‘Artists of higher standing, who knew the Italian ar- chitectural works by personal observation, acquired less este- en for the native architecture, and at least in southern Germn- any, they sought to present a substitute for it by facade pain- ting, when they covered the plain wall surfaces by a sham arch- itecture animated by figures, or by painted ornamental work. ww fednemenro to sae ond oxtwodtd motssi00e6 enieint edt al “-199' a0 betsadneoneD asdt .oiodw eds tevo bebustxs eesi ai Aaow book s 10% e180) texit of rovesbae edf .esasq [satontxg ais edd toi elisd tao1s sd? .dedsiniwib ydeaeds ei toolkits Lsaretas To dH: stote1xeds exe das wol bus anol yrov yiteou sun gonalac -teges? yiov s doss1 yedd ofo1 6 28 dud ({S86 .8¢4) aeterogoug ond) yd .ewobetw deaqwota dawordt Qntddeif boos gh vuowiad Ly gatmisdio oft: bas tnomtse1s scloo eds yd .bsvolame alstueten .2s0algertt .87006 sat to ywixalwottiac .aflisteb ead to tailoosa evitero0eb .eoraiced edd al .oxkti edt baa ewobutw vad .esvote ‘Lsaytoesidow aveds1onsid.seritevbai dia sxidas sig bas etis ~titde to exstesa od of aesvisamedt wode eradi0ow isiateubat bas | % odd ai softssxiassso sotise ttads of skasas .nottourteaaoo Ln tested) odd? ogis bas asoaisg sas dtod ai eilew sdt 108 .ebitwe 9d3 at isttetsm hHesrsete1g edd af boow .aaesidio edt to assnod ~oeTt stew eilew eds emootsdns oft al .chailoasa skin to wxot svierosgmt ylomeitss bevieoet e1006 eds dud .artde ttef visass to dats [acnten ett at steL eaw fboo® .(6f& .atB) .2orwaofone odd) fas eyswioob sds to eorweolone ad? dentate visdsite aud yvierttas as sved (SiS .2f8) tauemseers r9stiota ead at 2agfenea ermesasliq .easd ofjat ootetvibdue dtiw notéevale isasdost¢idors 4 efit novi .dnowibog s sist aso dae asotniop agin eumstos 1.0 bas goasd ed?) .(6fS .2f9) .betstint webiee ton at soitsotduss -tdow sbscet ak asdd bovesaqxe yisaows stom aedd ots Barmest ~otv seoeisq ons ak ig0co ylcowmos anoiteu0cosé oposste .sastoes -ostfiors ofvio at tered stud .vistasor as SE ont To bro ods basw yfevisaios s at ylseom Seabat bos .yuesaeo ag Th ade at sung su000 asdd ,isdaoxizod sis eaniiies ed% Tl .tasadssad aliamce oa? .gsas efbhbim odd nk es cussed bebluom to bsastmsdo madt ao “8909 S10" gnomsso1t Tedoia a ddil .hbexesesia ans asosqasedat enoisivid sdiw yisst mori betestint akatifes ssboow sat botoure axede ~eeenoto .anogyfog .2a1sup2e te amet edd ai efousa orni - =9smm00| 818 tsdd -O8ff ods bus eient0o Hodagson. Atiw: eslanesos1 ems enetti dns efenaqeed?® .(22¢ . 99) Lemsed yd redtomot bos ed? Venotsasc00b Iséeemsate borsmins dtiw bassets visassoott z 88Y e801 bus Jon Seddia as Ilite beasia fexfi 3s evew siivey so9sidors asfyose .edim thodtiw az iney ae0%9 as. meted tua, aot vo) stioo% aisatbioaue isi at wodt to enw obam Isxsasa sb ems A } P oh oe 239 J 3 Ts the internal decoration bikewise the use of ornamental w work is less extended over the whole, than concentrated on cer- tain principal parts. The endeavor to first care for a goed ‘internal effect is thereby diminished. The great halls of the palaces are mostly very long and low and are therefore out of proportion (Pig. 352); but as a rule they reach a very tastef- ul harmony by sood lighting through Srouped windows, by the materials employed, by the color treatment and the charming handling ef the details, particularly of the doors, fireplaces, stoves, bay windows and the like. Ip the technics, decorative arts and the entire art industries,Shenorthern architectural (jf and industrial workers show themselves to be masters of skilf- ul construction, thanks to their strict organization in the ¢ guilds. For the walls in both the palaces and also the better houses of the citizens, wood ‘is the preferred material in the | form of bigh panelings. In the anterooms the walis were freo- uently left white, ‘but the doors received extremely impressive enclosures. (fig. 313). Wood was left in its natural tint or but slightly stained. The enclosures of the doorways and the paneling in the richer treatment (Big. 312) have an entirely architectural elevation with subdivision into base, pilasters. er columns with ‘cornices and cap like a pediment. Even the r rustication is not selde@ imitated. (Pig. 313). The bands and framing are then more strongly expressed than ‘in facade archi- tecture. Stucco decorations commonly occur in the palaces to- ward the end of the 16 th century, but first in civic architec- ture in the 17 th century, and indeed mostly in a relatively simple treatment. If the ceilings are horizontal, then occur on them chamfered or moulded beams as in the middle ages. The interspaces are plastered. With a richer treatment were cons- tructed the wooden ceilings imitated from Italy with divisions into panels ‘in the forms ef squares, polygons, chosses, stars, rectangles with rounded corners and the like, that are connec- ted together by beams. (fig. 314). The panels and frieze are frequently treated with animated ornamental decorations. The vaults were at first shaped still. as ribbed net and cross vau- lis, but later as cross vaults without ribs. Secular architec- ture in general made use of them only in subordinate reoms (ov- ¢ bas (,o79 eagsezaq yesludiseay 3239081909 19v0 heastisad edt 2aitamixoigas ylesoto o10m abnibliod saP “Bevieoe1 sash? .2en0b Oee etivey Leanss yolqms oats ‘Speke iddenttacs vd aifew oat of basker dtiw eactaivibdsa Is 90 ~—weatl wrors sdt ot woittibs at to (@9d0%18 eaz0ts al atetaal-.\, Nea yha tates 3 stagntse1s fatcsmsato ylerténs sewat asaya -gne dasbasde HDhavolt cooste eedoisds sdt to atoeiuetar edt al *Bhaeb lite ore" ¢eds .akatblivd dodo suse oft ad .Saomvol ~nie ylovisataqaes oenisast taeassers odd .slyta oiddo2 ai baa -od0o'yllentetxe as aovia yilsnotescos een eilaw eds oP aig “-9908 Yisieqaetanes odt ao bsqoleved 28 dove »,norkde1goab bevis ‘@ ~@nneioo tied bas erefesliq-eonsesisnsA «.exutostidoie asi ~ebas ewobatu edd to Sdated edt ts antoaemuoo yltasuoertat Joa edt to sary odd mor} sotatos aism s 1894 ,aafoanos ao auidsed werd Besisine orem adie oft .(3fS .art) .asfusy esore 1 tog sonseatenes t9dto bas eouig .2antbives teel ba3 t186~bas-ags ) efit o¢ ylozodo ox0m stedbs dordw . | Bote. 7 ; Pree fs wr’, als “edenimaetes sonsinevnes tod bicker esw edoted neds sa0om eels \\\ 242 | ornament the foliage ornament of the early Renaissance ‘is al- A;ynost entirely supplanted. These dominated the minor arts ‘in wood and metal sculpture in the same manner as the ornamental forms of the architecture, indeed until the besginnins of the 17 th century. Then it passes into the uBbly Sristbe style,* * * that on its part forms a precursor of the Barocco style and directly leads to that. The painting also makes use of the grotesaques (page 193) derived from Itaiy, for the decoration of ceilings and vaults, more rarely for the ornamentation of walls. Yet the grotesques did not extend beyond the German states (Austria and southern Germany), and therebascanrale, was executed under the lead of masters, who had. negaleees th- eir training in Italy. (#is. 339). * As the ariginal creator of overiaid ornament ts to be re- garded the Nuremberg sculptur, form-cutter and nrnamental dr- ajteman, Peter Flétner, wtthk whom the ftrst design ortginated about 1540. He died in the year 1548. 7 * * Cartouche fe a pasteboard roll. * * *& Phe gristée style 4s aleo denominated*ear muscle” at- yle, since it tremsferned the scholl-lLike round forms of the human. ear to frame and ornamental work. ‘Among architectural works chateau architecture stands “in t the first rank. In the 16 th century was completed the tran- sition from the castle to the chateau; but only in the second half of bhe 17 th century did chateau arbhitecture lose the reminiscences of defensive architecture. At first the chate- aus are mostly transformations and extensions of earlier des- ‘igns. Bor new buildings the French chateau architecture was in general a model. barger designs almost always received _. two courts (lower court as the external, and court of honor as the internal court); on small chateaus men were satisfied with one court (court of honor), around which on three or fo- ; ur sides are srouned the wingu of the buildings. Por new buil- : dings regular plans predominated, even if strictlsymmetry be not always considered. The angles were accented by towers or pold frontispieces. For the arrangement of the ground plans, yf also wore than before was regard fer convenience determinat- ‘ive. In the mediaeval castle passage occurred through the Er eee | : " ane enteal a neve ,betnsise dices je ila wok .emoot edd fur edt od bexedbs yilsaotéessat nen avesiedo yleoniag ~dt bedoses od yduo bivode esonttq yd beiquoce exnendusas ens esiiinges niedtuoe edt af .ednevieer te sgisdo ai enoe4 ig009 “ “<1 hobsois isledastoe1 s eved ylteom eusotsds se022 odd ~ eb enotssoiagumos sdt uset srobiss0o es: eooLsieq end ossdwe ‘SVSi euaestsdo sedi dtton weddast sof .(48E ~8i2) .emoor ond “ei0°edsof) .eovsisa neitetl ot of datbsogcext02 elsdtid- ane ~aee issacmenon basa sid Snitasw ese susie nswe diaigqe evite te stisq nistie0 sisomoo yinO saheois3ctaq to Iv? ace ebeiblirsd ett ‘SE1N0R edd al .cesadett. tebssi009h bebsofyevo teonls ns citiw ans 6dd duodA .boitiasts eten entot edg “Yinsae0 dt 8L sad to h ~o00 miske Wiwdass odd to kas oft duods dh .eousecisnsi said he oH epaiblind edt hae etasoo edz 74 eigie mi ebosio 6 betas | 788 s10m aids ai) eeieasbaes asiieal ond. escaseitnt sieda 196 ett bei ear arvatee aniterran st Vn bas e19¥) Be Dees 1 * , As ; eee A ye i sla Sib A odd ,eonszcisso® ateds ion “feooxa edd begoleves ei ti to ofbi i$ } 246 was either placed at one end, whesé corners were then genera- lly cut off, or at the middle of one longer side. for this » plan the chapel in the old chateau at Stuttgart (efter 1533) pecame typical. (is. 324). Et consists of a rectangular ha- 11. with polkygonal bay window niche on the longer side, in th- is being the altar, beside on the angle of the wall being the pulpit. On the opposite longer side and at the ends are arr- anged galleries. Thus the requirement was satisfied in a pr- oper manner, that the altar and the pulpit should be seen we- li: frem all places. * * Debrosse, the chief master among the Huguenots ‘kad chosen for his chapel at Gharenton (page 284): the basilican. plan ‘ef the antique with the alteration, that galleries in two stortes ‘extended around the high eentral. interior. Foctne simplicity of the divine service corresponded a gre- at reduction in the treatment. The artistic effect of these halls for preaching therefore remained far behind that of the religious buildings of Gatholicism. Gertainly there also or- foo ddinated in the Renaissance some Protestant church buildings (f3dle of it is developed the proper northern Renaissance, the worthy of consideration. ‘Rut Protes&santism [Lirst aspired to grand and monumental effects in some structures of the succe- eding period. Fhe develooment of the northern Renaissance shows us, that even in it, as in Soain and France, Gothic and antique ornamn- ental members at first often directin appeared together, were Sradvally better combined with contemporary additions, ands slowly fused togetner. This mixture of styles in the native art with the new form elements denotes in all countries the Character of the early Renaissance. It corresponds -in the h history of the evoluticn Ho the Quattrocento of upper Italy. its buildings are full of picturesque charm and frequently w with an almost overloaded decorativi richness. In the course of the 16 th-century the forms were clarified. About the mid- high Renaissance. At about the end of the century again occ- urred a change in style. At the courts and the buildings un- der their influences the Italian tendencies in their more se- vere and scholastic conception acquired new Dower and finally ree i ay Anse ieusitehiiec bi ~foxsaeo eas Wa tbe: Saeietb exow eft st yieltottisa .elooed six to Saree dent edd ni Litany bootstet evew esvicow Levesibeu sia | bexssaceeib yletelonoo yett dotdiw at ,aseteso ft SI eds te 1 vatentged edt to sisi “yib bedetideses yiisnbsis eft sasha THER AS »olyse osoored wag ed | , da bas _peirdnne§ snerettid sdt ai goktalov® .IT -8IR9Mnv AON -2bnsiasdtel ea? .f __esbieed .etus ne0 nt OL edt ak begooled ebnefyentek eds oF ~nexsid oeis .mnidieS to bne emsa dadd Yo ewobeatd Sniserxe sad rediskosis tafed .eons7% to eoooivorg dneosibs smoe bes Yaya at sonsbssgebai Hisiiss s bed doidw to sao toes Peodiverg VL eds bedssimoboug esouivorg aieddion ett oI .snemnievon sak -Feupesnsaof Sad axsiduoe odd af ieiwdivo bas sgsednel aguaed -sq) ¥ seliedD tefe .sonetebsogesa sds bea (noolls¥) sonex3 _,XI¢a000, eds af qu ddavoid basomaed Mesmid eow onw . (S28 o8 -2 aaideiavolt easy yd yiiisaeoia yusnibiosiasgxs bedoses dt suc £8286 II oiiisS soe eid sebes syS -2eLigvgewbot bas sox euciatios denise ebosivediel ons ho nciscouaueni odd S882 pag anol 96087 bedsar8ito meas bes .meitogesb Lectsifoo bas. “efiw.to tiveet 2 ec .slux deinsa®, moxt mobseri 103 cosy gbootd rage Gort ifeeti boert (bnsifck) ebos{eense gaendson sat dote 6 6lut dzinggs shee beniswex esoutyord sisdivoe ens eliaw ni ssienteg susoed basliol dud ‘eLotLodss) yd ofed sigw oaeat & Arend vor 603 meewted sostizoaae eporsifes bae Isnoidsn od? “18 at 80 ifsed i bseeerani eaiwedil ebaslyentey avevssou bas -ecutcoesifo ods (08ar- setts tcode) ysudnss et at ens to pne ens suodd | ~oneul tai neibansr08 r9baw sevisow evaserians® betsioei seart ’ Tiedtol edd. to oidg08 séel Snineiawvolt eid cant bessiteneq es ‘ _ bib, vawsne9 dé Sf edt to Sniartbed sit daiw pine dud :ebasl ‘ th 90is ak bsbeosag aueplol oHesxe ‘odesxk & stiveoe yond “id 98018. Bbntblivd ebsoed bnoose dt to bas sid s1cied ubssx ¥ odo. eM aie ad ididxe emvdoetidons ada ioidw ae ,919e. ae . Bi eng al .gomeeeisne® ong to IsTHSTE oe} 4% i] i — a q a : - » =e baad ne Peis et < a ifois sisyee 2708 8 Toi sovsebas T9QB) +) 5s ne nieseo & ytao olodn eat so ogle if a) et ae ee © " ~ ~ aa oo a eee ee = ms . ae, a aes 1 4 ; { i ‘ -bien the northern Netherlands (Solland) freed itself from Spa- a aracter of the Renaissance. In the thirties apoeared an ear- 247 the control. The late Renaissance.commenced. Sut in the art of the people, particularly in the more distant provinces, t the mediaeval motives were retained until in the first quart- er of the 17 th centurn, in which they completely disappeared under the gradually established dry elements of the beginnings Barocco style. TI. #volation in the Different Countries and the Monuments. 1. The Netherlands. fo the Netherlands belonsed in the 16 th century, besides the existing kingdoms of that name and of Belgium, also Luxem- burg and some adjacent provinces of France, being altosether 17 provinces, each one of which had a certain independence in its Sovernment. In the northern provinces predominated the German language and culture; in the southern the Romanesque= Prence (Walloon) had the preponderance. Under Gharles V. (pa- ge 242), who was himself borneand brought up in the country, it reached extraordinary prosperity by the flourishins comme- rece and industries. But under his son Philip II began about 1566 the insurrection of the Netherlands against religious and political despotism, and then originated those lons and. bloody wars for freedom from Spanish rule, as a result of wh- in, while the southern provinces remained under Spanish rule. These were held by Catholicism; but Holland became Protestant. The national and religious opposition between the southern a and nortnern Netherlands likewise impressed itself on the ar- chibecture. About the end of the 15 th century (about after 1480) the first isolated Renaissance motives under Bursundian influenc- es penetrated into the flourishing late Gothic of the Nether- lands: but only with the beginning of the 16 th century did they acquire a Sreater extent. Belgium preceded in time. Al- ready before the end of the second decade buildings arose th- ere, on which the architecture exhibits the predominatins ch- nest endeavor for a more severe architectural subdivision, e- ven if also on the whole only a certain sham organism was at- Roksan: rane Daa Si. abieres- va cis dokde beateses | © mdacmau ents. sind dude se (eoupesdsus enngnsos) tasuenx0 edt ha haeg: suolses # asged OSE! suodd «9409 yiunisiacaue ybsed “06 ong ni beeasigxs ehiswa0e ned wont .eseisoads nsiierl edd weottisq ses10l sis ai .siudossiviows teldces bas [soigesivess “Isve as .eiives) eit Yo ywivitos Lewndosdidose ond yd viael cedw bevaitsos osis doidw tis asilssl to sonseltat eoineased ~adedé oini boarsq -~ OL8!l tuods -- eastoesisiors asigzicd ens ‘on .0909% Soudeans® setaish eas to tnomuaom [gavtostidors satot sc% ~dw ,bisheqes8 of sgoyu® .1e¢eem asibavsawe 6 yd bensiseb caw Mood .phasiiedsel efit to 1ehlodsbes2 .sisdedd to so1sbsam mo -Giidoot ts eoslsq 18@ to ustblicd sis a0Y-soivase rsd otni ~ @ueuaebfed ioodmeA yd beeivaeqce eew notiuoexs off 6 (TLEr) ~iihovdsedtdotardeiboslisdiel dasscocmi teaxi oda .nitdosé to © e863e odt so ylentise booga [lite one sud ,Soneesisnsl odz edt .eonseeiansf sit of oinsoD sdel mort noksienexd $49 to ~fmobeaq has bimid sadwemoe dtiw svudounrte sicmia s ei eosiag Ows odd oi aeil sostte feoioniaa eff .enr0ot dones® anisen 2 aus sauod off .esbsost ebie bas gnord e43 lo asides. taeaR ~amem1e§ ash yo (€fGl) nifdoe¥ at (nomise ssexb) afs3 noBeore’ ¢ “add ebsost woiten yisv 27 mo ewote vbestia efeeeuss wort eg -Hoftsicosh Istuemeuto dois tdin beagosxe vifuteosr8 esabio os - sew (NGEI-GSEf) eoburG t2 Seibliod yisomeds ‘blo Iwitvasd od? (seTeiasexke msidetadd yd alinuc bas soif{sh anadot vd benkiesd éa8.fegone2 af eenti iekactte dsiw arsbro ows aad. ( 8S& -229) - duoddiw befitoaa bas benieidasy yter Lise eis esotri0p sid ‘ @eyaso edd ch etosed ofddoD edt eoddad edz nO -Sonebtilerar sbaost end i9ve bsrsddeoe tnensate edd Suh .edex%oone oad fue osigief ea® .sxsq vieritas yheotls at (eogpecdsis. auagosce) @ ytio yletete add aieytiantsa J fvt eaf Sdididrs sonsxeieges eebnola 1© dhaeixV ob entlonv09 yo (84L~Lean)) qrented ts Lisa edt df 00 .xontbyn€ feel bas .en20l08 sb tntsvorh to fiqua s bs agiesh at d%8 sisdiiden eds Adin: ben tdmos-ehuyys sawyeunet ies I _ ehsoet etifeeoelag od® (LSE .8t8)-.cendem youed sev s ad: — elbbta bebivitdse yiseix 8 yo usdo1d has débiw ai Satbagsys. ‘Prete r9ew9l dedeoksenn S8il-ooid109 & svoda asd aoidoehoiq a + 90d 20 eheseoboq ent no -anisess anebre xosee {td iLene ond. >. ~ ena ere tsa sade * bas etsgetsa wobaiw Cd s S _ = ae ae ee eS Se : no <8 2 25 6 SS OS Se ee 248 attained, which was broken by details of independent creation. ‘fhe ornament (ecanthus arabesques) at about this time was al- ready surprisingly pure. About 1540 began a zealous study of the Italian theorists, from then onwards ‘expressed in the ec- clesiastical and sechlar architecture, in the former particu- larly by the architectural activity of the Jesuits, an ever deepenins influence of Italian art, which also continued when the Pelgian architecture -- about 1610 -- passed into the Ba- rocce. fhe forst architectural monument of the Belgian Renaissance was designed by a Burgundian master, Guyot de Beauregard, wh- om margaret of Austria, Stadtholder of the Netherlands, took into her service for the buildins of her palace at Mechlin. (1517). The execution was supervised by Rombout Keldermans of Mechlin, the first important Netherlandish ‘afchiteét of - the Renaissance, but who still stood entirely on the stage o ef the transition from late Gothic to the Renaissance. The palace is a simple structure with somewhat timid and predomi- nating French forms. Ets principal effect lies in the two great sabdles of the front and side facades. The house gum G £ep@rossen Salm (great salmon) in Mecnlin (1519) by Jan Borrema- ns Irom Brussels already shows on its very narrow facade thr- eé orders gracefully executed with rich ornamental decoration. fhe beaufiful old chancery building at Bruges (1535-1537) was designed by Johann Wallot and built by Christian Sixdeniers (Pid, 325), has two orders with stronger lines in seneral.But the cornices are still very restrained and profiled without j intelligence. On the gables the Gothic reacts in the curves and the crockets. But the ornament scattered over the facade (acanthus arabesques) is already entirely pure. Phe Bélsian Renaissance exhibits its full maturity in the stately city h. hall at Antwerp (1561-1585) by Gornelius de Vriendt or Floris, * & pupil of Giovanni da Bologna, and Paul Snydinex. On it the Italiatssymustry is combined iwith the northern art in design in a very) happy manner. (Pigs. 322). The palace-lbike facade extending in width and broken by a richly subdivided middle projection has above a portico-lize rusticated lower story two small pilaster orders resting on the pedestals of the window parapets and a crowning half story, treated as an open ge abel elie a eibbia natuihencrthaniss eat seisites qlesisus et mofeverqmi Lexgned dT. ‘ Motsetiwis? <1if-rewos 6 q -bned oivsbsos benteidees edd at elteteb exo .deibnslascash “s99%s) vont 8 te geidiicd softest edt) no nese od van von® | SbsosT y16se ons edT .yavso90 Ad SL eds mi voeTIei bas (LST eds YTote 19gqu eds nt bas of10G eds yaote bawors ods ai eae befbsad vieer) cele daucds ,sldon ni: rebs0 19seelic e¢decamed sid to Atow dnsticami Jesl odd ei Qnzblind vid? .aoemtecrt (2861 besefiguos) eleeau18 t6 ooeleq od? soonsesiansh ssizles ens Ht [lite siflevasr? nsmeorste bos Lantbaeo eas stot afiad aoe eid bas (SSSI beibd) asyo asv asitesds€ yd yandnes ax @f eas to welenesd soouib a etidzdxs (008! beib) aeyow asy doosl)\, sedootinois edi yd [foe nsitkied ot sonsee faged stel aecisst -deiiduq bed bos yledi ni eoibuse sbhem bed neyo nav aebis eat “08 To ebetblind edt le ekaiwesb détw daow te01R 8 (SS3I) be “Aso on basel ment yO beowhoasdni yousbass gis ed? .sm08 ened -etewollol 49 “49 efs - NOS NSOHl ef so hetongsesh si einol® suiisorovu * “sh sebio Yo yllnuten ed of etnscun shouotano sit tus .edouet “DUNG Donitalrh o Yo sotaero e6t sf eh bank aedto sis ad ost “MOHD SP WAL Oiyds ssio9iR sAt mid asat{e bemon .Siuis Jotnem Y Benes AS)a Heltantémon a sedesuotios slants ys ben ianstos -880it0m AShimie baa ehaad .snootsst visoiade eiom bas tebscl sxew encitibsst Blo end baeffo8 al eteds betentzine seat eenibsind fcnseciens eux? .bevaseex3 Red edd wott medy a0 .yossueo dt OL ons to elbbin edz suede ~abneqebai Isneiden sot grivitte ocfvezisas as betesacs oninas *enesidio odd to' moitisees beasergxe ns ef das basifok .son ~on abad Isebi seel einti sroteiea® sor|eds anilisvera sizige -3s 18 esedd iL -amis ienicsixe stintteb esueie bus ciseiies ot breket ni 10% bewso ei dsow odd ad’ ynomead fs. nedg ,beatad etenat as eved aitew est evctsveds bad! Jeasmtesis (suck odd S Jom se dome. ,ceoqiusa ated io noheeevgxe guitiaca f Ader Tet Toveshae ens dotdw at .enoisseno reddo mi bestaiss evswis Praee Gwe: ARP ati A -€¢Jeninobsiq ysifednowenom ~ ete Yo Med. buoes odd af yiivitoe Isquigedtigice [svensk at > abyaeds eeonivor@ beedleB oad ci vetsetg een yissneo dt Of “Horde 8 bovege settled edt ree eeuod. buadtedien? -asiplsé eng , ee hati Led. ; et tm, = bar att tt i bs J 1% pare De y a eS .4 » a ee en a. 2 — ion - © » coal oe) > > nt gS 249 Sallery. The strongly aspiring middle buildins passes into a tower-like termination. The general impression is entirely Netherlandish. More details in the restrained academic tend- ency may be seen on the justice building at Burnes (after 1612) and falling in the 17 th century. Its two story facade has in the ground story the Doric and in the upper story the Gomposise pilaster order in noble, though also freely handled treatment. This buildins is the last important work of the Belgian Renaissance. The palace at Brussels (completed 1564) built for the cardinal and statesman Granvella still if the 16 th century by Sebastian van Noyen (died 1557) and his son. Jacob van Noyen (died 1600) exhibits a direct transfer of the Italian late Renaissance to Belgian soil by the architects. The elder van Noyen had made studies in Italy and had publish- ed (1562) a great work with drawings of the buildings of ant- igue Rome. The art tendency introduced by them found ‘no oth- er followers. * Coroelius Floris is designated as the inventor of the car- touche; out the cartouche appears to be actually of older da- te. Qn. the other hand, he ts the creator of a distinet orna- mental style, named after him the Floris style, that is char- acterized ay simple cartouches tn combination with hermes, f festoons, bands and similar motives. In Holland the old traditions were longer and more strictly preserved. True Renaissancé buildings first originated there about the middle of the 16 th century. On them from the bes- inning appeared an energetic striving for national independe- nee. Holland art is an expressed assertion of the citizens’ Spirit prevailing there. Therefore it is less ideal than re- alistic and pursues definite external aims. Tf these are at- tained, then.a harmony in the work is cared for in regard to the formal treatment. And therefore its works have an innate truth, a striking expression of their purpose, such as not 4 always attained in other creations, in which the endeavor for monumentality predominates. In general arlhitectural activity in the second half of the 16 th century was greater in the Holland provinces, than in the Belgian. The Holland house as the Belsian showed a stron- oh ~ lie la A bestesdane ylbacase “sehteeg 047 nt besoes wiceob: suoded) bedi dotdy woidsOw: odd! to aepmofon: 6ien dent) .etaow eilad ysio eds ni: bsonboua bed bas ~ wetesiia bas: seamcdoo ea? .ebotyeq aeted snd oi: bseesanee -etowr yond? -elevaeiat [isme yiev siiw tee vitesom sien erebse ~ais beobai bas .mpigiel nt teds boed{oh ni bevofams east ast -@ebsosl oriias ict ylirso ,egnibliad otfdua sot vissisas te “Rated seso iestsivedd at .snols yrote 1eqan sd¢ 10% ylsasq ~besoone asven yedst ao@ -eeloenod gnidosford mo Joe semitemoas D .eo10k Isneitean sede atin notteatdmos YIGdOsicites s aiba HOisenidmoo eit ef: consaviene® basliok ons to oiteliesosssdn -oubowq toeiie acolo baowa ods bas .snote duo. ddiw etoiad io “18 Dbatio Sutdosto1d .elsiaegeam oat to neoidensedis oda yd be “18d9S% IevO ,eiioeevev enose tuo bas dotid to Satteienoo seas » déiw etsides: bus edied exountsaoe Lesaosixod .ewobniw igive 78S GOIL siQvoIw ,zekbe Leoisiev bus esfzns sit ts ise eoeaod “BeIndoiq s sonsiseeqgs I[ssenek edd ni bons: .eduemsnae ee e1000 apiséilinos evoinomied 8 dtiw Snéqcor {soiisemmyeoe bas spp + Topenises ya.eoniisyo hedsaine .eseesa Lsiussesidoss ait to ~ieteno9) eiewos io ensot {wifonst bas eidet deocsse doid odd m9g0 ,Boissiiss diiw seitote woi bedsiniasib beeogasane to pat ) 908 to) eokseiresosxsds teido sds exs»nemob eso fas eotetes ‘ sivie “ai {isd .ysto sds .edaow [asedoesidors dasdxocms sixom saz +0 ni sonseeisno® asifedl edt effeoe1 tev (2862 x97%s) sntal ong YG) Gediditxe ai siyde busiiok becoleveb ent «notetvibdse até ‘oi udasoite deom ef si sud .(iSSE0eaetensxH te L{sd yveio ofs (ESE. NRE). oped, fE08l-800N) moinsk. c8atotssdsedt no beecsraxe vistitae: .sen1et~edd edif dotdw ,(°S8L) beth) ved ob noverd yd od¢ To sense sud niveeoinioo dns enmadoo ,esedesfig etosies \(ts Betost9 ashyed te {sd vaio edt a® | .tgentser9 isoiessis ~9fd) 0d) bedisecs exiwedil et dotdw ,(POSL+°CEL) emis omee edt Fo TaRif? odd. dtiw satbited sibbim anégeoqmi: ena. .vSH sb asy y | Sedeesotni09 bas esmied .ecauloo v2tedeeliq .sn0x% ui vosde eneaea- 90d 408 .eonsetians® ods og) betils suonsssid mois Stl: InSmqoleved iwiiddw} edd of .dodeG ylestsae ai oonsrssqge sont nt TueIsqas seviesasds sisw sus: Isoteasio to weowend igi co a meer repoveteremree* .eteesem aniess ‘B00 stronsly emphasized vertical tendency, indeed in a reaction of the Gothic, which had become deeply rooted in the people and had produced in the city hells works, that were no longer surpassed in tae later periods. The columnar and pilaster orders were mostly set with very small intervals. They were far less employed in Holland that in Belgium, and indeed aln- ost entirely for public buildings, partly for entire facades, partly for the upper story alone, in the latter case beings 2oysonetines set on projecting consoles. But they never succeed—- ed in @ satisfachory combination with the national forms. G gharacteristic of the Holland Renaissance is the combination of bricks with cut stone, and the strons color effect produc- ed by the alternation of the materials. Projecting blind ar- ches consisting of brich and cut stone voussoirs, over rectan- sular windows, horizontal continuous belts and ashlhars with bosses set at the angles and vertical edges, wrought iron an- chers as ornaments, and in the general appearance a pictures- gue and unsymmetrical sroupins with a harmonious equilibrium of the architectural masses, animated outlines by means of t the high stepped sable and fanciful forms of towers (consist- ing of superposed diminished low stories with salleries, open aisles and ogee domes are the chief characteristics of the style. Of the more important architectural works, the city hall in the Hague (after 1564) yet recalls the Italian Renaissance in its subdivision. The developed Holland style is exhibited by the city hall at Praneker (4591). But it is most strongly e expressed on the abattoir at Harlem(1602-1603) ; Fiss...327, 328) by bieven de Key (died 1627), which like the former, entirely rejects pilasters, columns and cornices in the sense of the Classical treatment. Gn the city hall at Leyden erected at the same time (1597-1604), which is likewise ascribed to hie- ven de Key, tae imposins middle buildins with the flight of steps in front, pilasters, columns, hermes and cornices has a form treatment allied to the Renaissance. Rut the general. appearance is entirely Butch. In the further development the influences of classical art make themselves apparent in incr- easing measure. fhe pretty city hall at Bolsward, built in Sa at Mer yr “pab¥eetouq ysode sesow edé at ewone OLS L-bL6L asde edt '.{88S .8£8) Lesotnice benbieeb yiiwiexsso: bas esloe ‘tedd oa .etied Sieibemissni yd beeeors exe anunfoo edt to ett ~sdesa hothselisd?: .aedéegot bien! amsse dLew sda to sont sid -82) sexy! ob doiabaek et ooneectansA bueifok ose oa4 te a4 “009 ditem eedoindS tnssestord edt eXtow ed Saomk .(1SHI-T6 ~18G bedeiidates yisneosa oft ni betoexe od doidw .goitsersbie -d9 tebisS edt .mshietami .{stiqso dntwors yvibiasa edt to ess) $9703 6 to miclt bawers edd ead bas I6I-GOSL slind sew dose 9 elbbie ods ts tiqiuq dziw Sathiind Lis selyinedos: beisis ~sv lennut & yd betevoo ei sigis sibbim betevefs sa? .onuloo “BBY 88070 90 eeleis obie eft bas .sedots sesevensis dtiw sis od? .(086 .bi8) a9wod ersopa 6 dfind et efans.on0 tA asd G@ ynbieeb setevensis smse odd esd (SE6I-O86L) donde sedesW -souite eat .eixa fentbetiteol sit no esoeLoxro stewos odd stud edt sieh .(ysoserselo idiw) smedog fisoidiess edt ewollot sxg “od off. of edceensid es bsbnedxe sie wotsoeRTEdNE SHEATXS OWS ead ylosem doipds asbivi ead slidw .efleis sibbim sas to FHas f .secteis sbis sit to sd3fien eds yo botsotbai esasensxs ond besessd visvidcolis yiev sisw eebie iszc0f L[asaetxe ows sat? (8d3 oRtesigqnms of ecids yd ogis beteiw sossinoss en? .vderedd ~inetni odd af besaoocs cels ,s0tastxe sit no cixs oorsvensid _ 8 to mt93 bawetg odd eed (E8SL-O86E) dousdo asbi90% sa? . 10 edF (268 .8i3) .enoisibds asivgneiaa wol asin Bg010: i90%9 “8 88039 odd Jluev eeoro lextnes & troqque e19ic sa1t tWo0t odd To teiq ev0 Se ebaste sicina ed? .etfusy: fonnns oved em jedd 08 .di ddiw oivgason0D bekasiss 918 edese AT .eniegor9 -ilsitsow teeyet ydeteaT .zixs aiem 542 esmoosd [anoksib saa _ ® Yo-asia ase edt to eshstusvbeerh edg yew blod 6 ot hes 2 -egtaeifay uosf eotorsdo seedt (fh .29id08e10 10% dorHdo odd t6 eketblivd waitooe ond io. tadt edt leausoetisors zien? (nexyodin® ge sah One webistem’ af tawoQ eibal ses#) r9s2e80 | -aebifiesai dsix yisem beacoleveb .setoe1e9 sieves bas vib e@ 8 deverggs beseniae basfioH ni havod! Loodee eid soy 368 29 . | Yo sundpedisons eds gatteninos visatéas ,noiensdxe sbiw bua | G3 %E ods Yo elbbia' oda su0dh ocnseeinnel dosud sedet 0s Bot ee -dnemgoieveb Yo heise nea 8 beowborsai ew YAusass sirensel ens obte otdensae bus otvettss esi 10% neds xo a Bund f y A 1 _ as *) a : ' * “2 ORR ae ee A ; ro 0a) Ves +3 Ligee. an27G 4 Pie. yl oa 2 a, - i re) * oY mspiees. |b, £ . % Ags a ‘ 5 i e251 1614-1616, shows in the upper story projectins columns on con- soles and carefully designed tornices. (fig. 329). The sha- fts of the columns are crossed by intermediate belts, so that the face of tbe wall seems held tosether. The leading maste- rs of the late Holland Renaissance is Hendrick de Keyzer (45- $7-1621). Among his works the Protestant churches merit con- sideration, which he erected in the recently established par- forts of the rapidly growins capital, Amsterdam. The Zuider ch- urch was built 1603-1611 and has the sround form of a three aisied rectangular hall buildins with pulpit at the middle c-. column. The elevated middle aisle is covered by a tunnel va- ult with transverse arches, and the side aisles by cross vau- lts. At one angle is built a square tower (fis. 330). The Wester church (1620-1638) has the same transverse design} b but the tower projects on the longitudinal axis. The struct- ure follows the basilican scheme (with clearstory). Here the two extreme intersection are extended as transepts to the he- ight ef the middle aisle, while the Zuider church merely has two transspts indicated by the heisht of the side aisles. fF The two external longer sides were very effectively treated thereby. The arcnaitect wished also by this to emphasize the transverse axis on the exterior, also accented in the interi- or. The Noorder church (1620-1623) has the ground form of a Greek cross with lew triangular additions. (#is. 831). The four free piers support a central cross vault; the cross ar-. ms have tunnel vaults. The pulpit stands at one pier of the crossings. The seats are arranged concentric with it, so that the diagenal becomes the main axis. Thereby Keyzer neutrali- zed in a bold way the disadvantages of the cross plan of a church for preaching. All these churches lack galleries, 7. Pheir arcnitecturel like that of the secular buildings of the master (Gast India Gourt in Amsterdam and Mint at Bnkhuyzen) a dry and severe character, developed merely with intelligen- ce. But yet his school found in Holland animated approval a and wide extension, entirely dominating the architecture of the later Butch Renaissance. About the middle of the 17 th century was introduced a new period of development, More then Tor its artistic and esthetic side the Nethesdaud- mm ; aa seabadlida 06s to eundoet indore fieiiosfieitsh Oo Sahcwee ifede sw ak .eonsdsoani Isoivosetd see1k ati: tot be “20 som ,soaenttar tnensaseq bus. Refatmuetsh & bessexs si <18 no cele tud .estatnwon sasostbs odd to easdoesinors sad no wt ofeede sit Of es set es Beonivota zeL0D nemis9 sdt to sadd te -tes8 nee -Onsitestiw’ bos siadgewd .yaemisd .§ .olys2 bas nordnlov®’ .ciasd Isoisodeih .A $eib (siveami odd 169%) soneeeiaas® edd to boineg edd al ~uiont ,esfouts nod to bedeienoo yoew1e® ASI6L ag snkolo® ts a BEoHiVONG asimedos edt to notéqsoxe sdt dtiw aitateud gorb “od intes ifeme To ands .ebnelseddell siedtuoe sd¢ bas yusanud uy \isow yileniedzxs base bentevos ylevoioixqso yllanasdat asi oa. eas .¥ esiaedS sebs0 .s019gme edd to yosnstowe edd aebss 120 Seiad nos asiieaI-detosq® bus Susdgask-nsmieb o4¢ to 4k 8 88 bos ,stione birow gusdeqel sit to noivioq s bemi0i yasa’ 61!) ghiey ‘eelasd) .etesxedni edit ni boaolsveb esx dove : at bebieet ylisido sh .yasaxs) 10% etsnugsseot ton asw (8a6r ‘diousteved leixeqmi o¢4 ot yrsue) Sniwsel .{ 19S egsq) aisad io, boid es OSGI t9etis duimsisa .busnibre™ aedtoxd cid og bas eltad® .(aorsame nenie®-nemof isgel sit) .yxsanu bos simsdod .xisdl To sofeseeeou edd tet cons1% dtiw eisw baol bean od toler oad yd eisw evoigifes ineloiv ynswis5 at bearyooe exes as ‘edasesog yboold odd egend tin nottoennos ni bas .noisem ,Stfams edd io soieivib sdé¢ ci betiness tsH10i sa? eno sxoud “tie ge1i% -duemgeleveb Isatetat Inteoseq 5 besoiasee. doidwe “su9voTdmi 8 n8bed (GE8D) Syydeand To. soeea eworsites edd +9 =BSED} II neilimaxeM bas (286f-S68eP) I basaibie# ashaw bas .so “880 besaidno> to boiteq s beyotue esiadasoo memia® ona (SVG! ~eeei esw ylaisdiso doitw ‘wditsqeorq [sitetss ddidako bus so Jon ae Weed BAN ki Aes Pa eee ean J ‘- ; <- 4 os i . TE 2 taf 1 6 883 at Boo bdacitices to eesio eaakeunbaliiwesirees be QUAN ahh csareotstbean Palm we: Horsingoosy edd etimisa ynemaed sibbim bose oiedtrvox - _wifpoog)s ydertedn .esnemets miol wen edt Ytovnotsaobs: evieaors -sidip sud od sneéusace spaced tnemgoleveb sexnG 8 o¢ edasdd 12 “damvesi: to ehete Sis osat bezeso Th OBBL toodd .snodxe bedi ~"Bewoded ehaihlind nistiseo uo rSsel shepeh «6 yheoriA .vttas “2% suods ;Jnowoolsveh asisasi es to gainakesd aes Siditasouisa as-ai besessaxe ef si .ydfewnes eises0as aids biawne G8er mo moisfeoqmos séi ni enoisx0G01g 1e1x6eVer 10% Rnivirte olsebusas *.@t9dmem of¢ To taemise1s is1sq 8 tot bas .esbsost edd bas ni somok ofni: comodo sonuseeisneh neidest sax to sonenftani en? BOiwhot ,evetesminseddt0n sostYOURE omOe .saHesem’ bexsetONt *8qs9. s19n odw has wen! Suidton berettoe emio? sonseeians® ede Stovredzew odd exedt! yelesl: o¢ saow .enotsagonos sea968b %o oid “dered? .medt no noteesrami oesh 8s aban ofbelia® sasyvds sat feodoa neftbhslisS eft Yo sense odd nt exovecbne otd¢siseslo sad ~{sttveds eonte: -.crntoesisiore nemi98 at evisoette emeosd cele -sbiovans can sé oocogsG oFat beeesa emis eins thode 15. nBt “wamt onsomsd hoorte s bevieoss wom nswue® sft oela tect .eld ai everse nem doidw tot ,too%tle add Yo kninesadisd oad? cobs “femonom 9n3 io nostevels VG ais! 2O-ezenaseTo (fy} dtiw yest Weiso; yo Spomntsise ot yaowiss a Sdbooe asw oleestqxs Ist ~sb edd tuibsolrevo has sseneoiass eds vi ylisisoisisa .ensom } * Batased/ edt .eliesteb to Suisneves end .( 666 .af%) potasxoo seu snsppett eds .anoktato[s5 [sdosnsnto bis hstataiuoa to an : on Issnemenio sat to onisswiolenarty edt One scouodtes sas TO°4 % | busta got Rattedsi e beebol .elyze ofeetie odd ofni asvit « Wet B Jom ane :detaeb sd stones vasmie® ai Sostts {ss q9munon io 19d9e edo Letesek ods 308 .berteras oels aids eaw. ediow mf sdREL2 ystol edT © .wensd vd HogkwrTesSh gon ci bot eons "809 8 dtiw Bolsceiveq Byotuewied oft bos eeehs Leaedsoséitioss ‘betsoLllse ton esr sebi oocote’ sii Yo eeuoe eds nt mis esotoe ~~ etdd 00 bonteiaiem vedtet ¢1 .t76 aewigd to dooae Bidt 08 i a eee Snihr00es sindsn exisne att edatd S WePneaven anh § «dhalt2 0 \ 0° © jeopedetanes -etoeriors vadiaiiiativiaiens cnteiibibeives' Svea ow eodT ) iva i viaworeis .ynsm10® sfbhbime bas cisdsuoe to walk 205 class of territorial princes in the encouragement of art. Until the middle of the 16 th century the Renaissance ‘in southern and middle Germany permits the recognition ef a pro- gressive adeptionsof the new form elements, whereby a peculi- ‘ar change to a purer development became apparent to but a lin- ited extent. About 1550 it passed into the stage of its mat- urity. Already a decade later on certain buildings becomes perceptidle toe besginnins of a further development; about fr- om 1580 onward this appears senerally. It is expressed in an enersetic striving for severer proportions in the composition and the facades, and for a purer treatment of the members. Phe influence of the ftalian Renaissance comes into force in increased measure. Some important northern masters, to whom the Renaissance forms offered nothins new, and who were capa- ble of deeper conceptions, went to Italy; there the works of the great Palladio made a deep impression on them. hereby the classistic endeavors in the sense of the Palladian school also became effective in German architecture. Since the Ital- ian art about this time passed into Barocco, %t was unavoida- ble, that also the German now received a strons Barocco impu- lse. Phe heightenins of the effect, for which men strove in Italy with full clearness of aim by elevation of the monumen- tal expression, was sought in Germany in attainment by other means, particularly by the enrichment and overloadins the de- coration (Fis. 333), the accenting of details, the heaping ub of sculptured and ornamental decorations, the frequent use 292 of the cartouche and the transformation of the ornamental mo- tives into the sristle style. Indeed a laborins for grand monumental effect in Germany cannot be denied; on not a few works was this also attained. But the seneral character of thesperiod is not determined by them. The lofty flight in archisectural ideas and the harmonious perfection with a con- scious aim in the sense of the Barocco idea was not allotted to this epoch of German art. It rather maintained on this stage its entire nature according to the character of the Renaissance. be Thus we have to distinguish three epochs in the architect- ure of southern and middle Germany, the early Renaissance éf teeoaseetsasa eds ies ‘asian ak teat? ous ensured dition. af -ataeo d¢ SE edt ito sibbim sat svode sueisqqs seviseueds sisu gevdeemeds wode bas esonivora soxsé sd¢ soxi soo ved? iva Seeds: tovo bebbs eovetise diiw elfode edt no yleridae teomia “®,eredesiiqg yd esidek to nolvivib edd of .eeidee sans to eqe emisped O862 ret th .zeotni00 euidosiora eeslet]ess edd no bas teygaemse® Lis revo sis. deibselisdse% to douse suortetoiv add ieenssd sorsnmes svisos sdt vi .sdunsd edt o¢ t9e98eW sit wont 8 ot -botsées cele tend .ebaalisdsts! odd bus esiato sense ond celejet tI sbsisqesq ybaestis eew Lice edt .edouborg oitaidrs 162 ysividos 1tieds bebustxe evteitis deihasiusdsel gens bavora Bteged ai yisaluotdasq .2oitio tesoo nistiso al .aeas edd od ~s@ seocesasocs bebasdony bas tostih bowot tas aeibosiaedtell # dison sav yastuso ds Sf sds to tMea bacoer exidne odd date betatteco detdw ,ydivitos Suotde yvissexsxe as bsacloved aed “ol a1) .1eW *essey OF oft at stei Litau az VE sid otnt neve dentedai siz ot vilsiooges cela bus [enusdxs ait at bedeiae asmied dévou ni aadd asoudoii wsdse1k dove ni siwtosdidois. Y vo188 of bonifoni ylbnomse aninuiaed eid wort ybesris ear aud Woot yiosneo dt Sleds Yo duiuniked ofa aséw doidw ,ewiel of mseds10n Bothbseooue ent of eveR yond tent of dasd r98edou sdt | ssweetdt ylnissaso j;1edos81sd0 onvoiss Jeomis us a2udoesidore eboireq owt yino bed yaewied désom ak soncesianeh sad sunt suods Toroonsecianch dhid eas .bonoktaew ed-od féenw) beunteaes Snol sas soneesis | Pasmemteg odd -reddawt bos .(cES 268 .eb25) ecivte to eae _ ritgepaoo 418 argdsyoareds bae seiistl-eds neewied sonsis TiO “2, dla ry eds te: bas sit ot nc wout soaseeianeh stad. Pies? Medi iveatrsi bed: Wages (aren) -BogHoD. eoootes bret ai boeesaqxe yileacizqsoxs yine xO ,ton | _ .fentetoceb edd ic eeentiogs bas elyse etd niviedier sud esontit eas .ex0ttstat to snoesnoee) MAeh: to xosd 9d) .en0: | wr bas ib Ttaees, Bis i” : nen ’ Rak ha i] } 5 B06 about 4500-1550, the high Renaissance of 1550-1580, and the late Renaissance from 1580 to the end of the 30 years’ war. (1648). in north Germany the first influences of the Renaissance make themselves apparent about the middle of the 16 th centu- py. They come from the Saxon provinces and show themselves almest entirely en the shells with spheres added over the st- eps of the gables, in the division of gables by pilasters, a and on the tasteless projecting cornices. After 1550 began the victorious march of Netherlandish art over all Germany from the Weser to the Danube. By the active commerce between the Hansa cities and the Netherlands, that also rebated to a artistic products, the soil was already prepered. It is also proved that Netherlandish artists extended their activity far to the east. In certain coast cities, particularly in Danzig, Netherlandish art found direct and unchanged acceptance. Bu- rings the entire second half of the 16 th century the north t then developed an extremely strons activity, which continued. even inte the 17 th until late in the 30 years’ war. It flo- aorished in the external and also especially in the internal J/varchitecture in much greater richness than in south Germany, but was already from the beSinning strongly inclined to Barec- co forms, which with the deginning of the 17 th century took the upper band, so that they gave to the succeeding northern architecture an almost Barocco character; certainly this was not, or only exceptionally expressed in srand Barocco compos- itions, but rather in the style and richness of the decoration. Thus the Renaissance in north Germany had only two periods of development to be mentioned, the high Renaissance of about 1550-1600 and the late Renaissance of 1600 to about 1650. In the style of the German Renaissance the characteristics mentioned on pase 269 pecome most prominent; in the early pe- riod the restrained and purely external employment of the an- tique subdivisions (fis. 308), and also in the developed Ren- aissance the long continued (until in the 17 th century) mix- ture of styles (Piss. 334, 335), and further the permanent difference between the Italian and the northera art coacepti- ons, the lack of Srand treatment of interiors, the picturesque ir ‘ oy ‘ j oo +4 ¥ wv ? J | ts , a j vw. § gi? o ‘ “ere . ms es is ehay | 9 Ca tik ¢ A as i ie Cty Rd: | Ne | jah hy vi ge! ee . ea \ : a ee vt Sl 4 Ladi: ekeuns i eid to baiguorw B res, ote ipl eheeai aeete edd ,barbf{ind edd io adasc sti hve ‘emtolt bevavo asetoisase yd bexebioed saedd 40 -8eldse bea ae ~in10o bas sietesdét .eamaios io saemsseas: se23 003 . {885 G85 | i “pedt) eomted bos esiogaue sidsisbned 20} soneasiexa sia ese | betaisq es iiew ase besetedpesr dvod bheebnt , {edosmsaxo dots —“e560%0 oft bné goissroosh Isaxetak ods oeiwextd .aotdésicesh “Hisonoo eisow ed t0o% .beciuoeeb yilvt ased ybsorlse sved se edt) 03. baitelex es xsi of .bebastui saw aottoustenoo snodte.be —s-_ Sekginokdonssenco-noboow newzeD at ¢vS \ioaeoesivors: obsost -bepaisaoo.encisibers blo oft ¢i ol .énemyolams:enolses bavot . edd mot) nish tnsbowds boviush eidd oels se. .viteorss 10m “ateno0o io emedeve owl .sonesesianef edgy to emact te, sugassat wdmis tisd eds bae dof sdd .bedeivgaiteib 8¢ yeu of ag AoiTou» ) é : AOLFOBITSNOD TE takes ntesouos at B0ibliod io benaine edd @i soisouisdeneo g0d A edd ni bus etoodeite saieds. .2qfd sas at Ydaelucizasa .anot “1% lo einuit to dlivd exe eliaw ont si ol .esesaet nsimedos —n00 sf . (686) ,22%) .1edso dess no bist exgdmis ower a0 e6s -o1@ bas alisisyob ys eoiweasa eliew tusestbsa sad séiw sottosa 202s . becabétiacel cois oennes: Snowe yiev 8 sadd of .Bnoksoet es.iiew ee .sotdouisence sof yd basot.eew caw svieasixs seom ~de bnsoissd? .eeesod sds go .ylleisnes noitontéanoo nshoow Snied aeqqu. odd .enoie to yileido ei. eseuod eniala& sid to YTO 998 tae12 odd of .esinelise gaigeefouq ylebiw tiviw Boow ie eid bas efdsde edd beoslq anied is8et sit nit <8H00% antvid eds ’ gnidoeto1g yfgnoste bne wol s yd betpvoc et elodw off .eberie - edoold dain hebsol wette bas cefanideasheow yd: betevoo . food e1sk eqs®d lisse ewobniv bas s100b eis asve celA .snote to - sIsddsen odd. yd yaviat wort noigesdoig si es beosiq yitnenoet? _ @~o80 wobein .eisdiog eid ao beyolqme yleaueqe gud ei tasusox8 ‘ .eineio Iseissxe edd ao eaivise odd hus eedye lis ,zerseot “edd Gort asitib yileisacees ton eeob seved seerc} Aosis sa? 2 s90de wol s no een 31. .dn0ndse1d bas aefq ai eeuod ontala eidd t9v0.abiso0d ddim heddesds viote getvis 8 yrode bawor isin feaevoo oor beqaid yleise bas gnidestosq yishiw s anied ~~ @insed of bene & se beew 2i ofdts od .(9EE .2i%) cwerte ,.. 196% adi) Bed Senod. ont ioe oda aatvinby | e £gaction in it may be distinSuished, the los and the half timb- 257 grouping of the architectural masses, the accenting of defin- ite parts ef the building, the steep roofs with the high step- ped gables, or those bordered by capricious curved forms (Piss. 335, 356), the free treatment ef columns, Bilasters and corni- Ges, the preference for candelabra supports and hermes, the rich ornamental , indeed both pscubptured as well as painted decoration. bikewise the internal decoration and the orname- nt have already been fully described. For the works concern- ed, stone construction was intended, so far as relating to the facade architecture. But in German wooden construction also found zealous employment. In it the old traditions continued more strongly. Yet also this derived abundant sain from the treasure of forms of the Renaissance. Two systems of constr- er construction. bes construction is the method of building in mountain res- ions, particularly in the Alps, their offshoots and in the 8 Bohemian forests. In it the walls are built of trunks of tr- ees or hewn timbérs laid on each other. (Fig. 336). The con- nection with the adjacent walls results by dovetails and pro- jections, so that a very strons connection tssproduced: The most extensive use was found by los construction, as well as wooden construction senerally, on the houses. The ground st- ory of the Alpine houses is chiefly of stone, the upper being er wood with widely projecting galleries. In the front are the living rooms, in the rear beins placed the stable and the sheds. The whole is covered by a low and strongly projecting root, covered by wooden shingles and often loaded with blocks ef stone. Also over the doors and windows small caps were frequently placed as a protection from injury by the weather. @rnament is but sparsely employed on the portals, window enc- lesures, galleries and the carvings on the external planks. fae Black Forest mouse does not essentially differ from the - Alpine house in plan and treatment. It has on a low stone ¢ ground story a living story sheathed with boards, over this beins a widely projecting and partly hipped roof covered with straw. (Pis. 337). The attic is used as a shed. To permit driving into the attic, the house has its rear against a hill ue) iba Meds a . . qe wis iv aistcishgibaill Lavbbaanne leh Miuevave, bentiont nae 70 aepheg ons bas eaGfh odd ni eraiiienbvezedT .bsiious yioaaia “89 ewobsic qeob edt yd aelts onpaciuseig yrov s coved seexo% “ed .eqso bone esitelish edt .loo1 sit to enodsostoig sid yo te hetesasia etidw Snitsessh odt evode beow dt to saos mise. ods v w ,Sasoebosi atetasom edt to nse1e desst odd mi sausourdadne “8008 3i . noidoutdeGOD edt to wilidstive sd¢ yo doidw déiw hue. | * (TEE .278) .qp awomk eved od ota Kintgauom As Yo siyia foxntoetidoris eAt benosinem sung sh * WSRSSSIORSH SA} Yo Hositowrntanoo sedmist Ylod sAd- Addu snoines “Sstinatedus sin aotinsoveb fo show bus noisowntence gt} sonts ~itud guiseixs sil .sonnetinssh e435 (o seods yu banimissen yf Pi sSHtt Nediace ae wont stab mobiss oslo sanih “sae Jedd .ste00 atiw efisw edd esoniteaos atom sodmss Ifsk eve efeoq siT .evods eeteia ofnt benones sas. bas efiie ao ba eeoe1d) esedmist bontiont yd 10 etaig Issnoxtiod yd benetitise 10 ddowdorid dtiv beLltt onted efensq aniaiemss sdzy {este 20 a0 .edoise basotssSsqasiw bos yilo diiw bexim waste idiw oala “" 9 yilfetones abne bstaemant0o seodn .emsed sav tas1 estelq ods ~asqqn' eds to fife sit ased bus eosi tewol eds buoyed Jsostowd iofdw ,eeisode eds to Sniliedieo edd besenigiao sonskh .yr0te Seibned sds Sessevesq af elidw .es@niasvbs Laoisade bebioite besestoni' bessimseq eciwsdil tH yeilew snort ads to bisnsu0 -eivid eldsative « »xebsaost edt of evad bas s0fsetak odeé to sen ~aso0s eeos{o sid fa ,awobsde qoesb Rakteso esisod¢e asewdea coi -tidows onifisoes .moitonaseaos enete nt esotaaoo blod vd bea bas abs® msed eds a0. °.eoto10d Isdaoorsdt: yd eevisom Laintos odd 80 .edaog oibbtm eas neve bans teMm100 one .elesaoe .esteiq q ,tnengolaus ovicnedxe Haves esanaotone: bas. essasiag wobnin _ do glinietesdoyver af eovitom Io saneseud enpigas oid yisdisa ; _-nemento ods yiixuec .caiistem end o¢ bedine emt06et nsboow betas eOtesini ni eldspied? .(SEE .2t8) pewksoens to asdois fad witeiant looi eds evods betestorg aesto: aneitgouatdenoo snode to -Rer $dir ef notsoustenoOod ashoow nsmxs® ddaom on? -smTtot be ' elenaa bas eredmid odf .a8ddo dose. Y9vO yideotéusy see 918 nebfeb sl. .(86& .p£%) .noitssnowento evisexoosh doit & eved Ty eee ee Bee he | eT hee Sas bedeqgs yinsoling yiseom sis eteoqg off. .batooexe yfaeie . ane efeort Weerhonatasnog: ofF): $NAME. dives ni ersver PS 258 or an inclined driveway. Decorative ornament is but very spa- ringly applied. These dweliings in the Alps and the Black F forest have a very picturesque effeét by the deep shadows ca- St by the prejections of the reof, the galleries and Gaps, by the warm tone of the wood above the dazzling white plastered substructure in the fresh Sreen of the mountain landscape, w with which by the suitability of the construction , it appe-. ars to have grown ap. (Pig. 337). * . * He have mentioned the architectural style of the mountain regtons with the half timber coustruction of the Renaissance, since tts oonstruction and mode af decoration are substantial- Ly determined oy those of the Renaissance. The existing buti- dings also seldom date from an earlier time. Half timber work constructs the walls with posts, that sta- nd on sills and are tenoned into plates above. The posts are stiffened by horizontal girts or by inclined timbers (braces or ties), the remaining panels bein’ filled with brickwork ‘or fo, also with straw mixed with clay and wrappedsaround sticks. On the plates rest the beams, whose ornamented ends generally » project beyond the lower face and bear the sill of the upper Story. Hence originated the corbellings of the stories, which afforded statical advantages, while it prevented the bending outward of the front walls; it likewise permitted increased use of Bhe interior and gave to the facades a suitable divis- ion between stories casting deep shadows, at the places accen- ted by bold cornices in stone construction, recalling archit- ectural motives by the corbel cornice. On the beam ends and plates, portals, the corner and even the middle posts, on the window parapets and enclosures cound extensive employment, p partly the antique treasure of motives in veryrtastefully ch- anged wooden forms suited to the material, partly the ornamen- tal riches of the time. (Fig, 338). The gable in imitation of stone construction often projected above the root in surv- ed forms. @he north German wooden construction is quite res- ularly executed. The posts are mostly uniformly spaced and are set vertically over each other. The timbers and panels have a rich decorative ornamentation. (Fis, 338). It is less severe in south Germany. The posts are very freely spaced a ere nae tp di tn: ey, iY re ivi wes .ee0inn09 2 ij [ Manthsounett DP iidiewi chase mod. odd ua Dene 4 OLS a20095 e1ttas edt - .gottostbowm eest eved asboow eat “-da9upe1l, sis dotdw .ests Yo enitesor9. bas. Saiviso eis of betia i edt yLeo ofat # e& ..enaetisq del[t Yo a1ot edt at bagaeias oi «ss 80 218 ewxobatw bagwe100d to esageolome. eds bas efsoa teax09 "1 789 te6d .2010sOUIse. 19dmis Tied -spetdemts omee $4. .botnoRs aetio ystioilamfe aftedd at ,sidsw& at tasmaqedsveb deid s bados fieve yitmeupext bas 2098 nistis0 8 mt ba81% .dootte as aved Aah em Sud js * .istoensaon giioossestaa het oest ygbhossdo sha HolsosstsHoo tadmss Ylow * Bl) (.boineg yisos ofmomse? sit af seu8 dan saqn sibbim ons wi “shots 83% sonnsstoasi of3 Yo emit sAt mh bandmasa 32 yoomsed =S3mi didw doum o3 bsdsow foidw .pooexok dt sSunemqoleush ts VO Qnitooos oft tebns tpaqqnstb of 44 bswosla .sinixsion eusteo ml. * sQniastenia MO bise ove ow tedw .giitow (sissostidors edt ot biexes of véoedtdor1s asiuose sedso bas eusetedo sit ao S388 oF S\S soREG | -tidois dowd dassaetord bas oilodtéD sdt no es [iow es .21e ~~ 4 Saotxe stiiae aif at sxutostidois asaied of esilqas ,santos | ~ast2-otudossidois vseisdo,soussaisusd agate) saz at satwoArd (| do ot as lion ba yeeisdo af sonte 08 .dayorssd0t eds at eb ; bas ,nsifstl dtiw botanists sistesm evitsa siatostidoxe dow - emis ofttoeae odd ~isnimobstgq yftaevpsitat ton assd0eL ats . sa9f aisiob Istetoeatidots osiatied 6 te asttirsiliuvosg sdt bas rut Tei ego1gxe eanibited osevixaq bas gdio edT .assgas yintsiq =| oF settasos eft lo 19fosisdo eds sueeteds odt agit s16Mm — ie ; -avneuonol tustzoqal taoM oa? .4 | . reetans’ Anmish oA Lo sinsaunom odd Yo sortorisbienos sad * POSITS Hayolgms yiswetusia sit sd tuo YUNS Jonn2e swe somo hy | BIWDDO SOngssionsd odd ssuooss aomqoieueb Yo ebotise sat to - © et - = = PHV4SL Led MONT SH99HOIG aeini sos anMTEB eMs 0s Ylaolugodnd K / -. S490 oslo slygts 43 Lo tuenqoleush betta oat bao .etatos + i _ - SAROMAQKONTD sod YS CseKodgos dao shotseq fowwtostisow edtd | | TMS UDR Se Tadd, o8 LeumdHitad oft Yorsatnsggiedt os yatttoqen =| + SUADLUG. chiduq Behorsis .suDet oho 94% Odixoesd Yisutsese AP « PAUTOSTIMONO O43 Lo GedG Iovaneg edd (Losm sanuisuNts staging Caktoareee ‘QAPoI 9099 aetaitsves pomp fagt i er te 259 and the beam ends ere often concealed by wooden cornices. #F The wooden have less projection. The entire decoration is li- mited to the curving and crossing of ties, which are frequent- iy érranged in the form of flat patterns. ‘As a rule only the corner posts and the enclosures of doors end windows are orn- amented. At some time these half timber structures, thet re- ached & high development in Swabia, in their simplicity often have an effect, grand in @ certain sense and freauently even monumental. * oh: * salf timber construction was already treated artistically tn the middle ages and even in the Germanic early period, In Germany it attained in the time of tke Renaissance its rtehe- et development. The Barocco, which werked so much with imit- ative materials, allowed it to disappear under the coating of plostering. In regard to the architectural works, whet we have said on pages £2°7 to 282 on the chateaus and other secular architect— ure, as well as on the Catholic and Protestant church archit- ecture, applies to German architecture in its entire extent. bikewise in the German Renaissance,chatesu architecture stan- ds in the foreground. But since in chateau as well as in ch- urch architecture native masters alternated. with Italian, and the latter not infrequently predominate, the specific German and the peculiarities of a definite architectural domain less plainly appear, The city and private buildings express far more than the chateaus the character of the country. *. B. The Most Important Monuments. * Fhe consideration cf the menuments of the German Renaiss-. ance we connot carry out tn the previously employed sequence of tke pertods of development, because the Renaissance. occurs irregularly in the German countries, proceeds from aifferent potnts, and the unified development of the style also lacks like architectural periods and regions. By an arrangement a. accordimg to the species of the buildings, so that we may suc- cesstvely describe the chateaus, churches, public buildings, bprivete structures ete., the general view ef the architeetur- al activity in the different countries according to thetr ki- nds and importance, which we have to emphasize, would be ent- noe we awatenee Mose as steod) glonttag > chien fesrene SHO QST Lorstost iow Storogss sAis ot gatos ¢ “Sotense BAS YO Howhg ss AoSAG .SoHeNHes SAt Lorensy Ad QUIN SS Yk bso yroned AS SonosstonsA adi Yo tHemasisush {Yo sexisos 4 heh ° +285 ons da9t Ingiongag B43 Yo sononimobarg ss .29bsoeta yasm1e® désos amtol sonsasisaef to nottgods add al -siq tatki odt at ebaste bigdetcA to vito L[atorsmmon dota sfF - a - ~ a. 261 te which Germen art can scarcely show a second. The Reneiss- ‘9? ance also took its further way from Basle, yet for the next fag Sy time by the mediation ef the minor arts. First in the thirties originated the earliest Vasgen ae tectural works of importance. In that time the Bavarian duk- es commenced their extensive architectural activity. Prom 1536-1543 the royal pelace at Landshut was erected by German - end Italian masters. The wing toward the Altstadt was by the German masters Nicolaus Ueberreiter and Bernhard Zwitzel, and it was kept in the early German Renaissance. Likewise the p porticorlike vestibule with the marble columns belongs to th- is style. The three other wings enclose an arcaded court wi- th Deric columns and were Duilt under the lead of a master A Antonelli from Mantua, a representative ef the school of San- micheli. Not merely the court but also the rooms are very i impressive,and would merit consideration, even in Verona. The mediaeval castle of Travusnitz near Landsberg received about 1550 the so-called Italian building with simply treated pier arcades of wide span in the: two upper stories of the court side. The magnificent interior decoration of the principal. - story consists of paintings of grotesques (Fig. 339), paneli- ngs and forms of ceilings in an expressed Italian character. But their execution followed leter, mostly between 1576 and 1580. Comparatively carly Nuremberg took part in the new movement. There the house architecture of the citizen class reached sr- eater and truly popular development. The plan of the house follows the type senerally common in south Cermany (pase .279); they have small width eof facade, but imposing heisht and are very deep. Splendidly ornamented bay windows and stately se- bles form the chief parts of the very simply treated facades. The courts are enclosed by arcades, on which Renaissance and mediaeval motives are coubined in a charming and harmonious manner. On the Cloth Hall ‘ediaeval and Renaissance motives - are belanced; the windows recall the French early Renaissance. The Hirschvogel house of the same time is famous for its mag- nificent garden hail, designed in 1534 by Peter FiBtner alre- ady in mature and noble Renaissance forms. The exterior has | “4 5 Sol j il f iy o. a ; ae | ip ne : rr re antawor pa se a te seabes yl bi ithenoke: VIeV's fevers 2 yd bsbs0e1q) a590 evsi oF svéeae agi2sa edd iaotntes | gagod r9lqo? yrotasqwol tssef dowm odd 00 iyletl seaqu ai i | poeyeiln oat yd movie iltte st etoaved suit .(88ar~oear) @ReS) sefdsy edt bas ea10t wobniw odd aa .ewobaiw vad .ao an -9¥ 64% ao yIosoiv stelames s bonistde soassateaneh ad? . {OLS godt mt ditod sud (30st) saved. asLleF edt to sbsost avomat ve -92ls esebt o0c0389 .tsostts [sieae8 ads at ea {fsw as aliateb utio edt a0) ..(08S egsq coals 2136 etB) .aseq0s ¢vidaton yds wiht sit to esonsa¢taimer [fs 197s eissy ff auded , fied “ster (S86 -8f8) ebeost betsgaole od? .barssqaseth svsd e928 @ to footts gs072 « boutstdo tud .sistasliaq bas samnloo bsdo -geolons wobatw eat bas afatiog sdt to susutasis istrsaoa sit ved tasoo ait to seitota 19q05 OWS odt nt aghsors oA? 9. a9% ~soY odt Itio¥ doos& .setesm off -.ateteulia yd aciatvibdua a oo. $08 *.e0a89 nf yldadorq .yistl ab astbete shew bad .z5h0 “meat ti meve .yousbast t1s ‘saswttio yvleinu bas taliwis & -Teo-Raudaedte8 Qgaitoddaies sdteat bavet ct .enottioqora roils a6 edtotie [fad vito vistets edt dein sosigcsdism sdt sisdP fled ysio-odT § .vdto aswi99 bio as Yo wetv aatwiedo ylsitias ~Io4 doosat twehble sdi (1sdesm Suedmersa 8 vd SYBL ai aliwd sae : sbsost Sn0f sdf .b9a0itaem ylavotvesaq ea0 odd to r9id¢st . it ~I[qvat ¢f et0ted jas 19n0s yswitste LIegoasioo as yd astord et _ «taloet off .ynooied « dtiw ootirog sbanrs bodsoiteu1 5s ba08 18 of?) swoOatwiysd siifiiewo? dard 6 yd Setasc0s ei sflaae hs »«s “bas Sldab ods nk Lsta0q eds io bas ests x00 add Yo sintoesids ; ~ yisotsos .2mi0t sonsegisash aatlbaed af ydarssiss 5 atidiaxe P MAEG i eetsica 4s " (oo,8%632se dsmieS ni emis geds sa basol ~eneidotabetat .viwdseo tis Si sat to bae sdé tu0ds. cotnud al ~Sabvbeaisttaeed Asti ode .hshcace g1ew bkbasd a93s9 bas vias q Sab eonsaaiens? astisalveds bedasserqew pus footce stixses¥ p PARR AST Sottsene 4 beverg yodT .acksqeon09 datbasliedsak add - ganttories? ‘eoftetoqaetaos. tied? beonsedtat yifsivenog bas | fqn ss (£NG8R-63SD). fesdoiN 1c io doisdo odd at drow tastuogat W bas vefats satevensas (dtiw (S85 .aft)eoiets sizate. 5 détwons n eseids déiw>.eqsde [sqoayfoa ak anibas atodo gaol s net con aaiseatetne: afsasio ebta isme Vtetesa aaisievos itiw emzot oft heterimobiodw .etsisis tas. bin pa . > eam * : wr oe A ar 202 @ very pleasing subdivision into stories and a bold crowning cornice; the design appears to have been preceded by studies — in upper Italy. On the much later four story Topler house (1590-1597), the keynote is still siven by the mediaeval for- ms on bay windows, on the window forms and the gable. (Fis. 340). The Renaissance obtained a complete victory on the ve- ry famous facade of the Peller house (1205), but both in the details as well as in the Seneral effect, Barocco ideas alre- ady notably appear. (Piss 341; also page 290). On the city hall, begun 11 years later, all reminieeénces of the middle ages have disappeared. The elongated facade (Fis. 342) reje- ected columns and pilasters, but obtained a sreat effect of t the powerful treatment of the portals and the window enclosu- res. The arcades in the two upper stories of the court have é subdivision by pilasters. The master, Jacob Wolff the You- nger, had made studies in Italy, probably in Genoa. A similar and purely citizens’ art tendency, even if in sm- aller proportions, is found in the neighboring Rothenburg-o-T, There the marketplace with the stately city hall. affords an entirely charming view of an old German city. The city ball wes built in 1572 by a nurembers master, the elder Jacob Wol- fi, father of the one previously mentioned. The long facade is broken by an octagonal stairway tower and before it is pl- aced a rusticated arcede portico with a balcony. fhe isolat- ed angle is accented by a hish towerAlike bay window. The ar- chitecture of the portico and of the portal in the gable end exhibits a certainty in handling Rensissance forms, scarcely fourd at that time in German masters. In Munich about the end of the 16 th century, Friedrich Sus- tris and Peter Gandid were engaged, who had been trained in Vasari’s school and represented the Italian Renaissance in t the Netherlandish conception. They proved themselves import- ant artists, who dominated the forms with sovereign mastery, and powerfully influenced their contemporaries. Their first important work is the church of 3. Michael (1583-4597), a pl- an with a single aisle (Fis. 343) with transverse aisle and &@ long choir ending in polygonal shape, with three relatively small side chapels terminating in semicircular form, above t ie 1 V8 ote v i. dekh adi Michoits thy bes mons Ak a ; tas a He Geekinrtss out pores fs to nottoubowsnt © feseRioo & 26 b3tsead at diusv Isagut edt foitss dSid s bas DF read eegiens: od¢ at -befbasd yiden at Slodw sd? .aaifiso couse | - glebysoette [sienem esi at bas .bose1005b vilesersb0b bas aa ‘-eoddis) .2inten® yd asw sbiach ad? sH0fsee79 f{ssxetak basi | ss bt basP tete9 .eaottostdo ‘tuodsin bavorq sd toanso aftas dQ i _ VRateolons again avtessiqmt) sd? to soestioss oat tot 202828a i 1» @88l-flStent: betoote .s08isq isvor sdt to san0> tsatal ots i ~gsed. 613) :botse1s yvinisia at 19taesxe oa? .T aetitmtxel 102 : “doy stsino (296 132%) LISP ae0ey edt to elesaoq dott bus LuttTe; fe 8 to motstagoces oft time sbaost aresesn Sabivibaw setwios me s0ftedat edt al iconseatsae® anailasil ede to sones link onoxte wd yxsete Leqionisq edt ic emoor edd bas aatesb yewitss2 ais *tasatseo1s ofdoa sdt bas saottiocesqg aveiaomisd bas basis eds ~bae toolee 8 bas sSootie bodetugattaib es even .aiteteb odd to *(eed;eqed%e9 aonsectaneh sdf .consottingam yteoutaa ylors « | yh ermal tostisa yifssps: io t10n bacose on yaseie? af ‘ ith > 2 Isopb 28 S4edmadiuW ai ydivitos +8912 8 batrexs ebiayiedis ~alblind awexb 6s. besuscom bed ylaaI ag sh .tostidors dines Mid od betsolis asx JI «1 ee001s9. se20098, bas ofbslls9 yd, 22 ., 9d¢ bas aflooioe ,sedorede ,a2wsededo weas blind yino son oF -eio Sf hotadiaits 918 wid of) .agitio s1itno oals sud .9itd edevitq bas oiidog to todaya sss1k 6 bas esdomds SI .eunes » Sidswe ai thetacobuex9 to aslq o43 boaaiesb sh .(eanibfiud (Steds besoeie, bas .sitgepA wort dellegxe atasgasso19 ant tok ,>1, ~~ ,haborg Lenigizo yiev s ot baibioocs, (805f-108L) dorsdo sds ae Snfgteibs aatoliud oft io akniw ows, bagastis 9d nodw .asla odd Os 9m edt oF beazises asw doidw to emo .elans sddia e 09% tnsoitia&es sit asw Axow eid eth .momow add oF isddo0 7 ~), s@2iT yd boyorsesd s9tel .sieddsua2 at, (gaibLivd won) se r ~,SSHiUA YS beiuoshed wogrok Yo wassado sis Yo Aeaqndo ast #* — BP Baio Snworg e343. i ind ,Shab s9iiaos Yo basbai ok BBE at } “suited Bua 34 bawow Seovls saiseblog Asin fod rplugaaioss o ; {DHNSTXS ads so Sesad sow ,gaitivas oda ye Sessa tius sds as 4 ~petuea dgid of s204 doidw ,sottouatecoo todwis Iisa sas. 19 -aetamsxs bidnoias seeaeecoq ytio y1eve ylusem .aidew ni soid re ~Lisd wiseesdo ois af onida 19099 odd ao efuomunom sit Ba0mA _ =otg. ati aot aoitsisbiesos io yidioMm (8882) eoasdedes Js anid @ meqe bin to 2octsaiog bedow dsin bedataawt tay09 supagigs = edt to shsost gataselq edt elas al .atgm0ot bawor asondsd < seadt at begasiis (8¥GL), (siausaes1e9). [isd blivk * aad imeblo +943). .offs92 to gankstan ons to ybode edt aseoagua a1gbi0 - s8t Peyolque ci (0082) todesia? 19391 tedmemoa ong a0 . (896 ; nyehlbvortens sis asilagT -oLbaliad te evison wobaiw sigtas te tcwogd i few B-i-ssacsd JBM, taf. \ -Bastods sit Yo ont blind Gh LO saoisibnos Vio od go xs9qg8 er ut +h. ee) oO ee oe we rahets) a rectangular plan, an open arcade portico extending around it externally, interrupted at the angles by small and elegant round towers, and at the middle of the main facade by a high flight of steps, above which was a portico-like projection c. crowned by a gable (Pig. 346), and stately gables on the side iaceces. The ground story contained a great promenade hall leading around great water basins, above it being a similar festal hall. For the works on the summer house under Beer, Heinrich Schickhardt (1558-1634) had also participated, who afterwards exerted a great activity in Wurtemberg as ducal c court ercbitect. He in Italy had measured and drawn buildin- gs by Palladio and Genoese paleces. It was allotted to him to not only build anew chateaus, churches, schools end the like, but also entire cities. (To him are attributed 12 cha- teaus, 17 churches and a great number of public and private buildings). He designed the plan of Freudenstadt in Swabia (for the Protestants expelled from Austria, and erected there the church (1601-1608) according to a very original ground plan, when he arranged two wings of the building adjoining at @ right angle, one of which was assigned to the men and the ether to the women. His chief work was the magnificent Neuve Bau (new building) in Stuttgart, later destroyed by fire. * The chapel of the chateau of Torgau dedicated by Luther tm 1544 is indeed of earlier date, but in its ground plan as a@ rpeetangular hell with galleries placed around it and betwe- en the outtresses of the vaulting, wes based on the external conditions of the building ef the chateau. Of the half timber construction, which rose to high perfec- ticn in Swabia, nearly every city possesses splendid examples. Among the monuments on the upper Rhine is the chancery buil- ding at Gonstance (1592), worthy of consideration for its pic- turesque court furnished with arched porticos of wide span b between round towers. In Basle the pleasing facade of the goldsmiths” Suild hall (Geltenzunft) (1578) arranged in three orders suggests the study of the writings of Serlio. (Pig. 347). On the somewhat later Spieshof (1600) is employed the. triple window motive of Palladic. Italian influences also a. appear on the City ball at M@khausen-i-f, well known for its. ay ee v b gsnonn bas enusfoo to ssgtoodtdows ws Bas yrota aswol edt ak aa, bet esiat S33! qsey ‘odd ai (a1emfod wort - ((eset-sear) aitioeq2 (sine@ gisdesis@ "aT .ono. x8000 sat at - -888E geod Senateeb .toetidore aoifsoftitreY belevatt doum s - hated asivge1 yleuréne ne ee [lsd ytto blo eid Yo ebsost ods -Td9ted af detavbs18 asfrote sda at wofeivibdue sstasita daiu astissl sit astamixorsgs sxstossidoys tesesltgq bas [ataog 3cf “519 sid ylrslvottisq .sonsissuqs [aieney sdt stnemtsexd tot Isietoostidois oft gised ,toot edt bas awobatn edt to tasuss “eavod (2*asuow) asuer® oft -"iemI9D Seswdtcow to taf9ossedo “S00 sd0m ods OF eRnoled ISS at sosfa TstenB¥ edt wo bedoste _ =13 [eniet0r sat .ynem198 ated¢vos at atsow sedis tisd efda ‘YO aoftviatooe: sdt ewolls (826 .2¢¥) “moor aiatie9 to tasmtss Yo mis oft asiw siniqe Lsistostiders as to sonsaimoberd ant af eisdmon (aigsostiddis edt to sew eviensdsiamoo bus basis s Har avked .nebsl te usetedds oat .sostts bsitiag s to tovat “asti6) ed? ai /seds ui .Ydiwous#od. i \d1edateW iaqesd yd C3at T soves yldavotods yise1ls st siso nsla bavor® oft to sasm9g so6fa109 « dtiw betosaaos srs emo001 ods aocn .Soaeinevn0o tot ~sdemoe sit a9 .garbliud edt to elbbim sdz dsvoidd Surbassxs “oF dviw (8961-886!) sivtaite) 1890 vsesst0D yestedo y9sIsi ta. .* -s9 (vesesa Sivdeexs3 s yd PLiwd “womob vd berevoo e1ewot bas ~be@ odd vd tiet sevieamweds shsu asoneu{tur donate e1aM Le “btsh nt .(@hé-.9i9) .doivdsivd sede overhremesds io dotted ed S0Gr weerticd CHE) sds Fo) FOREA dee senad aus S4safe dott att To davooos no aoitstsbieaoo ssiiem .r9t {a8 asfusdd. sdf .awobetw vad owt bas asdsunoloo vd bestrstosisio .2b898t i soneeefaneA fenrs9 eit To bus .asa71Ss5 déeoe to drow (sqfroatig | / avods beaoidtns ylleoFtasmor ssesetio Suetg od¢ et .Lst9Nsy of 18 bavo1s bequors vactbliad {sieves to agefeaoo tT .ytio sda ‘,W@t0b [atens8 2st st srsyoe 6 Saiteatxordgs Tagoo islegeTts % —adltd eds no atewot od? .zomit SooreTtrb Wort ste6 sand bas «Citta eetatovite odd to stasq bas allew Yo eentl nissae0> ‘sit | Weare sut6Lend sackttse oo? .yrneaee dy Bt eae os ynoted | “98 “antblivd fish aeel9" ods et dotted ’seasaetenss ois mort hoe Ame ‘sit te \ntebiee Joost Yd OBBE Inods bsvoe.- 266 fresco paintings in which the painter (Uhristian Vacksterffen from Golmar) in the year 1552 imitated rusticated ashlar work in the lower story and an architecture of columns and niches in the upper one. In Strasburg Daniel Specklin (1536-1589), a much traveled fortification architect, designed about 1585 the facade of the old city hall as an entirely regular pian with pilaster subdivision in the stories graduated in height. The portal and pilaster architecture approximates the Italian form treatment; the general appearence, particularly the tre- atment of the windows and the roof, bears the architectural character of southwest Germany. The Frauen (women’s) house erected on the Minster place in 1581 belongs to the most not- able half timber works in southern Germany. The internal tr- eatment of certain rooms (Pis, 348) allows the recognition of the predominence of an architectural spirit with the aim of @ grand and comprehensive use of the architectural members in favor of a unified effect. The chateau at Baden, begun in 1 1589 by Caspar Weinhart, is. noteworthy, in that in the arran- gement of the ground plan care is already thoroughly taken f for convenience, when the rooms sre connected with a corridor extending through the middle of the building. On the someha- oo,at later chateau Gotteseu near Carlsruhe (1588-1594) with ro- und towers covered by domes, built by a Strasburg master, Pa- ul Maurer, Frencn influences made themselves felt by the med- ietion of theomargrave Ernst Friedrich. (Fis, 349). In Heid- elbers the Holise zim Ritter (of the knight), built in 1592 by Charles Belier, merits consideration on account of its rich facade, characterized by celonnedes and two bay windows. The principal work of south German, and of the German Reneissance in general, is the Srand chateau romantically enthroned above the city. It consists of several buildings grcuped around en irregular court approximating a square in its general form, and thet date from different times. The towers on the bills- ide, certain lines ef walls and parts of the structures still belong to the 15 th century. The earliest pbwilding dating f from the Renaissance period is the “Glass Hall Building”, er- -ected about 1550 by Jacob Heidern. 6f the former facade only about a half with the lossias extending through three stories Py. Weehe P ef es. Soe ; fg Ylensi7xe Plas Abbcntient deh Ht ases Jud aniamed wo Pita inactnss, edt to Jxs00 Qnitaeretak sds to, s1aq eupesigs ebatbliad dofantel-ost0 sas betoet9 asw 8S3t+553!l eusay ons ot tliwd et ebsosi avomst od? -olbns ¢49ta s 35. aniatotibs bexsbiacco. ifew 6 asd #1 .9aad dad s evods actiosa ssxas. | ‘wove tewol edt at eistealia Ssisoites1 Sigel yo aofeivibdye ' -etesliq asidtaiaod ,fesektt doylsiis ofa0G 6 at doidw svods) | seYIOtE Hatds ond az enugloo asidgatroR bas bavoes add at 24 Sonseo eonsegiened asiiss1 edt Yo someultat-od? .(O86 .929) i tet, .oilie® to ekakéiaw sdt to ylisisottzea das .boinsd 34 7799, to yletitas bus éusbaeqebat ylsttdas at aoitiaogues ons Ndatesies détw bomsa od of Jou at r9te8q ed? .aetosisdo asm “%S “ivoutny seiwisdso as. yd eew aaiesh sat seas bamuees ai 31 -~basiqedset tedsoqh .gaodtad isialuos detbaslaentel eds (duke odm..goitgosxe odd af tasa Aoot ,enifeD isbmexela .astase agi YOSf-f05f woxh. .ysedd¢aA to tozaeo00a 8s ae habistes. ad of ai @ ytov bas B8ateount edd bst99%9 ean antbiied [isd edt sbieeod ») 8088 setesm Qindessd2 odd yd Qnibliad doiwboixe istasuoaon edd Desgobs tetesm odd (LEG .2i9) eobsest oid 10% .doodod agin modd bagoleveb toy ,2atblivd doirateA e370 eda to mete y2 - d2G8 .ot0t to tasmtso1s s91dse yliaitosaadus bas r999% 5 _ etxoxel Aronsme1? Isissovita od¢ to Battazo0s otsehisa9 oid j } doit ofS es [low as .cuemanto sfiosesiso One Auow bsilor sn 4 9 9@f .audQ move sJ60 asiseasie? yd bengiveb acitsicesd ssuait . { af ovead of sdsaow 9181 to slodw asoisomtsad « otak bantdmoo ~1930% vismorsxe a6 Bafbliod sottbede eds to esbsosi ont ads sos sthatae Jas seure® ods to aoteseraxs Dutusxoa bas gaisae eiew yledl dviw eaottsisi seolo edt baslaoxsinwe asazop af | mottqsogos pasmisS edd du .otptoetidous at evidovtis oals § « aN ebgost ods ie inemisers ods: bas asiq tid ai ovonyet odt aevid ‘a @ iugevot? snxs08d af ..notsourtenoo. smote oda at 2s Llow 3s | tusmeasvos wor) eosisa e*1zetsil oda Vaan 4a9dis dss9959 osaid Necaninabe Lied ytio ed? stan0o o0ft10q Intiensed daiw (zaiblied © tts ateision of elesofa ston as19dds bas LO06f ot nwRed sen Farid seimedtd ,asavod Situs antteeqedat emos ead. dotsu8 | 9haef 8 asd Oaslteatiwd .noisetebiesoo gabtixen ayni [lend ois i sdf .eusstsdo t9gued edd adosi 3 eX .tidiaxe 03 r]8dmun, % Hoo VISI“fI6! io (et{ieh asaqu) geat@ ai eonisa isqdevoos2 4 8 A bed 9nn09 eetesouasa organs Ons Liss ows Re) Ofa) | oe OS ee weer re jp» the composition is entirely independent and entirely of Ger-. 267 now remains; but even this small portion is an extremely pic- turesque part ef the interesting court of the chateau. In the years 1556-1563 was erected the Otto-Heinrich building, adjoining at a right angle. The famous facade is built in t three stories above 4 high base. It has a well considered subdivision by Ionic rusticated pilasters in the lower story. (above which is a Doric trisglyph frieze), Gorinthian pilaste- rs in the second and Gorinthian columns in the third story. (Pig. 350). The influence of the Italian Reneissance cannot. be denied, and particularly of the writings of Serlio. Yet man cherecter. The master is not to be named with certainty. It is assumed that the design was by an otherwise unknown ar- tist, the Netherlandish sculptur Anthony. Another Netherland- ish master, Alexander Colins, took part in the execution, who is to be regarded as &@ successor of Anthony. From 1601-1607 beside the hall ouilding was erected the imposing and very @ monumental Friedrich buildings by the Strasburg master Hans Schoch. Hor the faeades (Fig. 351) the master adopted the System of the Otto Heinrich building, yet developed them with a ireer and substantially maturer treatment ef form. With the energetic accenting of the structural framework, luxuria- nt rolled work and cartouche ornament, as well as the rich f figure decoration designed by Sebastian G8tz from Chur, is cembined into a harmonious whole of rare worth. We have in the two facades of the Friedrich buildings an extremely inter- esting and powerful expression of the German art spirit. In German Switzerland the close relations with Italy were elso effective in architecture. But the German conception sives the keynote in the plan and the treatment of the facade as well as in the stone construction. In Lucerne Giovanni & Lingo erected after 1557 the Ritter’s palace (now government building) with beautiful portico court. The city hall. there. was begun in 1601 and adheres more closely to northern art. Zurich has some interesting guild houses. bikewise in artis- tic dwellings meriting consideration, Switzerland has a large number to exhibit. Yet it lacks the larger chateaus. The Stockalper palace in Bries (upper Wallis) of 1611-1617 consi- sts or two tall and massive structures connected by a lossia a: Meee "PRS Tes in # otenos sasttos eemdd vd dsbiseabelicbae, Sehusid ‘ne One . yt 1s Aresedon ite ish 8 a3 fet: vteqora Stom-asd FE tod. fen Ade | | | efyte bae78 wish “V 8at yd (totoeteds tes n18d3400 eatlisveta edt atatesA al | Heeeat yb00f6 aso81 Yo sistxim edt yd Bae yletl %o vive oet | MOP bas nsia ni Satfest tas nasdtuoe eds of aotsasonoo at bs | « OP elseleottasg at dotdw .Antniter @ beonsiveaxe .snomdsord A atte ythoilomie bua ytiasls rot sovssbas eft af bsatagooer od | od#'al° velisteb to sasmssers beddiew yilvteiss has bertiorrh - “Selmommeo et Lory? sis at yilstosase faa asonivowa tagndsvoe | “FPatoat beviteh (“estoareq™) asbsors nego to svivom sdt baeot er -sasspe1t 618 bas 29oslassdism odt davotise doftdw ,eeottae sad HE *asseasa Qnintotbs sit to 2ebte adod zn0is bovatdaon vi ~ ;Siteved wteissoe af es (Lew as .steds conseatsasA sist afd © “to bésteat eshsost sis to sottentatss fetnosttod 903 214990 , vwsd sit tot sonc%stetg sis bausd r9dto siz a0 -$fdea daid odd ‘BaGmh .astoetedoaents3 off aevicessq: .esttote Ysqqu ead Lis ‘bas *(S08la dasuimota 6 sist (E0at 1931s) aszdmA seersdo t8 a9 iy" wadrirdy siiw etd tot basatbis® skubdotse ode yd Botovie S26 | =ft bas LIexntoetifnows yd ben70bs or6 a@absdst od ~.1sels¥ ar betnise vittsa bas ofitisrde af yvlsasq. .anotdatnagstass 910 | stat sda .emoon detse1s elbibaslas asdto ashiesd 092891 af h “SBE .97°S.8S * Ct. fer [fed defisq’ teorh odt entednos wots re seen teens [etvtoosidetws [eteseas yvasv asiw (886 | 00w dots 5 dae asoaisg sesloav? toe afieastaoo oda bas ewobniw aatedt fo¥ ‘to wasted eeslotast yileavetxs gif .antiteo feb i. “edtemdisqs e‘eontag ast at aatataos (O8Sr=VVGL) aextae as988 ta tm .a9nu2z0lons: T0]0b viislwotsasa 2d0iss10985 Laqtotol “To ediow teed sdt oF Qnuled teadd .eaatfLteo nasboow bas eharis alga ean soe lsq'e*godeid ods acndele@ nt ,eonsasteash add bso bas .ofyta nailetI beeestaxe as ni dfind cow tae GCSE at 7 Homie lo muot dav09g edt bsyolame’ .tssomsO2 Yo Liao 8 ,omod | se 12° Adsm19f092 eds To Lasiqso si? .teaqem e91t 8 at xtaod ae Sas to Qaibiied efdon s (avadbas’) evod yataved sat at ead | ‘Lea “ott tes auto? eteves ods af taeki(G8s .ai4) 08st as8y ®| ' Ga00tdd Raibaetxe bas basota edt ta Bafantked yisaom .wobsatw. “IwroHIde won oes siortsiotae1 edt eisse *asildan saefory? odd faelo® ontsas® doidw at .(d68I-Bf8D) Isabodseo edt sein one | a) Ae hal ,. ae : ae By Als rs +> A? is ee ae a ay, ve any eS, pet hg ’ sa : Bh wre oe 7 J) eT ee YD ot 0 Che ih ede Ae hen 268 and an arcaded court protected by three defiant square towers, but it Can more properly pass as a private house erransed in the srand style. 30? In Austria the prevailing northern art character, by the v vicinity of Italy and by the mixture of races already imcian- ed in conception to the southern art feeling in plan and form treatment, experienced a refining, which is particularly to be recognized in the endeavor for clarity and simplicity with dignified and carefully weished treatment of details. In the southwest provinces and especially in the Tyrol is commonly found the motive of open arcades (“pergolas”) derived from t. the antique, which surround the marketplaces and are frecuent- ly continued along both sides of the adjoining streets. Tn the late Renaissance there, es well as in southern Bavaria, occurs the horizontal termination of the facades instead of the high Sable. On the other hand the preference for the bay windew, mostly beginning at the Sround and extending through all the upper stories, preserves the German character. Among the Tyroiese nobles® seats the restorations and new structur- é es at chateau Ambras (efter 1563) take a prominent place, end were erected by the archduke Ferdinand for his wife, Philipp- ine Welser. Phe facades are adorned by architectural and fi- sure representations, partly in ssgraffito end partly painted in fresco. Besides other splendidly treated rooms, the inte- rior contains the great Spanish hali 141.1 =x 32.8 ft. (Pigs. 352) with very tasteful architectural enclosures around the - windows and the portraits of Tyrelese princes and a rich woo- Gen celling. The externally tasteless chateau of Velthurns near Brixen (1577-1586) contains in its prince’s apartments ipternel decorations, particularly door enclosures, wall pan- elings and wooden ceilings, that belong to the best works of the Renaissance. In Salzburg the bishop’s palace was besun in 1592 and was built in an expressed Italian style, and like- wise the cathedral (1614-1634), in which Sentine Solari from Como, & pupil of Seamozzi, employed the sround form of S. Pe- ter’s in a free manner. The capital of the Steiermark, Graz, has in the Country hous (jandhaus) a noble building of the year 1560 (Fis. 353) kept in the severe forms of the Italian ae ; if ee, ree hs Ls ye igs hdl beieaniie Bs ilk (i il hi/dosasataged abit oy "3 S962. adibusosee stow egaibfind wen svieassxe O0Sf bas s1edm .gsge0 sbaois Iviidvvesd 8 déiw ALSN 1894 gisds g Paldide: sovet 8d3 ak Saineqo s00 oF baogaeres exuinsao. 1986 spb teiseocs. tetisd dota ods bas ,ekdssm to eva onmoloo of? ~sbaivsis sted .sito0 st19¢ to ylteom e1a yael[ss 19990 odt “o-elyte sstietl a9eqqu sd¢ to geonswItai eted besasxaKe. bo _ - *89208, Io wsessdo eft Yo tavoe obsoww edt no 20. .etusoatidors : ~Sets bidaelge edt dotdn at ,(683f 19538) trobasaad ssen aud =f61s% to sigoo odt SA .atsoo siiet Yo shaw seiweitl 918 asy iviwtass dt Sf edd to esidatds oft mort ybsetls 392619 38 baa ,€018s0m edt Yo estvise sav ai aau yaoloo Saisis asiissI asa wd tiiod ese afdosherh edt so exebovied te. savod t9ommue off =sotise siutontts asivanstoe1 s et Si bus .alis#B silsb ofos ded2 ,eamoloo oiaol tebusla ao oois10a Sedois yifts as yd bobs J boyofqme osis: ean issomso? .sxasotV ve soiftead eas effeoos Mid ot Setuciasts af Qindto odd to yawaista sd? .sekard af ~iaeqo .(885i) afsterelicW soslse to ooistoq aebhtsl sidoa an? gotdecbhvs ods atimbs .2amuloo Beldyob no asiox1s esudt yd ay vifsiones af fatael iunevort) foesidous @4 .eiebon:secoas9 to ~96 odw ,stiiivd to swoisaspess ods nz iwon09 Sadtm Tw bomen odT*. CESS. 588¢) ooncid oommolosxsG to dow s 90 of dE ately Sef ,SS6f-atol besoors IT basatbis¥ odubdors to ausfloaven’ “#e) vetal elute oov01s9 asiisslyines edt to soudorg saivass -9i¢ aebay sonsidie bagol yixee stivp soassatsooh odd. yxskaen 709) 9d oF-er odw .(O8al-855!) egatvaod esidgseX-saiad to r0vst -99nese@tenea asifstl edd io atextwbs tastesup ods anome bstoy ~tensa yitee sdt eub od of cuses yrstac8 to songeltui edd eof) . -edet@eds esitecG .(ateelie osat amzot sonaerieds® Yo aotse1 © Yo auseteds witroweton. swoe bas sdatanot¥ to b89TS09 Biveus At -wod ‘gnexitio tastiroqmt beovboig sonsesteasA edt .seldos Od «\5 Er certeatentvetnets req ,eaftio isievea af asbsors sayoo asiw ese a: SG h yw / | > sR1gd9929008) 2) bagtuedoesusi .Ate se _ “ed? .comebe0cxg oded sigeli? bos yaoxe® pyuswis> sfbdim al i - -feveb- -eaw foodos leistessidors 2013 8 yiaee visvisaisqmos 91 ‘a . basdwod oat mort yiteeliasm aseluqmt 23% bevitsoe1 doida Beco . Erereverese: dotdw -ntgedell sedt wort wilsioones mopeea trent a pli a serie eo” ea i ; ‘ a eee ~~, ys. Bea . ; a % ‘ " nen mre SY ates 2 _ . eh mae ." 7 F ene 4 nO 509 i a 289 high Renaissance. In the archduchy of Austria between 1530 and 1600 extensive new buildings were erected on the Schali- aburg near MB1lk with a beautiful arcade court, where each two upper openings correspond to one opening in the lower story. The columns are of marble, and the rich relief eccessories of. the upper gallery are Bostly of terra cotta. There are inde- ed expressed here influences of the upper Itelian style of architecture, as on the arcade court of the chateau ef Rosen- burg near Eggendorf (after 1593), in which the splendid stat- ues are likewise made of terra cotta. At the court of Ferdi- nand at Prague already from the thirties ef the 16 th century, an Italian artist colony was in the service of the monarch. The summer house of Belvedere on the Hradschin was built by Paolo della Stella, and it is a rectangular structure surrou- nded by an airy arched portice on slender Ionic columns, that recalls the basilica at Vicenza. Scamozzi was also employed in Prague. The stairway of the Hofburg is attributed to him. fhe noble Sarden portico of palace Wallenstein (1629), openi- ng by three arches on doubled columns, admits the suggestion ef Genoese models. As architect Giovanni Marini is generally named. JI might cencur in the assumption of Gurlitt, who de- clares it to be a work of Bartolommeo Bianco (page 234). The. mausoleum of archduke Ferdinand II, erected 1614-1622, is a genuine product of the early Italian Barocco style. Into Eungary the Renaissance quite early found entrance under the. favor of king Matthias Gorvinus (1458-1490), who is to be co- unted among the Sreatest admirers of the Italian Renaissance. (fo the influence of Hungary seems to be due the early penet- ration ef Renaissance forms into Silesia). Besides the Sieb- enburs chateau of Kronstadt and some noteworthy chateaus of °/o the nobles, the Renaissance produced important citizens” hou- S€S with court arcades in several cities, particularly in Kes- mark, heutschaneand S$. Georgenburs. In middle Germany, Saxony and Silesia take precedence. The- re comparatively early a true architecturel: school was devel- oped, which received its impulses manifestly from the bombard Renaissance, especially from that tendency which proceeded f from the Certosa near Pavia, and is chiefly characterized in i } jn af LW ied Sn W ie nf. Fy 7 alan ,, rf ' oy o ¢ he f gh ie ie ee hee oat iii Gs Sp dors: oat weit at es. {lew as efonbasge, tons bus eonoint .psloy uoaon od? _.anotiéefem ai ebsed bas aseud .2eutste yd aotdex " sit af ge Ta =, res sie Bs. seail dsesd oidsod sisi oad afator yeas s1eq ai imoisigoa ‘eft: af sodors atstawo sd¥ ylis{vottuaq) elistsh yosm es Liew - G0. amtoh: soasaciench oft yoloms, yodt bas .(88 e399 teeodnin _ _«aga0led baid aedtel ods of .2oldee bas. exobain yd .2fsti0g | @ ,(Q086£ 19398) asbee1G 3s sosisq add to ankbiind siso92 oat dota,edd enismes {itte doidw moral .sasstascsidos eash vo tlind *,(268 218) .(obia odl% odd oo Ied10q. 192103. sds) 9388 erxoed oo / RE, S8SL, 10d58. botoore asw sopdéq ods Io sxutowisa isa dP b mgtisil beyolyme oes s19n ti oO .sbnexSi¥ io saioV seaesd -909698 beyiszesq woo ei omit Jedd to abiesd edd 10 .nemisow _(Rawitete ylossde odt dtin txo09 svieesiqet odd neds sx0m yl ‘-@bie dtiog edd Yo elbbim add at ooktt10q aeqo sd7 bas axswos -S2nS8episash yissequoxs? ods to ediow sassaogai gion end asi¥ .«BeRI0T asem aletactish siteso Io 2niw atedese. ond dataveo, at 7 sbaost Sivod.odd si0ote®, .cSél-SEEt ak, eden bsine8 vo #lina | _@ fetdw at .sowot yewiieste s bas, guste to Tddift ¢ besos ad ss eantdete aarbatw boesecrd ylbrhueiga bas betowitanos vibfod _ #04, ebsoi bas .siold ts uestado, 543 to tedt to Sonu afisoes «*a0xe2 to sosigwodd. [201 off .(**D0S obe9) .ysote asqqy odd ~88i9 9d¢ to antblisd, [etz0q edd ak sonseaienell giasa asieelis é astiesl, .S6Gl mori anited, (6386 .pi¥) s0¢98 ta vsededoa as f . 989 motsvieogmoo e1tsae sti work Ju@ .eidg no bout0ow ataitas it eetwodit sedl .i9tesm asn1eD 8.03 bedisces ed of af abiesb sqfoisisq ylavoless aismob etds at eastoatindors od¢ayixa sad odd vd asea 3d wea sonezetsasi odd to susmqoLaveb 943 gi dad oved: dotdw .alstiog {ultitussd yisv tis ge6aR. ai bas evotomun bas coxs? edt to botaeq aniblisd Skbaekae ads mod Saatsmst ould, vale: moid 191 bepmommoo O86L Juedd .asiatavos safesiie was 4) ‘ie ce eee -yasared, agsia on bas sxetaaw DN) He 6 vce + BER REE GO) Dod nesonges eme® $0 “hati ee to8 Sd 4 MebOR c90q 093.9 8 tLiae aawtingen9 (3 903 heb stiaive, 236 re!tA sigoonas8 of byt ty ~~ ae Arie ey - >’ 6) "}: ae, pogeatnoorg bebloty yedt asigieoseds bn, .osasesipued dgid Abidessas arr) - ipS%eg SAT ASiG OFOQ AQnoEd aii saograth* - a spent. aelgtoataq astistI 503 of d1sq-at yloeolo exedbs atne ” s omer: es — to doatenss 937008 nee Un as Te ae 270 the rich ornamental work in the pilaster panels, on the archi- velts, friezges and arch spandrels, as well es in figure deco- ration by statues, busts and heeds in medailions. The monun- ents adhere closely in part to the Italian principles of con- position; in part they retain the late Gothic basai lines as well as many details (particularly the curtain arches in the windows; pase 96), and they employ the Renaissance forms for . portals, bay windows and gables. To the latter kind belongs. the George building of the palace et Dresden (after 1530), b built by Hans Schickentanz, from which still remains the rich George gate (the forger portel on the Blbe side). (Pigs, 354).* fhe main structure of the pabace was erected after 1547 by Caspar Voigt of Wierandt. Qn it were also employed Italian workmen. Of the design of that time is now preserved scarce- ly more than the impressive court with the stately stairway towers and the open portico in the middle of the north side.. With the more important works of the Saxonpearly Renaissance. is counted the eastern wing of castle Hartenfels near Torgau, built by Gonrad Krebs in 15338-1535. Before the court facade is placed a flight of steps and a stairway tower, in which a boldly constructed and splendidly treated winding stairway, recalls much of thet of the chateau at Blois, and leads to t- the upper story. (Page 304¥*). The real bhowpiece of Sexon=. ‘// Zilesian parly Renaissance is the portal building of the Pias- ten chateau at Brieg (Fis. 355), dating from 1552. Italian artists worked on this. 8ut from its entire composition the design is to be ascribed to a German master. That likewise the private architecture in this domain zealously participa-. tea in the development of the Renaissance may be seen by the. numerous and in great part very beautiful portals, which have remained from the splendid building period of the Saxon and Silesian countries. About 1560 commenced for them also the high Renaissance, and thenceferth they yielded preeminence to western and northern Sermany. * Doupere the George gate mith the pertal ef the eathedral. at @omo represented by Fig. 912. # * See page 304.* In Franconia After 1554: originated the Plassenburg beilt by margrave George Friedrich of Brandenburg, a regular plan witb > pot ag Wes,’ iititased® + oa “exewo? auot - - $¥od Miche. owt af asbsors isiq Besaemsaxo yidoia Zisv yd ni asd taetolowco? yiote betsotteis to bebivibay as Pu pees _efts8 moxt onsaieh eviiuG yd OVGE at bstoers . flea vs i ‘baste 09 vittow sf dordw ,acrbltuvd bebiytbiwe ifew bas t2on7 ak eotsio “eqodatd eff bait att to edtow teod sat abiesd e boods 78 al .f%8 at ytivitos tse18 Io ee1tmes 918 Istensh -498 euifel qodatd eostya gaivol-sisso9siiors bua [ntiswog sat yd TSGI-S93! ni tliod ytiersviaw ont bad aawidfoqask Yo 194 basors bequers .aafeed ovtese1qmt ne es Ine .8 toodkdows end -ing edd ebaste ebie aiedsuos S20nw nO .dswoogeseuos ylassa s ~a9i fe dtiw Sniblivd Sclets ss1d¢ s ef atdT .doando ysisyey aroted .afsasdo ussitedo edt Yo siyte sdt tetis Sstaerxs e9k awoak Liow e435 ai anusiod tstszaup-se1dd beoelag e185 axsta sit ~iteq 9onseaisae® ot fo esevod divdealW od¢ anomA -99090058 tsda .20dOe85 supzotutofa 943 nottsisbieneo etiaem siedT .bo ~st astotases bfo s43 to sonsbieey siz .5L8t fwods Setsararas ~soometd od¢ to d1ow ¢aoduety od? .(685 .8f%) toddxe2 to ¥fia betoets .Bigdasttsdoed ts osevedo etd et sopsastaaeS steal ast iy “18 Tot DL8t-808l ar asantberh e59099 t9tesm Sandeense ods yd | asta Bavo1a Lssiatemmye 5 asd ¢T .bisdiewde® agsdol qodetdds “ago% to aniseianoo .2sonsulini done18 196an dsowbota booburi © “wOd S160pa Svfaaea isnot difw ,favoo sisupe s a1tzolone aratw ; aiswos ysutisia asilswe tot bats asfeas Isqisdxe ads ts ais 4 ai bobsloat ean towot roblo mA .sawoo sd¢ Yo asfene ont ta _ +geteivtd [staorfiod @ yleiss avai eobsosi sdT .Sntw isea odd edt dimieq yoserls aorseoiogs wobmtw ed? Jessimtoo blod yd asd Saibiind sat .asronsiaes ond0nse Sso1te te aortiaxopes t to Qatw digoz ont stas¥ al .toette fstoompcon bafeogmt ne ‘ ussio YIEV 8 asd \YSSE at nuked .sosiag a*rorools soaiag off = 0G oat .@t8b10 tetesliq bsaast1s ylteerq09 ssexd5 yd soietvibdya a f. tedto edd boa atisde sit to bride aewel sda uo aaotts10o9p ‘nemre8 edg Yo astesisde adf ved astteeesone [staomsnto dokx edd Usslvtidieg bas alistsb eee -ttow bello 4 10 .alebom doae 24 vd Seonsattai visestinsa aren cut0t wobain iiteitis dowm. 93 anode yrdavoo edt Syedw .eaidh aswol eds 6 noo antvil bas otismé fo ot dished at abasitedsefl edt of fe hy abe bile 5 Heron bid aes | sere s1sdw be 209 f, "0 bt if een On meee aft i if asin etal. ce = i) . i Se eee cs a7 1 four towers. fhe so-calied “beautiful court” is surrounded by very richly ornamented pier arcades in two stories above an undivided or rusticated story. Schweinfurt has in its ci- ty hell, erected in 1570 by Julius Hofmann from Halle, an ea- rnest and well subdivided building, which is worthy to stand beside the best works of its kind. The bishops’ cities in general are centres of great activity in art. In Warzburs + the powerful and architecture-loving prince bishop Julius Beh- ter of Mespelbrunn had the university built in 1588-1591- by the architect H. Kahl as an impressive design, grouped around & nearly squar€=court, on whose southern side stands the uni- versity church. This is a three aisled building with gailer- ies arranged aiter the style of the chateau chapels. Before the pliers are placed three-cuarter columns in the well known sequence. Amoné the Wirzburk houses of the Renaissance peri- od, there merits consideration the picturesque Sandhof, that originated about i616, the residence of the old patrician fa- mily of Sandhof (Fig, 356). The grandest work of the Francon- ian late Renaissance is the chateau at Aschaffenburs, erected by the Sthasburg master Georse Riedinger in 1605-1614 for ar- chbishop Johann Schweikard. It has a symmetrical ground plan, ‘indeed produced under French influences, consisting ef four wings enclosing a square court, with four massive square tow- ers at the external angles and four smeller stairway towers at the ansSles of the court. An older tower was included in the rear wing. The facades have merely a horizontal division by bold cornices. The window enclosures elready permit the regognition of strong Barocco tendencies. The building hes an imposing monumental effect. In Mentz the south wing of t. the prince elector’s palace, besun in 1627, has a very clear subdivision by three correctly arranged pilaster orders. The decorations on the lower third ef the shafts and the ether r rich ornamental accessories have the character of the German rolied work. The architectural details and partiéularly the window forms were manifestly influenced by French models. On. the lower Rhine, where the country shows so much similarity to the Netherlends in regard to climatic and living conditi-. ens, and where also en active commerce with them had commen- ee pains: . Pi.) Fes rea a i ae eer were © (ef of Desaetnons ots eate iy eg yey 6 ts beoaeunoo ae My add 88 sted bait oF -ebaslaedsen edt adie aottosanos ask bus ewobmiw gains tiv. vitéom ,2ee00d wostsa ait | Bit foe ts ifed ytio.sdé to eofs10qg Jaootiiaksa sdT .asl ofotarel aloiLiW .seteem ovitsa 5 yd bebbai esw ({Vat-e5ar} ' “nized. gow di ,atimds ifeemid 1o%sex19 ett es tud ,.(Loxoiarsl) _ aq 9dT .foodoe asiaiea sit to somanftnt eda tuod¢iw toa bea ; hei bas eaocivieqo1g ofdoa yiov ui bekasiis ei sistoutta bwo @eioms ovit ai enogo si j{T86 .879) eumoloo yd badeighaiterd bas 9199 yiaaidtate aed ti (9012 odd 3s ows bas s6s0a2 e023 a0 y _ = » 4 er es is Ay ¥ , awe i i a ‘doapdo sisaob od? .emiot sonsaeieneh yisse asiled! vdetieas” | 9d Jo, eouceglitui sdt r9hay. yldsdouq ,{BS8I-£182) engofod sax | ‘gotitesd 8 86 2idfjo8 af dDebaszis yltetdo [Lita 21 ,isibsdiss 79% agigev ten od? .eeiteifs® bas eisifia dbawor tebsela dsiw ois oved alisied Isissosatidors ed? .eledioo Lytsoa18 go t2 9a¢ To dads saomenx0 oft ,sonsaaisced etal aig to setaanaiis -@exe Jesifase adi to sao ednuseze7¢ Ji dordy to .eiviea oléaiab of lind zgew eeotbaA .2 Yo dowd. edt iyoblsae8G at .asda ,betstosed yidog1 one dotedo [ied balaia acids 5 es S8Sl-ShOL fanistat eds ai noises Isiyiéostiders os esd yosmis® dtiol -ap18..Ssvoael .49sda0F “tdvvirdavod eds ait) esouivoun sagwds ion ~sio edt dotdu ait. .{nfomsi bas sisdesblik .sbeteredigk wooing -oiisw as, en0de ni dsod .Ssceleved ylacia yusvy gsm 3158 ‘easst satel odé mort emoo aaeiuqut edF .aoisouusaaos asboow ai as | Gsiq bagork odd to Inemegusias odd Of woitalst at absalas | Sididzs, sosudoutse ods Liite :exssostidorws edt bas (OTS oaaq) seed s*seddsao-ted odd syaolsd exe. ,esilewbivibat agoita 6 ; Ssisbied ylisiiogs? bas daid s ddiw afeme gs. (uean8tasess9) ~, Beter00eb te anitetenos .wotssinemsayootaeiriexel bas. olds ~ Sat tetenSH of .aniedieq o1s0deasdo ai gdeasupert .sisides ecsigsediss antiaoretat ysev ylisiudostidoge aad co aguibiivd - 99t9dt drow consazaisaes teed odd. a0 .asineiis2 evad yiraom “ttime ors yous .(G8SL tuods) savodlfeatn vito) atentbhat2 od? vleeole eorsdbs saved (eottto ‘ssaedotem) atmsaeceth sd? .be | -9d yletste edt asvogsi al .ecasaetanel. decdoaliseso4 edd of wtoges din aeine310 etevea s 19% esviate ($85.2) segod stinadr % movd aeaka wobatw. red doia.cd? ,eexs,ed¢ to soitudiatath 16 reauaf al .soasezieass ods io 900k% wode @ ei bas bavors oft ‘ bumbek x4 (oear) eaaod, (Suswo,) #010 inttsused edd ao doin ik abs . rahe a a oe eee ' “< - Le oe 6 A a oe ee Os 272 commenced at a very early time, the architecture is in close connection with the Netherlands. We find here as there chie- fly narrow houses, mostly with three windows and stepped gab- les. The magnificent portico of the city hall at Gologne (1569-1571) was indded by a native master, Wilhelm Vernicke (Vernickel), put as its creator himself admits, it was desis- ned not without the influence of the Belgian school. . The pr- eud structure is arranged in very noble proportions and is d distinguished by columns (Fig. 357); it opens in five arches - on ihe facade and two at the side; it bas strikingly pure and ‘Shtirely Italian early Renaissance forms. The Jesuit church at Cologne (1618-1622), probably under the influence of the cathedral, is still chiefly arranged in Gothic as a basilica With slender round pillers and galleries. The net vaults re- St on Sraceful corbels. The architectural details have the character of the late Renaissance, the ornament that of the gristle style, of which it presents one of the earliest exan- ples. in Désseldorf the church of 8. Andreas was built in 1622-1629 as a three aisled hall church and nichly decorated. North Germany hes an architectural region in the internal northwest provinces (in the countrycof!Mdaster, Hanover, Brun- swick, Halberstadt, Hildesheim and Hameln), in which the cit- izens’ art was very richly developed, both in stone as well as in wooden construction. The impulses come from the Neth- erlands in relation to the arrangement of the sround plan (pase 279) and the architecture; still the structures exhibit & strong individwality. Here belongs the Rat-catéher’s house (Rattenfanger) at Hameln with a high and fancifully pordered gable and luxurbenteornamentation, consisting of decorated ashlars, frequently in chessboard patterns. In Minster the buildings on the architecturally very interesting marketplace mostly have galleries. On the best Renaissance work there, The Stadtwein (city wine)) house (about 1615), they are omitt- ed. The Krameramts (merchants’ office) house adheres elosely to the Netherlandish Renaissance. In Hanover the stately be- ibnitz house (1652) strives for a severe organism with regsul- ar distribution of the axes. The rich bay window rises from the ground and is a show piece ef the Renaissance. In Bruns- wick on the beautiful Gloth (gewand) house (1590) by Magnus , ay 7 atts Fe , —e vik | ang 7 i * ; | fi ? nhats 108 a eta: zanot eugitas edt hileset 19R1e9 bas shail® ~dt io sostq wode sotods A .s1tusonate Isvosibea sdt to 2siso Aaodiebs4 al 3 to 19s0878 femerd menetenta dasoo oft bus ebasfwol asmis9 aston add al | Bd sxrsdt fled ytio blo edt of .a0ktieoq etaxsaes s aeiavoso dotdw sioted .shsost wea « svsg (008! astts) misdtas8 gov 188 9titgae sdv Onibastxs enuuloo ssoast ao eoftiog 968016 as ei etd ne9 att. 49Vv0 ylfeotteolem outata sottostoiq s bas .dtbiw “Beeq yosetfs .aottetoceb Istnonsa10 das beavsgiuos doia dvi + 8 edt ylisleoitisa .zotretat aaa eetweitd ,ooco0red ofmt gat “G80 re alisd sit bas y1ote seqqu sat at tobiax09 ong .gitata bao worted edd a0 .betsroos6 vibtonstas bas bosoqmes viig “i bt eat haa 4. te nol eat of bsitgas ai ancitiogorg obmda yas toi patios? oa (886 .3£8) acbai¥ te oaasitacdod odd at eeuod edd et bark efi 3 19mt0b Rutbsoe1 owt yo bedaslt efdsh yletets « yd beawors”. stutosttdors sonseatans’ Baorte 2 aitdidxe efodw ad? .asfdee - — oe a73 Klinge and Balzer Kirchner, the antique forms with a surprisi- ng feeling for rhythmic proportions is applied to the low st- ories of the mediaeval structure. A choice show piece of th- 3/#is kind is the house in the Hohestrasse at Minden (Fig. 358), distinguished by the richness of its columns. In Paderborn the quite symmetrically arranged city hall (after 1612) has two projections from the main gable end at both angles over open arches with a continuous series of windows in the upper story and ornamental galleries. In Mtinden the dry and bold facade of the city hall (1605) has a predominating Netherlan- dish architecture on the three gables set side by side, but otherwise an entirely German character. In Wolfenbtttel Paul: Franke (1538-1615), an important end freely creating artist, built the beautiful church of S. Maria (after 1608, first con- pleted in 1660), which exhibits grand proportions as a three aisled hall church of imposing internal effect. The details oi the Sables arranged beside each other above the side aisi- es are already given up to a wild gristle style (Pig. 359). His university at Helmstadt (near Brunswick; 1592-1597) is a. rectangular building of two high stories, staircase tower, h hish gables above the narrow facades and three dormer gables - over each longer side, in strong composition and rich treatm- ent. Also the Gity church at Bickeburs (1615), as whose are- bitect is named Adriaen de Vries, contains an imposing three eisled hail interior, covered by cross vaults on Gomposite columns (fis. 360), with well weighed and expressive decorat- ion. The facade goes strongly into Barocco and lacks the ch- aracter of @ church. In the north German lowlands and the coast provinces Bremen occupies a separate position. To the old city hall there La- der von Bentheim (after 1609) gave a new facade, before which is an arcade portico on Tuscan columns extending the entire width, and a projection rising majestically over its centre, 3/S"erowned by @ stately sable, flanked by two receding dormer § Sables. The whole exhibits a strong Renaissance architecture with rich sculptured and ornamental decoration, already pass- ing into Barocco. bhikewise the interior, particularly the s stairs, the corridor in the upper story and the halls are hap- pily composed and splendidly decorated. On the narrow and h My Mh _—- te ‘Benetawe ifs revo bss192 vleviewrtde bas yivab sasmsant0 | (OVSl~bTSL) aobmk se Llsd yio ofP .(285 Jar3) .cds08t ods ~-toe1 asw tiled to emetA nosis vd teewdta0n omsxtxs ode at ofd7OR ods Yosdh4i 9&4 .siyse aatbasitaatew sag ai qvisaitae be viove 19099 divin oofsi0g bedois of GNGE at dbevienssa Iied wtto - odd a0 S°GL issy oft mt .obsosl add onpted boxela sided bas bos ,e0eta to sdkt{t boreexs yldon bas dots yiev s sbie tese =$891¢ mei off -wobmiw ysd toytb tsdwomoe vissxfs oa S88f ai ~si91 {lise sud asouesfiat datéasitedse% hedasoos beebak teem odd tvods bseige dood mox% .ystievdiviont nissieo 8 bant ~J9etidows afsioo aries astluceq 6 yxstaso at Sf sid to sl bbim -Beationt bas istnostaod .aeaneolous wobntw bas ist2oS aay e99far09 bas efsdiaes .esasd coals .2notlisbom ginkit .2sast1? f teas ai site Sattentmohsta od? .sdt0m s1ist to sham 319% ‘79 9f¢ to afeed ed? .oonscehmasSevduse seibasisredss4 edz to -ofe1¢ sét bas eovssl endtasos yb .ba0ad za bemiot et toomen mot walwoatoimes ai tao tuo ai tatog seodw .mote atin Li ead bas .R10dgeliook zi sivtestidows atas to aismob Yetno ode _ Wide (2800 a*eouiva) “lodmeraxg®” oat ak ootbliva Lsatoatra 1 odd détw sbeost heaoleveh yibsord saf .(béat-Gdd!) aeeei¥ “389 ag3f0 ong yd hebivibdue eft swointw slorat dSseofons yldory etetaslia vd oefg sbhte txn0> oft mo bas esxeint sieht l teqe -aborqg tad? .nottyeoreo,o1itas sdf estnoge as0qy ows edd ak _' Yo alfeteb ods aa Liew ae .tootte tseusmocom teivp s iowa as5 ' BEA) alatrog ont yiletosqae ocls. .dnomtacit Lewstostidors odo h; -¢istl; 19q9" mort esousulini to sosdonsees sat simreg , (85% ; =866L af Sfind .Bawdgaldics at wortst9 to aseteds Sas1s sak | wot .anotliveq to mefq Sasth eri ve (1189 apoetonard yd aact ado oad Yo foes L918 ead to tiowa s ,2eted? seq2s0 ative ol Yo .(882r 19st) eos leg issotools ons siiwd .ustx0T to uses rise mee08 te ifsd ysio edt of .vaixe antsmex nek tud doida te ‘s9703 efdoa a he bbs Sesr-oaar atsey add at oxben® tb siai 9 erudoutaa ons ot of avosattago ai datasqo, sbaost v0 ekniblivd sassz0qut. to asttea osisae ad +9itsod ai beonemace i . a4 y ao | pe Ser Svat ia) Ve eee es 1) an fate ality Shaan re Biase 80d atest dain iy ory bas bisivevo deivel edt yd te0f et sootts [atnomsate. -90nseaisas® donsa¥ eat to evsodedo sd¢ aliscs1 eefisy bas || iba alaodsol adé oF ulseols sisdbs vent bisasd va nwo ab “6 = ae, - TE high Essig house, built about 1618, much of the clarity and ornamental effect is lost by the lavish overlaid and rolled ernament dryly and obtrusively spread over alli surfaces of the facade. (Fis. 361). The city hall at Emden (1574-1576) in the extreme northwest by Marten Arens of Delft was erect- - ed entirely in the Netherlandish style. At bi&beck the Gothic city hall received in 1570 an arched portico with upper story and gable placed before the facade, in the year 1594 on the east side a very rich and nobly treated flight of steps, and. in 1586 an already somewhat dryer bay window. The form treat- ment indeed accepted Netherlandish influences but still reta- ined a certain individuality. From L#oeck spread about the middle of the 16 th century a peculiar terra cotta architect- ure. Portal and window enclosures, horizontal and inclined friezes, figure medallions, also bases, capitals and cornices were made of terra cotta. The predominatins style is that i of the Netherlandish Sarly:Renatssance. The basis of. the or- nament is formed by broad, dry acanthus leaves and the trefo- il with stem, whose point is cut out in semicirculer form. mhe chief domain of this architecture is Mecklenburg, and the principal building is the “Furstenhof” (prince’s court) at W Wismar (1553-1554). The broadly developed facade with the r. richly enclosed triple windows is subdivided by two high par- apet figure friezes and on the court side elso by pilasters in the two upper stories. The entire conception, that produ- ces such a quiet monumental effect, as well as the details of the architectural treatment, also especially the portals (Pis.- 362), permit the assumption of influences from upver Italy. The Sreet chateau of Glstrow in Mecklenburg, built in 1558-1. 1565 by Franciscus Parr, by its grand plan of pavilions, tow- J(i,and gables recalls the chateaus of the French Renaissance. In Berlin Casper Theiss, a pupil of the architect of the cha- teau of Torgau, built the electoral palace (after 1538), of which but few remains exist. To the city hall. at Posen Batt- ista di Quadro in the years 1550-1552 added a noble three st- ory facade,opening in continuous logsiss, to the structure c commenced in Gothic. An entire series of important buildings as shown by Danzis. They adhere closely to the Netherlandish es, Se i Se dtehivecaldinessn sakbunlehebel bred qltetto: bas s18 Haihaiagtohys {sasets sd3 ef taemcoom sassioqmt teow ad? 210 9 yilsitastedse bas .atidooM mort msagzedd® nev sogad ya O08f “Sausoutte wrote ows aslubnastoe1 s af sf .208L at boseLlamoo -oloae: wobniw edt .alstioq oft ts sotsouatenos snotebuse déiv (ted .(686 .af9) eeldse devaye ylevototrass ods bus eens Qatblis Letsieaq sonte .tasbive et s1ed baswmoo ¢s asw dtisew ~eaqgs os{s aitow tesef ods aol .2zenose tuo odt os betlaas aen .Souseeisnel detousivedsek oft to yousbned Isoteaeio oat ane +o ybsorls: bed somsezisacl ons baalo@ snoostbs n& oviwatis ~fegst sd? to saues [svo1 gaitvol-robssiae sit) ex sousitdas bas -vsi need) bed. bas: .yrwtne9 dt Gf odd to aninantasd edd gs enod ‘yisal odiw sevod yisoutaq eds to enotioiex vitmsk eds xd bere _-oxe seomls asw soisvosxe seotw ,bsovborg. s19m exi0W oi basiqe ~feasto coifetsh edf .ensiissI to sgredo ends a9ban viovraud ¢nootiiagem 320m sit eaaditeq af: woos1D to isxbensso edt ts oper -aq@iA oid le dévon eonseaianséA asidss1 edt to 1088 /Quftad bennitnos coals ydivivos fatetoest£deis sid) yasmis) al 0.086) tuods fitay ssw ‘sussy vtaids odd to Med saxtt odd “noo Sidsiosim eeois heitw990 ers to casa buonse edt of yiad ¥yiusv0g bas sasnisew [suotisn belevoens us bsd dotiw .enottih .2asl9 wexisio oid to aetgisae ocitsisis siz bos .tiueet 6 es, Nol) Aan 275 art and chiefly bave Netherlandish masters as their orisinat- ors. The most important monument is the arsenal, designed in 1600 by Anton van Obpbergen from Mechlin, and substantially ec completed in 1604. It is a rectangular two story structure with sendstone construction at the portals, the windew enclo- sures and the eapriciously curved gables (Pig. 363). What wealth was at command here is evident, since partial gilding was applied to the cut stones. In the later works alto appe- ars the classical tendency of the Netherlandish Renaissance, Likewise tn adjacent Poland the Renaissance had already fo- und entrance to the splendor-loving royal court of the Jagel- lons at the besinnins of the 15 th century, and had been fav- ered by the family relations of the princely house with Italy: splendid works were produced, whose execution was almost exc- lusively under the charge of Italians. The dagelion chapel at the cathedral of Gracow &@s perhaps the most magnificent work of the Italian Renaissance north ef the Alps. In Germany the architectural activity alse continued during the first half of the thirty years’' war until about 1630. 0 Only in the second part of this occurred those misereble con- ditions, which had an unegualed national weakness and poverty as a result, and the artistic energies of the citizen class, that took the lead in art during the age of the Renaissance, and had developed such varied and luxuriant prosperity, were entirely crippled. After the war a new period in architectu- J/) re alse commenced in Germany,as well as in the other arts; then began the supremacy of the international Barocco style, - chiefly supported by the endeavors of absolute princes. — ~~ 3. Denmark. After the so-called union of Colmar (1397), Denmark exerci- sed supremacy over the three Scandinavian kingdoms of Denmark, Sweden end Norway, but lost this over Sweden under Christien If (1503-1523), which then entirely freed itself from Denmark. Violent tumults in the interior and unfortunate external com- plications, especially by means of wars with Sweden, in the 16 th century hindered the free and independent development of Denmark. Under the long reign of its brave and energetic. king Ghristian IV. (4596-1648) occurred a national advance, w ay paaboanthet ‘battoved ode sobaw yrteengs aidd yistaeo at VE \ ot at tert? 308 .teoivp [sottilog Ragusecags yilssds1a srt “3s ean 9080q to boiseqg s9ks0f « (96NE 193t6) yaasneo da Bt Staslvsixks to eottosia edt yd doidw ab .yasnwos eds of bonds Bia \Speoeaemmmasiperaas beagolsvee tf ,aeasdoetaasm bas so19mm09 saaisa . aew 31 .otal elécedeuinest 41smasG@ besesgnes sousaetaned sal at/eew totel ud .asoaeuLing asmi9D mo ylieido boasd tarit ss. ceobat deidw .die deidasiseddell aogu souebaeqeb erste taomls ods to nottsfiism ent yd yitisa .betsiaseneq visosiib @isa ni -iveisd) aid Saivol-ta1s sdé a9bal .ebaal sesoo asm1929 Ataong “istosisio teonsm 6 ait beqoleveb sf{yde sousagiansd odt VI as’ ‘esaii bastk edd betaobs SI .ysiisubivibat detasG s4¢ aatst “1sd081e0) .gsw awo ett si botvow tad .datbasfaisdseKk sat Yo ieaudoetidors edt te 3ntquot® inolisoxes as ait ¢i 10% otter -) weoteftvibiss L[siudceditdois beegesxgss tsadwomes 6 dtiw asezem peat eteh bas esvivow sonseaisaea viass to aoitaqobs edit bas edi at i0t .aotsaiebiasos wo esiism soase2isaea detasd sd? oe atiw egseqisg leuusoetidow aieds tao eantid Fi aix0]¥ ; -toiazasiaxs wselo yirel 1890 St0dne01k to ssedsdo odsv ai dsow sagcaoaai: seit sak tests déiw eiptonite ssidas oviazem 8, (G8alna0ar) saarelok ddiw ,d1009 e1supe 6 dnwo1s Seayed&’ .asoxtive ilew bobiytbay * -dott .2cotilem qd febdivid anobaiw earsi ylevissisa tad wot. ouf .asids® bevawo ylevorotiges bas zosiar0o Yoor wol bas | Saoddiw saso yas af bas ,nsmie) ylesexqxs ef sdnomdsext at0t dastiogmi saom od? .efebom deibasiaedsell o¢ eoasisdbs sosyib ~teiad) yd betos1e .hiededoinsbe74 to sgotado sit et tagnuace Yo besosanom 2onalat sesrdt so aert s1. (@S8L-So8t ai VI ast | © dado0et0% fanissxe odd eatstaoo doidm o gerit ods .easbixd © faves towel ont bnooes oft eantblind gaiasodeavod oa3 usin ~at Ourds odd 09 .getmtourte JnomaISveR yIode ows ys daxasii ~o9 od? (286 , 249) .aabte setdd m0: 1oMed to tis0e sit eeolo _ sdt) yd mofeaeraqui avotnomtsa 6ae 3nteoqmt as as¥se ngineb Jag _«-Wawabsee-Iisme sdt \rewOs ts012 947 .emottzoqo1g bedgtew LLow “ae dofdw ,ehifw seqads to beaoqaoo gakbifad @isw odd esti Sasi cs ‘eet odd) 10 sootsi10g sbhso%s yiote owe asao ont yd. Jex9Wod ©) 7 8 ve ey) oe eed , a 278 which was also expressed in art. In the second half of the 17 th century this continued under the favoring influence of . the sSradually appeerins political auiet. But first in the 18 th century (efter 1730) a longer period of peace was ass- igned to the country, in which by the practice of agriculture, commerce and manufactures, it developed into comférteend well- being. fre Renaissance entered Denmark comparatively late. It was at first based chiefly on Cerman influences, but later was in almost entire dependence upon Netherlandish art, which indeed in part directly penetrated, partly by the mediation of the nerth German coast lands. Under the art-lovins king Ghristi- fan IV, the Renaissance style developed in a manner character- izing the Danish individuality. It adopted the grand lines of the Netherlandish, but worked in its own way. CG@haracter- . istic for it is an excellent grouping of the architectural. Masses with a somewhat repressed architectural: subdivision and the adoptien ef early Renaissance motives and decorations. fhe Danish Renaissance merits our consideration; for in its works it brings out their architectural purpose with particu- larly ciear expression. . Tbe first important work is the chateau of Kronbors near Helsing6r (1574+-1585),a massive ashlar structure with great undivided wall surfaces, grouped around a square court, with few but relatively large windows divided by mullions, rach and lew root cornices and capriciously curved gables. fhe | form treatment is expressly German, and in any case without © direct edherence to Netherlandish models. The most important monument is the chateau of Fredericksborg, erected by Christ- ian IV in 1602-1625}; It lies on three islands connected by bridges, the first of which contains the external forecourt with the housekeeping buildings, the second the lower court flanked by two story sovernment structures. On the third is- land lies the main building composed of three wings, which en- close she court ef honor on three sides. (Fis. 364). The co- art design makes an impesing and harmonious impression by the well weighed proportions, the great tower, the small stairway j/j towers, by the open two story arcade porticos on the rear wing, ears rod gums en ks wt ae a7 oe Ddecic binds ‘ai amooy aeito edt esbiess .(838 .278) .eantos. - gdidasettiogen ots feqsdo oct busied tetse2 ods vlaeLacteasa 8+ .e9asestsaed a1edt1og sisdem odd to olyte edt at bolbusd -widpedd tedt beavees et 31 .awontew at wgiasb edt to t0¢s540 . @ edt aoivoers oft al .easebi isead sag beisteus? tieewid on ~baaliedsei edt yfdsdo1q oais bus ledaiwasese nov ened tsaavuory tedueno? + ).d100 Wood .2isasG at bovolqwe nsgredd9 nev cots 19. ‘telisue yidaisbianos aft sivte omee add at dbatoers eer soda Bi ie(6S3i-O162) aseedaeaoh ai siodaseod to vassedo wolf sud “G09SL: \.aztaob ati dtiw Woeatd Ssiesd vitooit’ VI asisetaad _ 4 me eefdsk bus ewobainw yed dtiu kaiw 1slogmascer 8 Yo etait : oudtasbiaveis t¢ .wewod yswiiste Isacayiog {leas s .adae sia svisesm 6 bus .(366 .2i9) edsoat oft ao azowot sieves isbaede Jofastat ed? sebie sa9e1 oid Yo slbbiw ode ax t9NOs featontyg ~1stenq « betrdidze ayewis Quid ot dotdw tot .gatoliad e437 to ~sbeknedo dowm eaw tstel tud .baqqgtnoe yvidatiolmwos 2a .ooae nsgedinegod ak (e210) sgaedox8 sit abnotet seis sane ode oF ‘~ fedabwaset® nov eneh yi rodtsd saz 3s botoers .(Ol8L t3ste) & 8 dvtw abtiiveo yrosve owt betstnols as at st .ishaso¥ eat bas alstsoq ovisestqet .aswiod yo sheost siz to oofeivibdus “O39 .3001 943 To onilivo bevsuine ne 648 Yoort edi co saldea Wedd) bas obsosl aisw eds Qnols deeezeddey toor sda vd baowd -s%b auot to mot edt ai 19¥ed ott Yo sxtges beqad2 yilutrsbaow beth elisateixo soirsasi sat -WdseQo7 detaiut alters ‘anog mo adtood eise bekasita sien totdw anole srohitro9 aqol ions. —s Gwos od¢ 2i Loxainasaré to dion Siegen JeowmeiT .aebie atod | -— déod-evtessrqmt .( 182) soliieco! to feabeisco ois 33 (eaesdo | “Soetth, eswetutosrtiase doris of .yilsatstac bos yilenusdxe. _ ~stedf “etutostinow osstado ens to efiyse eds dosrstansas yt y | -stdser0. otasiz0 begofeved qitaciie as weqas yissom yeas atol - mabse1t bine aadder s to soiazst0mk eft stem ysdt ogla peas af “satoesidors douvio defaced to Arow letdo sd® ‘soidtoD oat mort ~aiad® yd asksdnegod yt VEOI ai dsbag0k torsno votatsT ode et | ‘s/deoytss Wiswiesaé aud qvesd vitsaresxe os ag sI .VI asia ; ees GRE thee semen tans _ wil oe LTR abate ict ke t0f1stnt ett tevO Let ivew ath wee ao. et aa meh ENE nae ese i Sana lie 7 am "as Te ead . ai a ’ vee. *%. Ss eno tadared aid yd baw si nde: hadi & tididzue dane 94¢ bas glestoa sfiT as aT? and by the harmonious treatment of the whole and the details. The portals and the arcades exhibit a rich and strong archit- ecture. (Big. 385). Besides the other rooms in the interior, particularly the Ritter halland the chapel are magnificently handled in the style of the mature northern Renaissance. The creator of the design is unknown. It is assumed that the ki- ne bimself furnished the basal ideas. In the erection the y younger Hans von Steenwinkel and also probably the Netherland- er Anton van Obbergen, employed in Danzis,took part. Somewhat later was erected in the same style the considerably smaller but lofty chateau of Rosenborg in fopenhagen (1610-1623). ¢€ Ghristian IV directly busied himself with its design. It con- sists of. a rectangular wins with bay windows and Sables on t the ends, a small polygonal stairway tower, at the sides two slender square towers on the facade (Fis. 366), and a massive principal tower in the middle of the rear side. The interior of the building, for which the king always exhibited a prefer- ence, wes comfortably equipped, but later was much changed. To the same time belongs the Exchange (Bourse) in Copenhagen. (after 1619), erected at the harbor by Hans von Steenwinkel the Younger. It is an elongated two story pavilion with a s subdivision of the facade by hermes, impressive portals and gables on the front and on animated outline of the roof, pro- duced by the roof gableseset slong the main facade and the w wonderiully shaped spire of the tower in the form of four dra- gons’”' tails twisted together. Phe interior orisinally had two long corridors along which were arranged sele booths on both sides. The most mature work of Steenwinkel is the tomb chapel at the cathedral of Roeskilde (1617), impressive both 2eeexternally and internally. To church architecture was direct- ly transferred the style of the chateau architecture. ‘fhere- fore they mostly appear as slightly developed organic creati- ens; also they make the impression of a4 rather timid freedom from the Gothic. The chief work of Danish church architectue is the Trinity church, founded in 1637 iy Copenhagen by Chris- tian IV. It is an externally heavy but internally earyest a and grand hall. buildings with still entirely Gothic ceiling v - vaults. Over the interior of the church is found a great li- “elied yisadi{ shader dawons obtw jamsx {e>0iedrpatbnsoss eldesa0imco » 836 ‘98 to edtow edt Room) ® .eser0d qwo0l déin egeiaiso 8 aw ev ~fso-on ods yd aswss af coelq taxi edd sistostidows ‘anexitio ebindieds yd Sf6tent sfind .nodeiagmeDat “oauod sedeved” bed ~ides ows dtiw sintomite yiote se1ds «8 et dT iaseaeS sesesmuo -Seab tqed ,obsost sekaol odd 1svo t9edto dose sbiaed Rateata es -195) to esoneoeiaimes spoddiw com toy .olyte defbasdredteu sds wind oi *.3teus@ ai fensats sda to ylasfvotrreq: .to8 asm “Wisshsd5 .S4utostitdono Aoiudo Asdna® Yo Sinomsnom eds of *- ad ~roieioageaneabaia te Aowsdo gdsasaxT odd sonoied oatim .gnidoess . (888 .Qd9 +388 soed) -a8 ‘san dewol foi yisdneo dz YI edd to olbbtm oat a9etis acok ~~ -velgse oo9e188 off of soneesianea deiasG edt te sotttaas "easeyiodd [ftne dasaned of besian beatswer 3ads wvawiok al ' bas susubgasi ai Ausaaed 0 Snsbasdeb esw omid ekdd buns ,d1eL “@ stemenefisiocos yiemira ed? le AP ee Tins) @ © , A ai Dear’ ve Pid Pye ¥ = ae ; , ; - “i! ys ‘ We, 1 7 b fe #3 , : { eet ih fi9@up le basipait oa ottl to ‘Yonebaes detwel bas «XIdaHOo gente on oF eitt to toemyoias eds ni tobvetni eew [edie iioo a* pusldaa nk bibnelas teom éf¢ io sno esw oks i9f ~etser8 edt sent nisak ddiw geetnoo enoksoterv edi. .yioseid ~den edd ni yot to Sarieet betsvefs ne beoshorq bed .sewoa te (818t-bezr) eiseqasisde dsoq ali doidw of .eonedsetxe [enci to engte sid bsrseqqe exsow eid of .notezssaxs ¢aewpols sved)' ts bas enoieesq yidsim .e1ed oets bas dsvod ond at ,omid odd ae -AidSue1te nempdsease of eugisorit ylesolo teow eew buelba® ni oupsoesipiorws .e31s odd Ils 30 -eevil aiedé To esonsixv900 edd bas siqoesq end dtiw bodosanoo ~basdo eds bas noitevels faaoiden ine dimonoes teexk edt more .eseluaot seehksoise sad hevigoet tf .ybeshass [sotoolIsiai be ods ni droimen omod to sebi edt beqoleveh ssasdorem dota sd? ~Ifewb stiedé 10% adnemeriness beesei0Hi tieds Yo noises tetize | scomegaerse 228ie .ssdmyn .noidsool tieds o3 basde1 ak e2dnt 8 beknade & hevisest esiiio edF® .ewoox ond Yo suemdsoxt bas ~ive smsced ybeaotis aesfo nesttio edd Yo elyx siP cgonerasoas ~i8w Bat deol ysilidon off .elyte L[eustoetidors aiedd ak taob bas seiltes odd eelseso aiedd dA .seéce9edD Snsiteh bas oit{ evek won sensteb bus Aostts set bekssiie Emoor yHools asdito edt to etses eft 10% .200id90q bibnefae bas sdbil of soala bas gi0imes Jot tovesbus sdé ,tisoo Isyor eit tot es ,esidon -eviisainseded esw stil sxitns eda Yo suomenites i eioted ybserls beiseqgs yliesoiesooo emiol sonsseisael sAP q agfet edd anisuh devil tud .yrmtneo dd SI edz io eibbim oad eves. besbai ef8 .botqsoos viletemes etew dtedseri§ nesup to froebatt at vaells) enotesinros feqmsoedidors Jastioquinn dud 918 6f3 101i sexlivomi betsmins dtin wiilidon eit beifaone tod ‘ edd fo treneonevhwe ofT -etses yIsavoo bas esosisa to notte ~seroeds bas soonest tai nsierot so etom beasd exw oonses fees _ atediol ybse1fA cence dus stsant ns wo asdd .eoibuse Isot a ‘ot yenmvot fei sid ano besuciidnoo (888 ebsa) sekowoY edd ~is) siodd vase Josism1sq efd aaiiasb aetel bus (88eb) baslen8 “edi 08 bas elyda wen edd te shbolwond oid od doum (S68 r98d rests eaude ndol& ,asapeifaa® ne SSG T6SY eid of .oo0ienedxe. edt go {ae detiaae exit odd bedeticna .gletI ni nesd &nived YL ha ob sre dé iid to ebnisian eds r0dei yersb10 ssumvloo | -detigs® otaé bstelenest onls exer te a a hy 233 and lavish tendency of life. The Sngland of queen Blisabeth was inferior in the enjoyment of life to no other country. Her age was one of the most splendid in Bnsland’s political . history. The victorious contest with Spain, then the greate- st power, had produced an elevated feelings of joy in the nat- ional existence, to which its peet Shakespeare (1564-9616) s (gave eloquent expression. in his works appeared the signs of the time, in the South and also here, mighty passions and af- flictions in superhuman strensth. @f all the arts, architecture in England was most closely connected with the people and the occurrences of their lives. from the great economic and national elevation and the chang- ed intellectual tendenégy, it received the strongest icpualses. The rich merchants developed the idea of home comfort in the satisfaction of their increased requirements for their dwell- ings in regard to their location, number, size, arrangement and treatment of the rooms. fhe cities received a changed a appearance, Fhe rule of the citizen class already became evi- dent in their architectural style. Phe nobility lost its war- like and defiant character. At their castles the earlier and often sSloomy rooms arranged for attack and defense now save place to light and splendid porticos. For the seats of the nobles, as for the royal court, the endeavor for cemnfort and refinement of the entire life was determinative. The Renaissance forms occasionally appeared already before the middle of the 16 th century, but first during the reign of queen Elisabeth were generally accepted. She indeed save but unimportant architectural commissions (Sallery in Windsor), but supplied the nobility with animated impulses for the ere- Gtion of palaces and country seats. Theusdvancement of the _ Renaissance was based more on foreign infiuences and theoret- ical studies, than on an innate art sense. Already Holbein the Younger (page 298) contributed on his first joumney to &. England (1526) and later during his permanent stay there (af- ter 1532) much to the knowledge of the new style and to its extension. In the year 1583 an Englishman, John Shute, after having been in Italy, published the first Enslish work on the columnar orders; later the writings of Philibert de 1’Grme were also translated into English. | ‘ete avecieks’ RORa TO eat setuedsee nzengton [le wai eA ! -do ylletinstedue juoisin .emsol Ieépemen26 bebbs es betseaqgs ‘bodeninizo asd? .noidoquasenos to wsdeve Lavesibem eas an Sens Ww sonseersnel ond to expsxim Spiwasdo yrev bas expeetudora « -3h Stow vevitom [svesibem edd doidw at .efyte iobsT edd dstw ~onsiasaxe sonseeisnsh edd to ssodt oficy feovestaque ylisubs edt (GS0r-805L) I eomsl robo .seemenites snieseroni ne be eid ti neve .oxsa yidsexelog ybssils aaw ewiot ic suemisend -iasé0 10geeooue eid isbay sud _»bedoses Ifite show Isvesibon extdns esi ni betenimoisigq soneeetans® edd (eher-as6r) I as WwW enottsies stemitat bentetaiem kati enivof-das 3fT .vsiang bedoel foo feves ,SiybasY bas anedsl .exstoisq dotuG ows dtiw -idifoq sid ni es weinsmoS o¢ bentiond caw base ,Betseesis 246 a at baset sosseeisnef end reds oe ,efofnigo evolgite: base Iso © -pdéuss di Sf sdi Yo Ifisd bmooes sad nl .noisgeq esolses 6 mid ~a8 nk yonebnes Isoitoxcsd? Bnorte es hersscas "aaet sodis) yx - =o to batmatked sds Liton benni¢neo deft .srsdoesidors teil . .fyaudmes dg 8 edt Yo olbbim) meiotersloo © oft ni hedeivenkseib od o¢ 1s ebotseq sordid yiinibyoood Sonseeisnsh yises edd .scoseatisaoh deiiash edd to notitalove otak beiteq eids ebivibdwe deifteds sdz -- G&86l-O8F4t guods to ‘geedooal sid to bus asdésdsetf® sdt to seodt .enoktose ond eas Bae aa! ot GS6I mort eonezefsaeh diid sdz -- * esiydes eile? bofasq tessel eaT O8NE of BOSE mort sonseetensl otal -esiysde ooooof bas oooossS sit Yo omits edd ni ylouitas Qhinaiyss edi wos, .eiqmexs donet# eft setio banigni al * fei tans XO soionsines elute tomise]ld eit sonneeionss sat Yo , -eetsash ylues sds .elyte eis io tnemdsert edd ot bused al ~breos bat me aiasd ti sone .pnitesrednd vivslvottssa ei. A068 ~qk9 viseefo geom et #1 .astosssdo Isnotéen viexrtins bas ¢n5 bas soidibsisetéaoidem sid covreeei9 gsee yadnvoo dailead ont eds mort es eooeleg naifssT ons work doum es exstiib ydeusds Ui es susoebnsl ne918 ons ni botsool eaw ‘4#T .eveetedo donsat © es bas yasm es biotite sibim si tadd os .o7eds gwork bat ai 7 ~nex18 eroleiens nef .eldiesoa es d19q efit io eweiv baimsado mean e10m oud hag : sretaty obte ebivorq cele od aeb30 at bes ea TR — .Ratngses neat shosonom shi set {se DemMN BASU BXutoOSstinorD +usilides edd Yo edeee yidauoo ent bas eeosleg sit so becest ae Noga: ‘As in all northern Countries, the Renaissance elements first appeared as added ornamental forms, without substantially ch- angins the mediaeval system of construction. Thus originated a picturesque and very charmins mixture of the Renaissance w With the Tudor style, in which the mediaeval motives were gr- adually suppressed, while those of the Renaissance experienc ed an increasing refinement. Under James I (1603-1625) the treatment of forms was already tolerably pure, even if the mediaeval mode still reacted. But under his successor Gharl- es I (1625-1649) the Renaissance predominated in its entire purity. The art-loving kins maintained intimate relations w. with two Dutch painters, Rubens and Vandyke, even collected art treasures, and was inclined to Romanism as in his politi- cal and relisious opinions, so that the Renaissance found in nin a zealous patron. In the second half of the 17 th centu- ry (after 1665) appeared a strong theoretical tendency in Bn- Slish architecture, that continued until the beSinning of Ne- oclassicism (middle of the 18 th century). Accordingly three periods are to be distinguished in the e evolution of the Huslish Renaissance, the early Renaissance of about 1560-1525 -- the English subdivide this period into. two sections, those of the Hlisabethan and of the Jacobean styles * -- the hish Renaissance from 1625 to 1665, and the late Renaissance from 1665 to 1750. The latter period falls entirely in the time of the Barocco and Rococo styles. * Im England after the French example, from the beginning ef the Renaissance the distinet style tendencies of English architecture were named after the monarchs then retgning. in regard to the treatment of the style, the early Renaiss- ance, is particularly interesting, since it bears an independ- ent and entirely national character. It is most clearly exp- ressed on the palaces and the country seats of the nobility. The English country seat preserves the sabsionaboatPadition and thereby differs as much from the Italian palaces as from the Hench chateaus. It was located in the green landscape as if it had grown there, so that it might afford as many and as c charming views of the park as possible. Men therefore arran- ged, in order to also provide side windows for the more impo- ; yen peal edd ces i e180 sguorods enides suodsiw .oelg paca * estas O79 sieddo ot dfaueer ylisiao bas. pueda & ni ebsosi 8, to , bextt. on, bevofeveb ed bilwoo esfatonina sesdt gO eso ite S50 “gous edd asissoustes svienstxs edt to% .moteye f[sansostidors dd to ebmin seads Yo dnometusiis os awode yilesened aslq bn - betdaid Lion bas tsexd .2 atésd 6 to mol sdt af Sntbhiigd «BERD evewiieds betserd yisoia bas. evoioses .elied sonestus -o9o0l yd beiatsiesgqg smoot odd ots eefseifse obiw bas nol .{OVE “vit seqo1q eff booverd exe meds bawoxk .tnsatsead bus notts rs) 949% eifete odT .pmoonr stsnibsodse sedi bos efasadasce eat ~ilies beviso yldoia eved yeds ;boon to besoussen0o yilesenea -10% eitasm Iseeoloo odd (INE .bif) emoon Snivid edd wy .2am -txe mobiles ton baa soitsiooeb sda to goetde Isafonise eat ef siow elisw bas ewobniw yed sd? .dniliss o¢ ac8eLi wmeoxt abas ~pest ,pnitfensa neboow hetesis yienii yt bereves yldsssissg baidies oft 10% .elisaw efd to ddbied e1itae edt 103 ylénes _ieesodo mobiee tud ssw noivourdencs asboow yew baitiase 5 at aomy0t sd¢i ao moitsvonui as es hesbak .beyasisig esw cooude Otai soietvyibdye § asviR sey toidw ov bas .Jasmdsex1d to shows & eettesot ftin ,wanibluom &nisosfote beyvago vd eleaso Ilene etel oft to mois ssint ni) edosboog &eibasd neve eomivemoa bone eft a0 .ebned oft to encivosersini sit te (ednsbasa oidso® figiw sooidiog to setenoo etiam dideiaedosssio ssi YOiiedxS ni isiei .soitstnomensze oibleiss bedessd yisoie bas enuntoo vie esewod exii Saieix asiniousde Iassoag bas boixode Leisvee : ~bivib, ewobaiw eesei yxoy .(GNE .BEE) ecisg ni tee somnfoo dé m dtin woboiw ved ed3 .2ted ego79 One eootiiom [eveveer yd he _ .89ideg beviwo worse slonie ,aebexdayisa hbedssctysa acti ina _,etersud {ied bas ysd ,eloos edd belesonee Baied mond baited wiot ods ot yldeom ,ayenwide bseneots ylenoise avoreaun bas ~idwos biod s buvot et elietob ods nl, (SVE .¢8) engwdeo to ~se0 ytins sistiso s dey izelded ofetob dgsened enito’ serseote ~o7G Bi soeite Iuiedsed # sasé oe .elodw eds od beineb ed Jon _betttnsio esoved oafs bad elistsh To emspt sit restd .beowb rhe atdtod odd, (006L dueds) sow need bed yeiawq steLqmoo. bas pokertie. ont bas e1edmon ad to soomednenye eid boonentiat Lit _ton ess swobniw betaiog has sob0T) amit sinskroni io sotten: \ “aS wobuin issiessio ,eseteeliaq sonsterense yd bexeedi mobies PA "285 3) 9 important rooms, several projections and recessions in the Re Z Sround plan, vithout taking thorough care for the development of a facade in a plane, and chiefly sousht to obtain pictures- gue effects. On these principles could be developed no fixed architectural system. For the extensive structures the srou- nd plan generally shows an arrangement of three wings of the building in the ferm of a hatin 4H. Great and well. lighted entrance halls, spacious and richly treated stairways (Bis. — 370), long and wide galleries are the rooms preferred by loc- ation and treatment. Around them are Srouped the proper liv- ins apartments and the subordinate rooms. The stairs were ¢ generaily constructed of wood; they have richly carved raili- ngs. In the living rooms (Bis. 371) the colossal: mantle for- ms the principal object of the decoration and not seldom ext- ends from floor to ceiling. Phe bay windows and walls were preferably covered by finely treated wooden paneling, freg- uently for the entire height of the walls. Hor the ceiling in a striking way wooden construction was but seldom chosen; stucco was preferred, g#gndeed as an innovation on the former mode of treatment, and to which was given a subdivision into small panels by curved projecting mouldings, with rosettes a and sometimes even hanging pendants (in imitation of the late Gothic pendants) at the intersections of the bands. On the exterior the characteristic marks consist of porticos with columns and richly treated heraldic ornamentation, later in several storied and portal structures risins like towers wi-. th columns set in pairs (Pig. 375), very larse windows divid- ed by several mullions and cross bars, the bay window with m mullions, perforated balustrades, simple narrow curved gables, behind them being concealed the roofs, bay and bell turrets, and numerous stronsly accented chinneys, mostly in the form of columns (fis. 372). In the details is found a bold combi- 29nation of inorganic forms (Tudor and pointed windows are not seldom flanked by Renaissance pilasters, classical window en- closures cling beneath Gothic gables; yet a certain unity can- not be denied to the whole, so that a tasteful effect is pro- duced. After the forms of details had also become clarified and complete purity had been won (about 1600), the Gothic st- ‘ill influenced the arransSement of the members and the extended ei ‘open bas stots fortavoms eff (eee are. 228f%) snotdnoqerg | odd RE ebet io? qitstio need oven of emeee texit se noiterooeb =i OF dutdehow ni 1efiwie yiev ef af bas ,eossiat bas ewollod “ni eonesg di astef 77 etoner% Yo sonseetens? donea% edd Yo ta oes ©id@ow bedfon has bisisvevo namve® edt to sivta eds ot ei doidw moxt .2eoe118s seers wort seia yfteom ensedado sdP two biel ,enehied fetaemaaro terol edt ofni nwob beef eqese besofons nfiets stew avet siedsd ni dotdw ,e¢esd astistI otis at eebiesS .eeli{tur ([stasmanto snitt yd igeq fsaristxe sds woat “nod boow sonseeianoH yises deliaak edt ni aoitonatenaoo snota yissuos edd ot yino toh .beqoleveb yldbid ess onfs soktovite -mgedo to zedmen tearm s bevierstq ets esitio sit ni osis tud -on) efaisetem edt to vsttidesash sdt of etneds .etnomnnom Bai eda to tasq secdeenb odd eoeuod oft 20 .(xeo xO tunlaw vite oe ylteonpext .ewobniw yd. befqudoo ef ebeost sit to sostane -hoow to besouirtenoo sd of sseqqe ellen taorkt edd send ve dogm ~etea 8 @8 edase yotavoo eff .efenba eeeldg ddiw dyowemext ae pol ushoow oft esitio sdt af io8@ .eetiode ows bosoxs fon of dtiw sedto tose baoyed gutsoetora estrote. Iatevoer oved ese -"q/ edt no heesd ef gootie edT .esidgsd osote bas exobaiw yed eesnd af bas .esoeinne ifaw ed of e®afnsao sat To enoistxoce “7280 ,eodelase bersiesic hoe drowhoow Yo nottented¢ie edt mo etaog (ssi¢sev: edd Yo enottiog feilessq edt ai ofcainsdoe .elevistat wou1ss fone diiw bedseqes .eestd soprido eis Yo bre ste duods .meds nsewded esif [lew to afase rorvien s vino tells _ saeb sivnoissiocef Teido efi seiweeds0 enxedmis eds io ithitw «© 488 eaeq) exsdmit suo Liotersésup bee aaleotko beeeors yd ben set aay 7 ‘NO ae @” . < ‘ Le i | -emiot bas efetyetss of erotsedni: 239 not tread in the footsteps of bis Italian instructor; he made no usé of the combination of several: stories. * Whitehall is in two stories. The proud facade above a rusticated base has en the four inner window piers three-quarter columns of the Tenic order in the lower and of the Gorinthian in the upper story, at each side of the outer windows being a pilaster wi- th coupled columns at both angles. ‘Above the main cornice e extends a crownins balustrade. On the garden facade of §. John’s college in Oxford (1631-1635), Jones adhered to tradi- tion in the arrangement, still colthing the structural membe- rs in Renaissance forms. Of his other works are to be menti- ened :- Raynham Hall in Norfolk (1630), the former villa of jj the queen in the park of Greenwich, whose middle projection in the upper story was resolved into a lossia with six eol- umns; Wilton House in Salisbury (1640) with the splendid roo- ms known as the “single and double cubes”, as well: as Ashburn- ham House in Westminster with an imposing stairway. On the church of S. Paul in Govent Garden at tondon he built a port- ico, where he first transferred the scheme of the columnar ¢ temple wita Yorinthian columns and angle piers to church arc- hisecture. As a particularly beautiful work was esteemed the no longer existins facade of Somerset House. dones was one of the great masters of architecture. He mo- St strikingly embodied the ground principles established by himself:- “Order in the treatment of buildings, solidity in construction, strength and freshness in style”. de was a mas- ter in dominating architectural masses and in establishing the proportions, Srand in the architectural disposition, dis- tinguished in architectural exoression, avoiding everythins merely external and little. His works are characterized as unified creations of an artistic individuality, full of char- acter, mature, with a sovereign certainty of the Serreene of interiors in gaterials and forms. After his death occurred a period of repose in the develop- ment of English architecture. It first arose in a new advan- ce at the time, when Christopher Wren, the principal master of the anglish late Renaissance began his epoch-makins acti- vity. The creations of this successor, alléed to the sreat oq) ond ak: er eat sine ‘ate, eeu Fi | at weds ftv tsar. iekon ow a % nok “eseteon s8t5, pe " oF Pi ghe, stesaten: est) beyxolare eitone _} 7 5 6 e Cah 4 deco in spirit, érisinated in the! period of the Wengen by We shall therefore consider them in the next volume. ide al pater masters, john Vanbrugh, James Gibbs and) others gen erally employed the eolossal order. 7 , OLY bNST A / Janes La epheth, #riginaned ie the Wa abalh tiavatond ooneader! bhaw de © ,aboe Shaner g, fore Tosdragh, Semen ative eealiy gepteged tte iaolgeeeh order i. 0 fy ree: oY He. i a J a) ee Oe ) alg tee vines f tg Kieu . Cae et ie (tel) oni Me et ria i Mh rr, ie A ‘ng aa vos pits wre .\. osetia he: 8 ", ‘ pee’ hy, ee & ’ it if 4, res Ae 7 a | ea ert a whe i We site iP tein i i aa as le , nog % paante tee heh st pg si A we rey? is ie 7 edd (ot Geifesl sit worl Sevesq miedeorw®iHovid aseye? .2tse ee Wed e*helrse6-1o08) susdreLen¥ddous ond ai sonseeisnsh newreo” as weds teted .(68E!) &tsoted nr beseoro yent sotaw (ee py wemes atebom io sastosdinors sila -covorss e‘asshldes o¢ f ~ betoe10 mente email doirG) enbdestadoied ons nt senile edt bedosed ae a ARN dw {SSS 1828) (286 exec) solls¥® [us9 yo © ues score ent to yretesm bexuees oe dsiw Js 1.808 x 8.082 | teest0-2 no bsaoleveb .eecrear[eiudostinows oft io bus Snswee | pivemwsoedtdors ne dtiw: 183981840 to {ft .ebesed oosoisd-oise |“ Bpiteseraxe vibnititse. .eso10t antstaes 30 gOLTsO0idmOO wI0t aad : _ deom eda fidiw betnugo ed oF bas’ Stbsourse end to seoqiwe sag " + tee 14 : -¥%H ISO ae Cf. 949.26 atuow ssivoee Joeniwora Pett reese dethexe SewdvG fue9 bos nemttol oswbud Bisgiod al +p ents (808-868!) (pddoivegdotes) etag08 Isinsanl sas Yo ant ._ ~didxe: bre: ‘emob yidsin « vd bedenties 918 eecesn (siwioesisors 8 8 Reto Lom: etnsoesisore bei trish: ‘oideiereaiO beilingtbh s si ~ aen10 st .eomsecicnss song1' odd-bus ceidsdl oad nsensed as e(8aSr> sitod) édoLg okuh yo fetseio aan (seer Beas lqaoo). AVSEDH. - ebeosD asi yd soetts Lednsvasor iit it 6 esd Shou, to Liacg s -euga7d otpninsvesd sorisg barifeser ene foo etiecemod Sf To - -bastxe: bas -ytose rwe8wol beseoisewr © co pseae notiw .(06L sssq) - sigusze boa yiev 2 SV8¥ Iiesm save onl ,eeinode ond dduordt - bayors ‘bean07d, aisgted te Lisi vito oad fo baiblbudetiadd as aaisility. ead aot hIvdiseeist? blo atts To 29~0s (aqioniza sad r re ons Yo Ladue edd nt Sedoo1 Sonsperenes evidsn eda ito a 4 Pat List act ag soer-oes se : ot setae tial Waba todd snobsimio® | polatiregtht .cotsssrgmt beneiubniseib yrev © deoub a MSs pABOSI“OESE) nities ae yeeloaniss to museck sis beseeat | | el setio tine weoneasiense dara nsilesl edt te exci seoivesd / ue ows lo tes x00 eid Je hovoursenoo antblivd aslworto ett at. . ibe ca : rahi. Al ps4 hektaq@oaos, eupeerpdolo yIeVves wiys “ ws ,(8OGLI-8fF £) ‘ebak. -dt8 f1g9 sevensi oh: ae a : se oa s sonstavet one botbaesa : oe ddiw bero: | or tvO if mete RN 3s bedopre :85dorsdo Isvest#bem to - . Kbebaens viehom 0 ris vormaee:¢ < ar bivtye? “ Cy a aes aN sa : eo" yideid fa, ata asa%98 dé 300 io evitesas 293 : / ‘/) Goncert Hall in beipzig, completed in 1884 by his associate S$ Schmieden, that in its Hellenistic-Classistic Renaissance pro- duced a yery distinguished impression. ‘Herman Ende (1830-1907) treated the Museum of Ethnology at Berlin (1880-1836) in the heaviest forms of the Italian high Renaissance, particularly ik its circular buildings constructed at the corner of two str- eets. Kayser &ovonmeGroshein passed from the Italian to the German Renaissance in the Buchh&ndlerhaus (Book-dearler’s hou- se), which they created in beipzis (1886). Later they turned to Schliter’s parocco. Berlin architecture of modern times _ - reached the climax ‘in the Reichstaghaus (Diet Palace) erected by Paul Wallot (page 324) (Bis. 372), which=rises on an area 450.8 x 306.1 ft. with an assured mastery of the internal tre- atment and of the architectural masses, developed on @ Glassi- stic-Barocco basis, full of character, with an architecture ‘in the form combination of aspiring forces, strikingly expressing the purpose of the structure, and to be eounted with the most promineat secular works of the 19 th century. In beipzig budwig Hoffman and Paul Dybwad erected the build- ing of the Imperial Gourts (Reichgerichts) (1887-1895): the a architectural masses are dominated by a mighty dome and exhib- it a dignified Classistic clarified architecture holding a me- an between the Italian and the French Renaissance. The Grassi wuseum (completed 1895) was created by Hugo picht (born 1843), a pupil of ¢ucae, has a highly monumental effect by its facade of 12 Gomposite columns, recalling palace @zernimtin Prague ‘(page 160), which stand on a rusticated lower story and extend through two stories. The same master gave a very gocd example in the rebuilding of the city hall at beipzis, grouped around the principal tower of the old Pleissenburg, for the utilizing of the native Renaissance, rooted in the spirit of the locali- ty,in a very picturesque conception. ‘At Hanover Garl Wilh. Base (1818-1902), an important revres- entative of norta German brick Sobhicscandsa highly esteemed ‘instructor at the Polytechnic school, to whom adhered a wide-. ‘ly branches school as the “German Viollet-le-Duc”. Hase rest- ored with thorough understandins and reverence a Sreat number of mediaeval churches, erected at Hanover the Provincial Muse- um (1853-1856) in a modern conceived Romanesque style, the Gh- wal a) | | mot ae na | soilies ihe abdareeone 8 es (BBBEHeas tr) Rowse evdeirdg Pe 8 nos .otdso8 qitse cswi9d Atiem bscqoleveb ods Yo olyte i; eth ‘ouke aaot 8102 Inidtist benfewes foodoe efi has ys2e80 @ Bid doidw / The most amiable and intellectual later representative of the German Renaissance in a deeper but freer conception is Gabriel Seidl (born 1848), All bis works are very effective im gener- alypoindividueboinidetails, dignified and attractive by the har- monious decoration. His monumental church of S. Anna at Muni- ch (dedicated 1893) is treated in the southern German Romanes- que style, the Kinstler (Artists’} House is in externel appear- ance in Serian Renaissance, but the great hall is splendid in a treely transferred early Italian Renaissance, treated with refined feeling. Gabriel Seidli’s HOSt important ouilding is the (New) National Museum (1894-1900). In the design of the structure and the treatment of the interiors, in which the na- tive art was to be represented, where style conditions are in- deed in place with regard to their historical presuppositions, Seidly showed himself a distinguished eclectic of refined feel- ing. Hor each connected group according te place and time, he created @ corresponding interior, which was elso characterized as such externally. The different parts of the building are jolaul ai bodit0w (ager hes) ivershatl aieneie. ibie? asbtees “4/9 bes0919 (N@8i-e8r) aviteul to soe(s4 fseeofoo eid at oXx .dostte Istasnv now yiteid bas lata ya to e1esou7ts oooo1ah —Penseteio s sau otnt suso yiwinso d¢ Cf eds to fae oft sontF =bdots Yo aotiss s yd dotdw .oo001s8 evitositts vifslaesdo bos -tiviqa arebosw sas ot bsasoteasid wosed aed essbt arsb0m Yo efssa —-SfOnSH Wonssd sit Yo snersibs no ssierSdte sow Weeatneduah * ta fToe opie sti no bewods wiscisasacxs yeu sh Aoitta oonde ata NSdgdasik Mabiitiets tseT2 s bowibonn GUA JR ISTIN Yo s1asoetideis oT -mob ylstitas SouseaieneA asiltl oa? (856 948q) 14qmSm dau04 -twods aordibbs of001s9 6 dviw a@sio .zxow to bisit edz estsat —temmeo .einsd to t9daun ¢s979 6 oO .tnemsaio ody ag tisati on @ aut yltwq .seu otab ousa si .eraiblivd sonshieed bas Leis ~ste yewlie® aved esadstoll ont gottsS al .toomtesat L[etaem0n0m ss67 Yoextb odd estaieg wSas¥ .4 2G vd bosoo1s (8VS .Q28) aort =969 gino ef ofsasmof-ooli sdT > -soasulinr etasaneS to aottiaeo -obsa) esbas) suozsiusdia git at dxtow tasmtuotg 3 vd beraeesa “Go? Sasotifagen ei? on saomsesrs (acasmocom eee eas ul ted wWaolas i deialial Din siz al -erssesm benottaaa Viesotvaig add oF t0txet iV ab bessoubo sosgtdors as .(1bSl atod) sedasH os90 atsay od} ~itse1 Lsius2etidoTs to oméaso ods ts abaste .nilie8 bas sans -fowq egoremua ein to sans Sas ytivitdos aid sw8 -sansi¥ at a0 qonsbnes misoom oft ot ylisitastedge eanolod sinersdbs ons ef. ~-a8d larnecd ae .fofiw to tobauot (satonitq ode es . trie at | .(83S 0489) «aor ‘leaaialbdeines wioaitetl to [stiqso asiteRacl oa3 ai cztweitd boupees anaei¥ aéiw gorteaneo tuebive af vingneo dx Of ado ae - egntbliad asivose bas aedoigdo avot)ems .soasvos fasecay ae YImsaso afis To tied serrt oft antawh Hosbat base dosae19 si98w “O9tidois. eds soted .watotaasiO to ebavod oft ntitiw eferiene -duaetV at ted? of isliwie tnsmaolevel a woos Letenea ai sive _ , @Bw ednseetensi-oal eds to evitstaoazerasy Jnaatmo1a teoa saP sid bevoers ofw .anaet¥ at betaoubs .(fOSr-arsr) bay ave looth ) B18 desaol vd (S58I 19¢%8) aured ,19tass& .2 to- larbodtss “stall Seow odd ai (256f-STSL) saved s1990 ods Onn .(e8SE both) $00 -Loomsasiensa (ait astisal odt to alysve Sasivexed ons 94 “#9978 sego0t ¢asmsilie? sat .edtow a9¢e8! to tagtxogat ovo sia -af%) Lbhatese fsunew® yd Aoobenewrb [s2aoLoe ai )SESL r9F te jos -emtol fsvestbom oF Searwdoy tasqsbe@ to swwtostidows sas , (38S . yeomeee = 6.8 "ottawa add “¢ boateser abnood otteieesid eda mort egnado on? -194 ybseti{A .saitards aa% to aaiaatesd sat ts botr0500 olyte ~ostisq 8 as e1sFosdidoms asioetd Sextusesem od davodd(s ,1sts | bine} Sostitors add sonst? r0% og bie mnooes bed .1obom bor otsnils éi¢ of d99q8ba 1sd9ed 2a soaseeisael agtfasT sds to Syiten odd gels i683, »Uid.auoo odd I adasmoiiuos1 odd dae pe tLe gouges yi .testedat sniassiont me dbawot tesa sdé to): “ntiem ,ad74 xyesS 9b loot od ctoliuder at (ON8I-T8Ft) asded 8. of po on Somaaatensa bus ofu709 off donaxd sit wort. ants 38 yastedo edt * -9teet beaitet 508 sonet9veI Teor. dain zr LLoak to yael le) ots bas (se3 ‘adhe ite ek, cng Tiedt med og 94 0. perth: BS a ah a | Woks taaeis 2s9LqH09. (oil nsw (869 .29) 805 (@ig. 284) was manifested the complete transition to Barocco Showiness. Hasenauer doubtless possessed strong decorative talent; but in the grand monumental treatment he remained in- ferior to the previously mentioned masters. In the most rece- Jj;nt years Otto Wegner (born 1841), an architect educated in Vi- enna and Berlin, stands at the centre of architectural creati- Oh in Vienne. But his activity and that of bis numerous pupi- is and adherents belongs substantially to the modern tendency in art, as the principal founder of which, Wagner is to be ta- ken. (Page 366). bikewise in the Hungarian capital of Budapest, architecture in the 19 th century in evident competion with Vienna assumed an unusual advance. Numerous churches and secular buildings were erected and indeed during the first half of this century entirely within the bounds of Classicism. bater the architec- ture in seneral took a development similar to that in Viennt. The most prominent representative of the Neo-Renaissance was Nicolaus Ybl (1814-1891), educated in Vienna, who erected the cathedral of S. Stephen, begun (after 1868) by Joseph Hila ¢ (died 1764), and the Opera House (1879-1884) in the most flatu- re ano luxurient style of the Italien high Renaissance. On t the more important of later works, the Parliament House erect- ed(after 1882) in colossal digensions by Emanuel Steindl (Fis. 285), the architecture of Budapest returned to mediaeval forms. 2. ‘France. The change from the Classistic bounds retained by the Empire style occurred at the beginning of the thirties. Already Per- cier, although he recognized Grecian architecture as a perfec- ted model, had recommended Bor France the architectural forms of the Italian Renaissance as better adapted to the climate a and the requirements of the country. But also the native art ({,0f the past found an increasing interest. By Jacques Felix | Duban (1797-1870) in rebuilding the Ecole de Beaux Arts, rem- ains from the French late Gothic and Renaissance were utilized with great reverence and refined taste. * The chateau at Blois ; (volume 2, pages 156, 264) and the Gallery of Apollo in the b Leuvre (page 93) owe to him their intelligent restoration. The gifted Henri babrouste (1801-1875), pupil of H. Lebas (page fas itis bo ois a ones peas Riseatd bled (£48 ssh tnotsourtanoo mort ot aottagsis refsoitsam dstoveb of oe e283 of? berevoo od ,(053f-0n3L) evatvemed .2. to ersidid “ay ‘a ad ,eaccteqrede tot f9bom s gaimrot s9nmsm 8 ai oor zat de »,eaauloo aorwt tes 19baele mo 9uttest esmob wolf te ass | ons ) Sataeao tsivotio bessfk tss1% 8 Ketisv adi Ss asd such ‘yitse as Io twefostsio edt etsed sbhacat sad? . .tdailzds Lonnie eigqmta a eine ead yiote buwoig sat seoussaisaca | 09 tied edt evods vewobatw dsdots-havor {lame bas yawiood _ watvtbine 8 idiw eeets yiose sscqn edt .ebaslisg vd batasmeat0 ‘ie niw bedors-Savot sse12 lo eeitee avounitaoo 8 yd nok aw edit atoia. stetbenrssat seodw ,ifsed towol sis af au bol 4 gabbses won edt oatwottd -otn100 tfed sd3\no basse agire | eb baa, S5St-028!8 ai sfiudex esx yasidtd (suottsi sdt to Lisd ids 6 .(6¥8I-S08E) ond dqssok .t9es0sm 1siisie 6 sk batouxtenoo -asfoeiS-octtelaesi9 6 os doutfont aedte: asw’,sato1sd to Liqea yettsdita: soiteut to sosis9 ada to anib{igdey eth .yttasves edd at saith yd) Osyoitesd ylérsg eew .(S52 .or9) CGB nt nvged -9mse odd of) .totel be10te01 aisas asw sod ,EVSE to aottelover eeEfs® atedji0 edt .d10w t9998 taal at taossia agnoled yoasbact . ‘etonttanco most basa sd¢ yd dotdw .(S588t) eiasG ts foltsse yew _ G8 Batneqo obsostiods yd bas ,sdtw .91:. 05S [led add s9v0 noky 54 PY © defduod: yd Qaitoves asi yds es {Low 83,.2900%5 Oav01 [eeaoloo -o1q .9zi7t sitaea! to tnemtbeq Baetosnaoo 8 Aaiw erstasita otuol pre te + a! nt -tofesetgei aisbom a teomis asog6 apt J BY E9Hk Yo PHatado sds Yo Inyeoo 43 movy wetu sit ee Speen ghee eb sou (18S egnc) & emutoe Yo BOS 1934 at | ae .etsae _ Yo agnorosbe eat besabd daedit~ook yitas ait to axvow seeds of | ‘Yo. Ot od? .ofdtoB eds boeodqo yousbued aivasmoG-oo siz ei1e9 at s6Lisol0 -& to doisdo odd ase eantbfivd i9shisfl ateds ac Yanort besnitog owt doin sotliasd s:asbegastxe ,(T3SL-Sa8! S.omg0f09 mort (S862-O0N i) va8 nsiteradd sast tedt .exe yipbosaT bas .taomtsetd bimts soy ,otdseD ylise as at bea a? Jamr9% stu¢sm 10m ydeer{s mt bsteLqmoo (495!-TrSt) vi may is Yo Buton edd ak yoasbaes 199Q99b's hevieost oidt02-09h 828m. ow ,(8eat-POst) avaesd oteisqe? ask tasing | as eonseeisas® ods work bontapinods ‘gud ,ste00rded 306 253) held himself entirely free frem the classical restraint. He devoted marticuler attention to iron construction. At his bibrary of S. Genevieve (1840-1850), he covered the great read- ing room in a manner forming a model for the purpose, by @ sys- tem ef low domes resting on slender cast iron columns. Each dome has at its vertex a great glazed circuler opening as as. skylight. The facade bears the character of an early Italian Renaissance. The ground story has only a simple round-arched doorway and small round-arched windows; above the belt cornice, ornamented by sSarlands, the upper story rises with a subdivis- ion by a continuous series of Sreat round-arched windows, wal- led up in the lower half, whose intermediate piers like wall strips stand on the belt cornice. bhikewise the new reading h hall of the National Library was rebuilt in 1850-1855, and is constructed in a similar manner. Joseph Duc (1802-1878), a p- pupil of Percier, was rather inclined to a Classistic-Grecian severity. His rebuiiding of the Palace of Bustice at Paris, besun in 1859 (Pig. 286), was partly destroyed by fire in the revolution of 1871, but was again restored later. To the same tendency belongs Hittorf’s last great work, the Northern Rail- way station at Paris (1883), which by the grand iron construct- ®) Sion over the hell 229.7 ft. wide, and by the facade opening in colossal rownd arches,as well as by its covering by doubled Tonic pilasters with a connecteng pediment of gentle rise, pro- duces almost a modern impression. * The view frem the court ef the chateau of Anet reproduced in Pig. 808 of volume 2 (page 261) was trensported by Duan te Paris.. To these works of the early Neo-Renaissance the adherents of the Neo-Romantic tendency opposed the Gothic. The forst of t their larger buildings was the church of S. Clotilde in Paris, 1846-1857), erranged ‘as a basilica with two pointed front tow- ers, that Franz Christian Gau (1790-1853) from Cologne commen- ced in an early Gothic, yet timid treatment, and Theodore Bal- lu (1817-1885) completed in already more meture forms. The Neo-Gothic received a deeper tendency in the works of the imp- ortant dean Baptiste bassus (1808-1857), who was a pupil of L Babrouste, but then turned from the Renaissance and became a passionate advocate of the Gothic. The highly sifted Viollet- TOS PUA cseySichtepet sits & ee seul .mtd bemtot) (ONSI-arert) s0G-si -Esaeteo bas sosxe as nit e9a6 s{bbtm sdd betsait¢eovat odw neu =tise19" Tsueuan to soetidots betnelss 8 a8 LLow ee .bodtem oL7 » eof teqedd -4 $49 TO ooisetotact sasottiagem sd? .et9H0G ey | oeaited a (Sb3f aevts) Leibedsso emsG sudo io bas (SE3r tes | SP Qlesotverg\bs4 ea2ced dotdw 10d! (SOB \0OL eoxsq’ .8 suolov) tovedson 29ddo ehorsmda etd 49 .dtow Bid O18) .ansiq bersqere 298 (Beomulov) absotorrst® to eftaso sdz to sods .noLte107804 Hi€ocd4900 evotcomisd v19oy od? .dast tergh ods ni ebnade (83t ~iteneq bed igtese edt yiqesb wod .awofe (TS8..325) slraso ens re o. eda beatta ei ieske efbbim sit Yo sixiaa ods otat. bots paeeb sud ,oidso® edt to esontoo1100 oisaitysa bas ysifsn iB 96878 davot0ds s tod .acitetimt siem 8 son vite{sordtsa ‘ddtw .emsidora Larutoosivors ads Yo J00 antdrow gatiiow Laesd -otemun etd va .em70l isoitoteid to saemyolams snabasqebat ae -sde of¢ tol sissd sfdsulav yiev « ei0t dotdw .ecottsokfdeq es 9m If weve ,sivsootidors rs{g9e0e bas doasdo otdtod adt to yb sef-jollotV¥ .etaiea [ie no anoketosb eid sqeoo8 taa0l oa sao 9094 .sonesltat aaiiubes feom bas testsetk sid D9s69%9 asd ong » =qe3 6 a8 (o0G-s{-selfotY bas avaesd bentoy (S8NSt-s08L) ravobusV =sost bed sh .amtot io faemdasttd Isvestoem sas to avitsrcesss Or9dt OF TOV S9ses8q asds bed Sud .Batniess OtteiaaslD s bavt “eeTdsis .\(G38l wetts) sollieetaM ta [exd9dgs0 aid 10 .oldsod 280 Bae effets zeteo .xtoto rsluottofmee dtiw asfa asor9 Selsis -a0b [fame owt .nateeots oft asvo 506 dseuk 8 .2isasdo to ofa ) 09Lt10q 3 Svods atswoy Taortl ows bas .emts es010 sdé teW0 29 e'ddin! ewvet seoseasa07 fon919 aisdéuos of battoaed beebat ad Po ehaiblivd of3 eilsosy sods .aletveten paroles to seo saa | Sa0994 oft al .(0G (GI eersa .8 smufov) Loodoe aesr ana F dosfoasi: to dmowatevok edt teba9 bas vapsaes dat Of odd to baka dba bas eoteaHoS Io aacteteot suolses yd botovssius one aot meeted sdd seseTsait bas aeds3aeTse OF padre Pas a9onsioe Of Diet emoidota fstwtestiiors busta to estes 5 .fwoto edd “9 Giod\ab adinters taslisoxe rieds ¥@ Letossidots doasx@ sad ore eesieess ysds ,eurol le tasadsets gas baz aoxtouttenos — edTte08 ois Yo eistostiniors stisas. od% teomls aattsaiaod sors b : sossona eben ond 87 idom8 Isdasusaom otat gout to aottouboreas 307 le-Duc (1814-1879) joined him, just as a distinguished learned wan, who investigated the middle ages in an exact and csienti- fic method, as well as a talented architect of unusual creati- ve powers. The magnificent restoration of the S. Chapelle (af- ter 1838) and of Notre Dame cathedral (after 1842) in Paris, (volume 2, pages 100, £02), for which bassus had previously prepared plans, are his work, Of his numerous other works of restoration, that of the castle of Pierrefonds (volume 2, page 156) stands in the first rank. The very harmonious court of the castle (Pig. 287) shows, how deeply the master had penetr- ated into the spirit of the middle ages. He prised the origi- nality and stylistic correctness of the Gothic, but demanded particularly not a mere imitation, but a thorough grasp and b basal working working out of the architectural problems, with an independent employment of historical forms. By his numero- us publications, which form a very valuable basis for the stu- dy of the Gothic church and secular architecture, even if we can no longer accept his decisions on all peints, Viollet-le- Buc has created the greatest and most enduring influence. eon Vaudoyer (1803-1872) joined Lassus and Viollet-le-Buc as a rep- resentative of the mediaeval treatment of forms. He had rece- ived a Classistic training, but had then passed over to the G Gothic. On his cathedral at Marseilles (after 1855), a three eisled cross plan with semicircular choir, outer aisle and cir- cle of chapels, a great dome over the crossing, two small dom- eS ower the cross arms, and two front towers above a portico, he indeed resorted to southern French Romanesoue forms with the use of celiored materials, that recalls the buildings of t the Pisan school (volume 2, pages 15, 50). In the second half of the 19 th century and under the government of Nepoleon III, who endeavored by zealous fostering of commerce and industry, sciences and arts, to strengthen ané increase the esteem for the crown, a series of grand architectural problems fell to the French architects. By their excellent training in both c construction and the treatment of forms, they atouired a posi- tion dominating almost the entire architecture of the WestThe introduction of iron into monumental architecture made greater advances. Victor Baltard (1805-1847) erected in the colossal Gentral Market Halls in Paris (1852-1874), calculated for 3000 ty ad ee . “es a ae ae ; [2 6 'n6at 10. pisdsseocierae gesla s M ghtase ofee tides anenbt uso. aseao1sa sdt sot febom 8 .ees8d Aoiad 5 av a0. Feduedeues: n07t edt bsoubovtnt medd od geansy bfod bas Isvon Pe “svangot 2 te dovsdo ontt ain at sonemtworq Lenagetobs as Adin Fiabe od .afono edd of obssst odd Ont Sutnsbiw .etssiva _ §8ve to elogsdo obia déiw sven asotfiesd s x00nsH yuasd vasv 8 gets Latta ts9t2 s ofsiteds aortibbs ai bas .dtqobd aarasstoa?” eff .afoqsdo bas aoaqs edie o51ds dstiw no®etoo teleRane? te 10 | 0 ohalpleimey ai Atowems1t aoat as as OSwollolt aotsountenos owt yd aevia stfe ods 09 .(888L-O088L) afaad at ont —— @as (MOTE Zeao at Sstuoexe 916 attoagye [saitiasy 9d? .2Hote | hesfined emob edt ,sevisasbaeq oft es [low-es .adia bas aslosv bissisa aofsstasmanxo edt 10% .aort Sdavorw te sis .axvsdasl yen etutoetidsts suote sd¢ to amict svitte100s) edt Seworr0d -tg of as .boousvis 1st 08 tom esw od eud? ,os0nseatsnsd vires “gato? ot Listes ati moti bsgoleveb em1ot tas0seqsbat aoat of av ae : -19996 ae ade menacd HY S4¥uG Heed Yhosilo Hot sonlow lateyxo kh * i i -LBBL Yo mods sdGand a Hi 4O¥ prt Sstoboed? bsHoksaem yviavotvetg sd¢ ,soetidows dougda 6 eA. Isgiontyq ath .emtd decd ae westes ARid bsyehne (TES eteq) of ‘ebsost yrote ows ods ai (TSSI-L6SI) sized as e¢inta? 1.2 tow =x9 ,eleiteq bedois-Sas01 s6ads svods anteia rewos slbbim dsiw bas ta6msse1s wobsiw ads ai dordw ,eonseeteash virse os astdiad tad .alyte angsenswod Sid worl Bwevitoa yasm b8tqobs autiotias dos sfota adt bas assini0s ade ok easeid auotemua ofa at oale F: bed Bas bankteeh wilsd -sonacaianes stel oft to smos sinsoert Ber (80Sf-68i Jaodtseqed dasceol. er1etd dain tedsegos ,eaisio _ AB8S easy .S sadiovJatrsd of (1ek ysid dt to antblisder odé | “Vbhentatet ass fe19e098 ai s1atou1ss bas aal@ gasions ait sain # edt bexinpos ‘srstostidors Isniedat bas (sntetxs dott yaev sat _- =). @oaseaienef doas1§ viiss dsa0feveb sdz to «ass9818ed0 : | besbai at stigma baoose sdf at 900879 Yo saytossidoxs sa? _ of .efts wf steqg0 bas edt yd dsstissogiedo vigniditsa teou =e aaw Gorsisegmoo & ,sesod s19G0 wen 8 16% a1aie56 atstdo K syne abhegnge to ftqvo s yd cow sew esiaq od? .089% of bo =¥e°yino ton bed-sd attesb ard of .(898I+a86r) yetarsd aetxend sed wiht arctontnarsed sntolind ode frog “ep aah and want Ry Se Phil 4 ‘ ' P 7 if Be i Ta — ; A is ~ wa P i . Se | he > Ye ra weg) nw Re ' oe - 308 sale stalls, a glass palace constructed or iron and glass abo- ve @ brick base, ea mgdel for the European continent. * In a n novel and bold ganner he then introduced the iron construction with an additjanal prominence in his fine church of S. August- ine in Paris (1860-1868). On the site given by two diverging streets, widening from the faeade to the choir, he arranged in & very happy manner a basilican nave with side chapels of ever “gincreasing depth, and in addition thereto a great central area 0B an irregular octagon with three side apses and chapels. The construction followed as an iren framework in combination with stone. The vertical supports are executed in cast iron, the vaults and ribs, as well as the pendentives, the dome and the . lantern, are of wrought iron. For the ornamentation Baltard borrowed the decorative forms of the stone architecture of the early Renaissance. Thus he was not so far advanced, as to gi- ve to iren independent forms developed from its metallic char- acter. * 4 crystal palace had already been buttt in London for the Woriad’s Exhibttion of 1861. As @ ehurch architect, the previously mentioned Theodore Bali- lu (page 337) enjoyed high esteem at that time. His principal work, S. Trinite at Paris (1861-1867)in the two story facade With middle tower rising above three round-arched portals, ex- hibits an early Renaissance, which in the window treatment and triferium adopted many motives from the Romanesque style, but also in the numerous breaks in the cornices and the niche arch- itecture some of the late Renaissance. Baliu designed and had charge, together with Pierre Joseph Beperthes (1833-1898), of the rebuilding of the City Halli in Paris(volume 2, page 258), where the ancient plan and structure in Seneral was retained... fhe very rich external and internal architecture acquired the character of the developed early Hrench Renaissance. Fhe architecture of France in the second empire is indeed gost strikingly characterized by the Grand Opera in Paris. To obtain designs for a new opera house, a competition was order- ed in 1866. The prize was won by 8 pupil of bebas (page 253), Sharles Garnier (1825-1898). In his design he had not only ex- pressed the purpose of the building by indicating rooms for a QO - , S£ Wiisatetss seve ,2mo00t skate edt bas eousidus edd .s20008 - “§9éat Ssissossidois as bosso10 ogis bed od tod .a6no8m yadsd 2 jee ed¢ bos eongagigael dbid astiest] odd asemted ossibes 4 wiavil teom edz yd bevieoes asa fofdy .VIk etvoy . efoue 18 Ded sbsosi odd. yossrl4 -sed¢imaoa ‘Sabbfosb edd _ 19ts0. owt off .aexs mavea dtiw bekasaas-ei ¢1 .so0ite ywosde =90 yr0de Savors oat evodA .aucitoestorg ae besesis anted eon0 _ BAtyawooS afogzol s boSasi1s gi syswtoeb bedois-bovet ait aaiae oat Yo olyte sit aotis eamuloo delagoo déin .dthiw stitae ods .)8.bae ,o2ta109 Suiawoto ovieesm 8 .90useeisned d3id saiteqe’ -=£4,49¥0,.agoitiogorq ati ai etsautiol tom boebai otitis daid 967 .d20w [staousato s108it bas Isiacmsato yd betato0sd yide tide obfeed eaota siui 5s1 to seu sit yd Juomtserxd gmo1doylog »@ @hesdzied asve .blos yd gitisa ogis bas .oldasm daibene bas if vlasivotdisg .1zoftetat edt nl .toette bstogqxsag yiexrd ant =Mis etotisiai ywoda ers teyol ods bas (S88 .8i%) yewrista odd =geigatb edt bas ttgoo donartd ads of svs5 doidw .belssosau seo t sbavotbicsd gaiatute s .et9dt beldmases birow siasd badety of «test at bewolfoi vilawissxe ariblind edz to aoirsiguoo eat staoW te oatesg) edi One sidgasd? od? ad .8N62 at toiysetat, adds “81 900 dud ,0990789 Jasituxel Ifise s beovbo1a steed -olra5 alagiielet -ebagod boxst aidsiw bonieide Séo @f ost eidt to aathliand dowsdo aiazsd tasétoqme seom oat to. etesd edd a9 .sadismicol no 1990 s19e2 te dowd vxosaraxd “SI8E) sibsdA fgad doetido1s odd.o3 List dotdw .noivissamoo 6 .. 99¢Is .ouG-s9l-selloiV s9ba9 gusd gudoll @ bodtow odw .{d58L iid. bed Ons .notter0tear atk to skasd> tasdasasbai bad BTat supesasmoi-os4 somos (xussb108 -omaisoghA) goaax* arsitgoe af & 8 to wot edi esd aslq bavors sd?, .efled ytio bas esdosudo Sd3 d3iw soasbioc[s oi,woidibba aiede tsexz.8 dtin agor9 is093 8.69287 afacoig sit 19v0, .dovog 9996 & bas .wateve Laidsdisg "10 edd to aslgae odt ni aleysdo sdtmpeedsidpid .tt 6,338. en0b Sas asia sdt al .a9m00b steaibiodse aeilewa wot seia sara 220}. . SupzeneGos sou919 atodéuoe odd .daomtaoqs Isrutoetidors ods 4 bed $i as .sottostiwset Insoflinkem 6 eegsideiso e194 alyve 3 ts 9k To mea itis iy edt af beqolsved ylisiscisisg ased =I Schwa oat ’ (BR 62 asteq 8 omufo¥) C39 v 308 access, the audience and the stage rooms, even externally in a happy manner, but he had also created an architecture inter- mediate between the Italian high Renaissance and the style of Rouis AIV, which was received by the most lively approval by yp the deciding committee. Already bhe facade had an extremely showy effect. It is arranged with seven axes, the two outer ones being treated as projections. Above the ground story op- ening in round-arched doorways is arranged a loggia occupying the entire width, with coupled columns after the style of the Venetian high Renaissance, a massive crowning cornice, and a high attic, indeed not fortunate in its proportions, over ri- chly decorated by ornamental and figure ornamental work. The. polychrome treatment by the use of red Jura stone beside white and Swedish marble, and also partly by gold, even heightens t the truly unexpected effect. In the interior, particularly t the stairway (Fig. 288) and the foyer are showy interiors aln- ost unequaled, which gave to the French court and the disting- uished Paris worid assembled there, a striking background. Tf Fhe comple rion of the building externally followed in 1867, in the interior in 1875. On the Theatre and the Casino at Monte Carlo, Garm@er. produced a still luxuriant Barocco, but one re- strained within fixed bounds. fhe most important Paris church building of this time is the Bxpiatory Church of Sacre Coeur on Montmartre, on the basis of a competition, which fell to the architect Paul Abadie (1812- 1884), who worked on Notre Dame under Viollet-le-Duc, after 1874 had independent charge of its restoration, and had puilt in southern France (Angouleme, Bordeaux) some Neo-Romanesaque churches and city halls. The ground plan has the form of a G Greek cross with a great choir aédition,in accordance with the cathedral system, and a deep porch. Over the crossing rises a dome. 262.5 £t. high; aboweithe chapels in the angles of the cr- oss arms rise four smaller subordinate domes. In the plan and the architectural treatment, the southern Frence Romanesque style here celebrates a magnificent resurrection, as it had b been particularly developed in the domea@ churches of Aquitaine. (Volume 2, pages 18, 44). SubsSestions from the Romanesque st- yle may also be recognized in Palace Trocadero, erected for t the World’s Exhibition of 1878 by Gabriel Bavoud (1823-1881), rs ‘i chi eo : 10h 9 ottesd aoivt bus PLP te tegpaee 38 lente ® af exswor dates Ov a99Nsed atostorg to a es nt Mosiiés .B92zestsnd negated ewobaiw bodois Iseacfes 9 SASEebavor yI0Ss-oNs neao\lns “Wd bebavotees 9998 odd est ‘bores as dtiw atasmeriopet sav mort beqoleved yleorF ® at beseooxe at akicob sit .eseeam sis TOntootte eds oot ag: lite ‘Afsods ti Sas ,omote tuo Sas atotad to aottanidmoo at cab asgel bad GuotveS .zetntourte aslimie rot Isbhom 8 46 aodat _ fut yfenoupert 2ii no VIX steod to efyte ocoors 96s beonbdord ewreds0 S.efte9 ai tolsted® so6f% no Seletead wh sttssdT betas ~eitgzedas. fe at beatamer offdnqer edt to stutostidors odd sui . ‘sana ba0998 anibece7g edt to dadd Yuided ylsaebive ,sivias ont sa 8 ‘<{B988-8882) atente nosed etootitiors asssf ads ‘Qnowk Jest -i® ,onsh s obsm (908I-865r) effibsd L089 bas stesoided to ite -Isq dot ods bas aomed> so6 sus@ oiso% to dousdo ada dztw ated a =~ 7 Sil . importance. But the Renaissance introduced by them could not advance against the strons mediaeval current. The greater har- mony of the Gothic architectural monuments with their natural surroundings, their self-evident structural principles, oppos- ition to the entirely decayed Classicism, and not least the G German nature expressed in Gothic art, gave to its adherents & successiul power of conviction and a great superiority over the Renaissance. The Neo-Gothie required a longer veriod of development to r reach its climax. Men began unconsciously with the most stri- king motives, according to @well known general principle rep- cated in our previous statements, which were offered by the 1 latest Gothic of the Berpendicular style (volume 2, pages 111, 1138); then in the evolution they went further back to the ear- ly ethic, and from this slowly forward again until the Perpen- dicular style was reached, which as in the Elisabethan and Ja- cobean time (volume 2, page 327) was finally mixed with the forms of the Renaissance. In the first stage of the Neo-Goth- ic style frequently resulted a direct of still Classistic str- uctural framework in a Gothic exterior. That elso entire med- iaeval plans were imitated need not cause surprise. * Graduel- ly under the influence of several important literary publicet- ions on mediaeval architecture was built up a deeper underste- 2/2 nding of the Gothic architectural organisa. Among these publi- cations those of Augustus Pugin (1762-1832) and of his son Av- gustus Welby Pugin (1813-1852) take the most important place. The younger Pugin (page 312) became the actual path-breaker of the English Neo-Gothic. He commended the Gothic style as not only the sole one available for chureh architecture, but also that most suitable and disnified for secular erchitecture. * James Wyatt (1748-1818) erected about 1807 in Salisbury the chateau of Fenthiil Abbey tn the form of the plan of a Gethie monastery. It theredy found sueh approval, thet a great numb- er of neblemen’s seats were built in the same Style, After the middle of the 19 th century the aims and the style tendencies became clarified. The Romantic movement had previ- ously introduced a mighty religious exaltation as a reaction against the rationalism of the preceding centary, representing reason in religious opinions. The consequence thereof was a y ne ve x < 2 ot iy if st 40 a . Battlin 10° ae A ib tw ageive @ to 10ts han “a8 ¢ bs ; etutoss tdors Ag19d0. 2 rae to pailest cows dgid Betoved: BsW 9iutoodidow wilvoss oF ove te® jeonsvbs Laseuan fern qibauxe edd istte .st96e85e baeaadon£ ar teotssal orlduq : -teuret edt no esaitiaw eid of (oeer-erst) at#eus afok tsatool -gaknsem ods betsert bad sorsupela bouesqiveus ds iw serie OVE Lue selodtst007 4906 8 datw ,asireliss s00 . won .aixe [satbudranol sds ao towod TaoxT a (too ois to u4 i “aatfearers tow etassasiord ea? .dovoe shite se yd enastzae dsin © toinse theds os taredos ylntrt bee ytinmefos (auctin aft oF 69 “y i aeanene® eCetnebmeqsoat) sietlsnottsgoaged .easiretydes joTyt garaa tepdives pt atode er ocala Miah each i, cus ) Ti oR at? 3 aces ae ae We ‘eotvise tetis sd3 of betedbs danoismer yiegotvs1a eacaser sda ‘to afesa eds itetdo s1em eeear «~ sdorsqsoa09 312 : close approximation to Catholicism, which even led to the adop- tion of a solemn altar service and of processions. * Under the high church feeling of the time, church architecture made an unusual advance. But also to secular architecture was devoted public interest in increased measure, efter the grandly intel- lectual John Ruskin (1819-1900) in his writings on the format- */4 ive arts, with unsurpassed eloquence had treated the meaning of architecture, its nature and its aims. Ruskin unlike Pugin, did not see in the English late Gothic the only saving art! he was also enthusiastic for French and Italian models, particul- arly for the rich splendor of the marble incrustations and mo- saics of Venetian buildings, indeed chiefly on account of the- ir poetic harmony and picturesque charms, for which Ruskin fi- rst spoke. He was a zealous champion of all hand wrought end personally treated art, free from transfers like patterns. Ph- us Ruskin on the one hand opened to English architects views of the architecture of foreign lands, whose forms brought enr- ichment to them, and participated in their problems, even in competitions; on the other hand he aroused ‘in them & particui- ar esteem for genuineness of materials, solidity and visibili- ty of the construction, and the correctness, Simplicity and naturalness of the architectural and ornamental treatment. * The tnfiuential younger Pugin passed over to Catholiciem tn his religious enthusiasm. Favored by the economical improvement occurring after the sixties, English arthitecture now took on a free development, independent from foreign countries. Church architecture for the reasons previously mentioned adhered to the altar service. and the form of plan ef the medieeval works intended for sol-. ein processions. For the small and often truly picturesque p parish churches, the buildings designed by Pugin became typic- | al. He preferred the three or two aisled basilicen plan with- out galleries, with ea deep rectangular choir, visible framewo- rk of the roof, a front tower on the longitudinal axis, and w with entrance by a side porch. The Protestants wer disinclin- ed to the ritual solemnity and firmly adhered to their strict conceptions -- these were chiefly the sects of Galvinistic Pr- esbyterians, Gongeegationalists (Independents), Baptists and Methodists-~ also expressed their opposition in hheir religious a ee iy’ oe a | betosys yedT -agaibliad "93087" at pm etsea, to. 0 tit gina: tegetsei8 adv of hbiskes ted Sam, 908, viasqo1g Alvoo 90 sacs dose sort feds dove .daoa dus | 07] aTeu @moo1 sonerbys ta072 Sdgv bawotA .a9d0se1g oat dled yideorse tollesa « iysiauawoo ods yd egy tot emoor 198dd tofleme .y1s1dti .moot aaibse1 s .mco1 Loodoe 8 ogis sqanisq “sete onan, gi bas ,aoitsiteiaimbs edt One yaxefo edd 10% amood 8 Lisd apisszievn00 .fist 190000 .wuiesnmy2 © neve exsia bob eat edd yd ewoor gaitoonaoo to ysilidiaeoa od .edit ens das osak asics gerth sdJ mort sew anoisitisq aatbile to ailisa - 709 Reyolame ylierdo apn dottouitanoo sdt 10% .aoisessbrenoo ton as ,0000186 cals ylisotescoo .soasaetaned ocls ted .oida ‘ * -2M101 Laigsosata ylexsea mobios 3 panes arettie eistoesidows datian® eiusoesidors isisosa al antfonsd ise1t sis yd yiao yilsitnetadea saguisaoo sda to tats “Itai ott 28 dove ,enoitsvonst » -sel¢tea to em190i isoirotets to ,bsa589 eved saAaia Istacism Laxetowate as aoit to aoivogbo 89998, 926d tod -oidtil dud Atowegsii Istctourse edt bsaasdo ® ,aewusoura ezoufeuq yd io 76972 903 af s10m odd doua o# bor edt bosoustencs be aoittbs1g mort BMeasi booxt wloridas eid?” -o908 yieviasioxs ehatnedo 1rieds bas emooy sit anieoloaa alisn »(G88 86S .2224) .eeanteud odd to asuemeriwpcy edd of anti -aids at daenisaoo adé to sey bedene1g eaudoedidous detizad ~igxe ei? .otuiostittiors oguom at ea80 eds side cow si0@ (Lise “900 gasbom af aeve odw ,usadarigad eds to saase citsamobd dbsags . =B0%q, Jagia yilsisaok ody .omod nwo aid awo oS esviatea anortrd -ovds beaelevsb jasayoius ov bas .sesdo asaidto ong Re. ysiteq asd. sIOTMOS oisdasaed saua aiesdiss « to Baotderoney’ wieg dike -ebai eid? ..910d luo otdeemod dard & Of Bseuusnoo 40% sted: oot smetgqua” edd Baiaud .@tenwo ge aasio edd to: ggnaebiaes ads “i bs a ~itdose yiem, boeuss ,.metotaasil-os% to dag gaiasidbeliad to vos Be ~asoutse edt at ous neiq bauot, of% to Sasmszasitas ody at rao a 9S ieasseids fesutoodidow Lensetce ods lo tétoned adt ot 91 vwoslis agal Bem doian {egssitio edz to sautostinows ois at tod ? ~19x9, 9104 seedy ,siedoetidors. basik odd ah regasdo ads vd boa Ss» as he v, ' at dliod od dusweatuper odd istts yatoesivors sevod 94s + rearteert appednconace: 18 TOL disq)¢ t00 usiord, bei ros a , ai gen dhe . to, nottaests saz begoveb ean aeds of .giaseio ox0m odd basce q tom bus 20ts8 joa een egase oidaisesionagmiot ods at “olyae a: ae ” ‘ x . ’ & §. 313 buildings. They erected houses for preaching with exclusive regard to the greatest possible number of seats in an arrange- ment, such that from each seat one could properly see and hear the preacher. Around the great audience rooms were grouped o- ther rooms for use by the community; a sgaller assembly hail, perhaps also a school room, a reading room, library, smaller rooms for the clergy and the administration, and in more exten- ded plens even a gymnasium, concert Pall, conversation hall a and the like. The possibility of connecting rooms by the ins- tallin. of sliding partitions was from the first taken into consideration. For the construction was chiefly employed Go- thic, but also Renaissance, occasionally alse Barocco, and not seldom purely structural forms. In secular architecture English architecture differs from t that of the continent substantially only by the freer handling of historical forms of styles. Innovations, such as the intr- oduction of iron as a structural material might have caused, Changed the structural framework but little. But these appea- red so much the more in the sreat city business structures. fT .SThis entirely freed itself from tradition and constructed the walls enclosing the rooms and their openings exclusively acco- rding to the requirements of the business. (Figs. 292, 349), Bnglish erchitecture preceded that of the continent in this. Still wore was this the case in Howse architecture. The expr- essea domestic sense of the Englishman, who even in modest con- ditions strives to own his own home, the generally great pros- perity of the citizen class, and the enjoyment developed thro- ugh many Senerations, of a certain pure domestic comfort has leo here for centurées to 4 high domestic culture. This inde- ed in the residences of the class op owners, during the-supren- acy of Palladienism and of Neo-Clessicism, caused many sacrif- ices in the arrangement of the ground plan and in the structou- re for the benefit of the external architectural treatment. But in the architecture of the citizens, which was less affec- ted by the changes in the grand architecture, these were expr- essed the more clearly. To them was devoted the attention of the house architects, after the requirement to build in “full style” in the former Classistic sense was set aside, and men had broken out @ path for an appropriate, genuine and comfort- fe; Pepe ae re i mone i i is fad 36: Wane “oldastdad™ 8 ¢ to node even soevod e‘sesitto gatala eis to esaeinav ‘sort: vlteleotexca BRATS 34d Od} 6uc soQKol O83 4m besus Losses naou ods sans . Se eee LEDS opod) (eigss sasbotind sad nt bssoeds o¢ of | = GE oda, to! tied: serit ond at tootidore datigad seotsexg on? errs tatexs me eon ,(088l-dOCr) yrxe8 eefesd9d atl .vaurneo at tenog eid yd 19qme6 tetesD nsuISD od¢ OF tittae nz Horils e1 _ eds sted od eoitiids ont: at yosesf4’ .tnemsssxt Letasmauom at gtd astissl edd to notsovdoirai sds tod metaef(ek esonosonon » SSSI-O68! ai bosos1e sesod dulO e'qelsves? ei .eonseetsash | brs .tmtdafobaed eosisq to souevltat ett s{dieiv at fotdw no 43 bus .eldsarotmos. -bsoneeltag elisivetennr ted asw yaednoo. dd CL eda g w ROD ZS ol4 comfortable, and thus a “habitable” mode of building. The ad- vantages of the plain citizen’s houses were then recognized, that had remained in great number, particularly from the reign of queen Anne (1702-1714). * In their picturesque arrangement in the green of the garden, in its structure developed only w With regard to the requirements of space and light, with the . cosy end inviting bay windows between the red brick walls, the , connected rows of windows, the plain white window enclosures, the shadows of the projections of the roof, and the massive w chimneys, these arouse the highest admiration. In reference to them the English architects after 1860 developed the modern type of the house for a single family. They save it a very f free arrangement of the Sround plan. On the very modest exte- rior is strongly emphasized the rural character in the struct- ural material and the treatment of details. The charm of the- se buildings substentially consists in, that in their entire appearance they express the suitability, comfort and truth of the internal arrangement. (Pig. 289). bikewise in the dnteri- or decoration the reform aimed at simplicity, propriety, genv- ine materials and workmanship, finally under the lead of the celebrated William Morris (1834-1896) extended to all ert ind- ustry. By bim Baglish architecture acquired a determining in- fluence on the entire domestic architecture of the continent. Indeed on the buildings also erected by the extensive contrac- tors in English cities for rentel, a lack of taste appeared 3 just as on the continent. But the tasteful séneral appearance presented by the architecture of Ensland in the second half of the 19 th century was but immaterially influenced. * Toe this citizens’ style ef architecture has been given the neme of @ueen Anne style, but tt must not be overlooked here, ~ that the queen ‘herself caused ail the lerger public buildings to be erected in the Palladian style. (Page 204), The greatest English architect in the first half of the 19 th century, Sir Charles Barry (1795-1860), was an artist natu- re allied in spirit to the German master Semper by his power in monumental treatment. Already in the thirties be left the monotonous Hellenism for the introduction of the Italian hish Renaissance. His Traveler’s Club House erected in 1830-1832, on which is visible the influence of palace Pandolphini, and ‘ : d F Pee a ae ee?” a ore a is é ie On " . ) , , ‘. j iy ry ‘a ) ae 1 oe a. hy Py te. ae . ih , ur i ae (£8SI-8S88) sserde Hoombs satoe® ya bewollot aew psdapen'!: Lidtiietiaeres stow yleviaital ° .awobatw beque1s sit bas env aobnOd ai dorado Yedda Besengmss0W Sig Haw oLsttdotd {1eFexKT B15 the facade of the Reform Club House (1837), influenced by the palace Farnese in Rome, are the earliest London buildings of the Neo-Renaissance. Its first representative also became the greatest Gothicist of his time. It was in great part to be a ascribed to the influence of Pugin, that Barry’s most import- ant creation, the famous Parliament House in London! (completed 1852) and erected on the bank of the Thames, was built in the Gothic style. Barry proved himself & master in this, who dom- inated the prescribed mediaeval series of forms with astonish- ing certainty, but also in free creation sought new forms of treatment. The design arranged in a clear ground plan in col- ossal dimensions is grouped unusually well, in seneral with a grand end monumental effect, (Fig. 290), and in details posses- sescbbe highest artistic charm (Figs. 291), in spite of a cert- ain monotony produced by the strict employment of the merpend- icular style with continual repetition of tracery and of the seamecform of windows. Equally stately in the smallest details is the effect of the interior executed in the same style, even if in regard to symmetry, the often excessively larse halls a “,) and rooms partly suffer under en overloading with architectur- al and decorative forms. W. Pugin also took part in the treat- ment. His thorough acquamntance with the mediaeval conception or art and world of form, and the depth of his invention are expressed in a purity of style, that accurately produces che ‘impression of Senuineness. A freer tendency, partaeubarly drawins from French Gothic sources, was followed by George Edmund Street (1824-1881), Ba- rry’s pupil, on his churches and his most important secular building, the baw gourts in Bondon (1867-1682), on which he m- made Sreat sacrifices to the picturesque effect of certain mo- tives, particularly the small round aggle turrets, the trifor- iums and the grouped windows. Infinitely more severely proce- eded (ir George Gilbert’ Scbtt (1811-1878), Bneland’s most imp- ortant early €othicist and church architect of the 19 th cent- ury. He was the restores of the cathedrals at Bly, Hereford, ‘Bxeter, bichfield, and the Westménster Abbey church in bondon (Volume 2), and the builder of the great cathedral in Bdinbur- gh, a three aisled eross besilica, as well as ef the church of y othe a ives ebb inl edt 498 ts) ocean. doin toiad bsai tsfoot 18 to dowdo ode to Raiblivdes eda 19% aoistsequos is F adhe -pyaototy ott bantstdo ed .SbSI af deaswd .kivdmsh af _ stettad asi lii® -easia eid istis GOSI-G5S!f. at Bot¢oste saw dor - esostaua dt io aofdamine dedshoitsy & ovBR (900f-BI6!) alert dotdw aeons ~ehatbltad atd oF adefa snove bas asiiy baroleo yd _, (8682-0862) nobnod ..s2 tousazeW af ataie? (14 to dowwdo eae ~e1ippes fomssc dard ddtw. sonsbte006 ai ylsoizte desooTs Taxi i ‘adob -.bemoedes doun ssow ,br0t#O ss skello9 oided bus .esasa do dasatss @@ senubor0 oF wsidsitddawor (SSSt-SIS28) saegiseaS .J . Bo viteva bus yiiotiamie yd sostte oupisas bus yaowtsa dois ¥ bsoubossat bas cooute tuodsin itowlotad beyolume oH .aiete ‘_@ ef¢ to dtowomest oldteiv ylasotvera sdt to bsesani anit vey --3i teow eff .arot [onqud at bedseeone antics ads to ro .ioor » F066 sesis) ret¢eniatasht ic doiusdo ysiaial sas sisowasti0g =e evil teem eft .aiebom daftifeat oOf0 antwollol ylsaisas . << api imal noboog at angd(rA ug entsevawd .6 to dowdo ii ye me » « ylaeR at . (bel .@SF 2es ~Roitesad eds ds0d .a8v0 bedtow bas bevisoncs ylisnoateq esew _ s bas aaotisseorsat ofdasm doit odd ed b9tetomsd ¢idazoitiagss a “Teves omsee2 6 i bSisaieoh seiv faereixe oat 5ns .eotseou P : il i 7 : ta 316 5S. dobn at Torquay, on which under Ruskin’s influence he comb- ined brick with marble after the Italian style. In the gener- al competition for the rebuilding of the church of S. Nicolai in Hamburg, burned in 1842, he obtained the victory; this chu- rch was erected in 1846-1863 after his plans. William Butter- field (1814-1900) gave a variegated animation of the surfaces by colored tiles and stone slabs to his buildings, among which the church of All Saints in Margaret St., London (1849-1859), first erected strictly in accordance with high church regquire- ments, and Keble College at Oxford, were much esteemed. John L. Pearson (1816-1897) soughtrrather to produce an earnest ch- urch harmony and antique effect by simplicity and purity of Style. He employed brickwork without stucco and introduced v vaulting instead of the previously visible framework of the o. roof, or of the gezbing sheathed in tunnel form. His most. im- ¢,¢° bortanteworks are Trinity church at Westminster {after 1850), - entirely following old EnSlish models, the Sreat five aisled church of S. Ausustine in Kilburn in Bondon (1871- nite and the Srand cathedral at Truro begun in 1880. Since the eighties the more important church architects pas- sed from early 6othic to high Gothic and the Perpendicular st- yle. At the same time became apparent an increasing attention to the audience room proper. John Sedding (1837-1892) gave a wide aisie to the Trinity church in Sloane St, and on the -con- trary arranged the side aisles as merely narrow corridors. * He proceeded with greater freedom in the historical forms. His giftec pupil 4. Wilson followed him in the way pointed out, ib but went farther in the capricious employment of historical f forms. His picturesaue church of S. Mark at Brithdir may also be regarded as a modern work. ‘An exceptional position in Eng- lish church architecture was taken by Westménster cathedral i (R.C.§ in london, erected since 1895 by John F. Pentley (1839- 1802) for Catholécism, elevated to new power. It was erected in brick masonry as a Combination of the old Basilica of Con- Stantine with the central building of S. Spphie (volume 1, pa- Ses 189, 154), in Zarly ohristian-Byzantine forms, but which were personally conceived and worked over. Both the interior, magnipicently demorated by the rich marble incrustetions and mosaics, and the external view dominated by a souare tower wi- i i 1s ris . fi, . re wale |: ree oe | ih es Padtyit at esaesq olyae Sifiton oc? . note 3 age suisse yidsistssy setorlodsed eiotsiens :3aszes ye ‘eis Ye estowdo edt BuowA .esdorwdo ast at eouss algal ab .#2 etwG ni domdo [saotrspetpa0d saz , (556 eiq tasnimotg 8 2sies (30@!-O88L) seyontetsh aerifA yd 19ibus ns déiw noctsket9n09 edt Ol BHibifnd tse1a 6 ek “at wowos [sqisaitq ovieasm & bas iied tysom09 8 Stl | ER Miebéoed tions as{uosa af beissqgs coals sevodistst .amtol si fi (R68E zeets) aefzodoos¥ ss Iie8 awoP ohT .edaow Soetioant atts ; ebsos? eds to efits ofbbin eqs a0 asH0t Leatonisg stsuoa 8 fisiw 7 | s «(0set-erst) fobaed af mosau® ytoserh Isingall bast& odd bas i i840 ud Hens0bs bas edale ssjoo sriss Adin bsost gsbaost adiw * eupzensn04 staf edt nk sq0d dsod .Binomeato sitoo sires bata | tonirtom ‘Das Instibaqat a8 ea bexinkodsts 9d oF wid simrea .elete % “mosdgis’ at dowd nora ed? .tattie Isasosnt autnbiesb giles a ii eaws ours {sigaso 8 @& Smits Fassel sit at aosgut? .W adol yd by -ftefiss ditiw e5acs os1ds yd dentotbs ,soor efbbim sievoas dsiw ) “ttne bedsolo ai sxufostidors fentetxs ed? .25m08 ttsd Sm 89 Sis apensed msem sda at elyte oo%018d dot1 s to awxot sas af. efor s ‘Sao Ysigio est dsiW .ecoisasda00 donerd of7 bas aatissl ant a aq aatdogar me geouborG Jf sbsost sit Io siswod ows sds bas \ sa -noraae XO AowwAd | SAS Yo sole sAt Lo ahah eas BEE 3 yoo Ke stnamey * a aw: -HS4%08 ak somednt .& nob yistttas teomis Jads .Sitaasmot~o54 909 o¢ goisracgso al | +, a, Trerstinie bsyolans dowm ads wiisg reas -eunsostidor isissse | Serteanheettgng tetds etc Sot asanaq (IV8I-I08t) sarodtenusd ie sen [stusostidors dota sat to 6tiqe at .ectiT yd SSEP at ae | ukshacaui te een 8 to geste oft gaised ylno {stsene8 af _entdow soaseaisada aetlstl to nottsatdmod otnestont yltasuost Fates odw ,(OS8t ax0d) ss09feD .3 LAT at futotess sto .ae 34 tar Rooms: .ed1ow aki ak eoaseetaael fatisoa sdt od bentHd i at Seom ods et (S08t-TS8t) nodaoy at osusisenl fstregal ois ot doi 58 ‘wottsmifoat nist1e9 8 ettdtike oels tnd ,snatso A teh S ms ie ves Tok et0280 [staomsnto bas Say oe bel Ge ia fe Ay ' ei tie Pits #% 8.38 | 7 sorsat eonsaetenea asifesl sit .eietostinorws doaedo odd beteni | at aotsieos bortese ae boutstuiem Yared asfoadd 142 yd bsoNd | sfasoo bus mieob aid 1sdte s{ivd .nobaod ak yiterevial sat 317 286.6 ft. high, produce an earnest, elevated and solemn ‘impres- sion. The fothic style passes in England as specifically Prot- e€stant; therefore Catholicism preferably returns to the Nenais- sance in its churches. Among the churches of the sects (pase 344), the Condregational church in Buke St. ip london, built by Alfred Waterhouse (1830-1905) takes a prominent place.~ It is a great building for the congregation with an audience room like a concert hall and a massive principal tower in Romanesa- ue forms. Waterhouse also appeared in secular architecture w with important works. The Town Hall at Manchester (after 1869) with a square principal tower on the middle ekis of the facade and the grand Natural History Museum in London (1878-1880), w with facades faced with terra cotta slabs and adorned by char- ming terra cotta ornaments, both kept in the late Romanesque Style, permit him to be recoSnized as an important end nonumen— tally designing internal artist. The Union church in Brighton by John W. Simpson in the latest time is a central structure with square middle room, adjoined by three apses with salleri- es and haff domes. The external architecture is clothed enti- rely in the forms of a rich Barocco style in the mean between the Italian and the French conceptions. With its mighty dome and the two tewers ef the facade it produces an imposing impr- ession. * Gompare on page $24 the form of the plan of the chureh of S. PFhomes tn Berlin. In opposition to the Neo-romantic, that almost entirely don- inated the church architecture, the Italian Renaissance intro- duced by Sir Gharles Barry maintained an assured position in secular architecture. After Barry the much employed Sir James Pennethorne (1801-1871) passes for its chief representative. The University in London, built after his design and completed in 1669 by Tite, in spite of its rich architectural expedients, in general only bears the stamp of @ weak, characterless, and frequently inorganic combination of Italian Renaissance motiw- es. More tasteful is Th. H. Coleutt (born 1840), who again t turnea to the fnglish Renaissance in his works, among which t the Imperial Institute in nondon (1887-1893) is the most imp-. ortant, but also exhibits a certain inclination to rich. Torms - and ornamental decoration. j 4 a ayy * file. ital 4 jibtinan ‘sat | qisex! bas “681 fb. 9990783 feve bas souseatens® ap. Hoos mooa tad. ott _ stobesit oigaitis saedstd ods déiw bayolams od sotdn eansap at daxti .vitvidos,olidiet yilscavas a6 o9a.9 ,9tudsettdoss isinose at ylevtesioxs aedd Jud .97us = bebraae1 935 ausig bavogp eth .2dieq nom osai bed aedbe ne ifeemid bewode od Jaeasse73 isiuiosdinows edd al | ts tt befLo1saoo -2iute Isiusoetidois e*nostéio siguis s To t S Atowioiad sdaguond o8 .ytilidetice to eaottsisbtane2 Le Batviss | bas feardo oat dviw noissieasigqg ati yf .sen od (608 seq .f ourfoy) wefal yd bexttosiq yose1ls show sds at y8 woll edt v3 .ancisenssel Letaomsnto Sutwisio bsowbo1d 9d ot ~S¥St ni auged nobsed ai .92 Sisdasbesd ar aiedmedO bas 2007 Sdo ofai shat fasbhavds soubotsni oT omit sit tot olds tiw ds dotdw aaswied .ereia oni bsvioesy axed sxe alisw ade “iMele Wavolts ‘wade .(8@QS .379) .ewobuiw usd adel toetorq endp ¢ Ww aoin109 toot od? to ostevso sek ods Foserstar os aasic a 8 beosborg sai tenuem afde al .moitstbae isitiat tuo - (nobtiod af aoitasé sorfed bso od? .tosits sgoagisdoig bas Is 708 diiw basogstbh sf .aeocasssisaes daflani-doted s ni tq94% wade | dott to igffest ofante s tot eezvod Iflate edd to aobseti sits ~YixsF bro lbsS tov qaofed alliV off Yo szgdt sie evomet Jeon sda = $ e81009 f2on18 hbstodsl yousdass wlimia 5 al .wobs03 x80 tam Sten amrot siyte [sotsoseid Hesbat sradw .PSeL at bss0e1% detain sgardliod otidug ed? .etdesen Sosbaqnds stom af Seyol Red spat ows isvon toil yiinudreqgo eesi Hebtott« yilerudsa _ 089 ¢ Yestinan fitze ywwsnso dz Gf eds to sesx6v sasl sat ot miwied 26 softest to siaso0 edt -.eacitiber os sonstedbs 152 . £ yngst-198t at {is@ agotzal base ddé¥ gota yd betoets . mad Tak asesnte sttoo sat dois sin erotowag2 dofrd ositrwatd » Pi, ét0m tedtenoe A Joousaéieae? datiad ylase sas to awrot ads Wtmed vd besacgetg67 af oonsesisne® yitse Sdd torshase s1ssea “sfanoeied asi yd svistoswes .biotx® J8 Lic§ ysig ein at ora .2 ai Le a ‘EsyoH! simaas 18, sas a9 \j;a0idaaou00 igett yf 9% to okello syo eis bas da9H ys besos1e ddsoms1s6d ed2 38 pastel bestia, i aes Gfen es saobad ) ame ’ pti Ro aewtsedt Sne0ttinzen teom O48 teogasi .bsausa16 _—r ans Lo aatatetao Tol aestitveqnoo Issotssatedai odd al - owebrens to sabst odd as bovegivisesq ozfa rsqmee .bacoiiad ge ronsncaly 943 dtiw ot tee elfyte sitasmod-oe sdt WIASS al | Ltpeb er0ne2 Atteowd cb Anwedo eds al .esdoundo Levestoss to | tud> eds to sosiag cof bstoexs eeaw doftdw .orthe¥ Te sdoo ntieadibeant 6 bS%sequ8 .(008L s94is) awod avo bas stead garb S ebeq . 2 smalov) sxdmadid ons to noiserodeoy off .o1nsourse .efvsa dairoot eas 20 40tsqobse ods of sefuqot as evsy oafa (tS ~ Be @hBE at betoste ,bisdell ts eatdait-iivd tok sagsedsidass oat ,aB10s® sstaviA bas (S58f mod) oawyA sougtrbo® offline ya avel -sl & ist9as3 ak taY emtol deitook atdsiw staor ie1s998 ai ef ‘Qo sess od¢ wo antonata ybsetls ,eetsnimodeta sonsaziensA od -netaa s yd betneestass et si .oivea ooootee sdé 04 goidtensis ',bisbsl te Sutb find oneoisemA-oneqeih Aosd sas af siqmsxe bid -o9a000 at (8002 beth) o1sbd ob obtawh3 yd IO8l-ABSL at dasos19 —rsoqmt sa% yIsiseoo sds GO .ertes] wf 9b omarreved dsiw aots _ ash eiasll auptind. sostidota 949 bed Sods ,oITbsM Js aetv0d Sa q@ bas o9fS400 asintaivol elyssaxed ntiw ,sotesio esi 28 sails ans beseled 2 es atssags taomsseit stigma edi ok ,taemthed . ee) eee -S1udootcidois OfdsieeaelQ-oof te nais & ty -Sivenioaso’ bas ebasiuedtoK .é -svels nies ‘baa Sok oasifod moat beteTsgen bad MUTSUHE yea tA -SuISvog eatin edt rebew (OS8L) edate Suebceqabat we 04 od bot oud ylehseiiaew modw of ,(898l-168I) D bioqosy anid avi to Jug . SSteyereasoo edt to tusmvoloveb letreten Sas) levtdelisiai ada | remeasxe as tiveat s a8 fed Ysdt .b0%19q Orbasiaa 8 no bs1sIH9 : : =3009) Jett de erat .ydivivos Latesoetivote O1e18 bas dota yl ha _- (otazteest9 ad? af @@ .o28 dome1d of sometedbs szoio at bavat | fy $ qomsined oitasmo? off 2s tet 26 yltetwoesssc bane ,doogs , | “Metgied ods .estsaevea edt to eeqwoo eatnl .be ‘ode os anuder s v0 sigosq ated of Qntbaogeart09 J16 a8 JAksOE a | wfrs9 bas” "IsTdso ons lo bne edt tv0ds bee \eousagisuss svidsu a stitae of ae bseasa yeds .abnel redgo af usds t8t ‘oi s ties ,eeiyse Lsotsoteid (ie move er soeeosw-netinbalite isow sextt off ne avon (008; oanq) a9b{Pedt ayo 1 a my le, - Seer 321 Bariles (1825-2891) erected in the Eheatre Massimo, which was 2s2completed by his son Brnesto Masiles (1897), one of the best ‘j arranged, largest and most magnificent theatres of the world. In the international competition for obtaining plans for thes building, Semper also participated as the judge of awards. In SPAIN the Neo-Romantic style set in with the restoration ot mediaeval churches. In the church di Nuestra Senora de Al- ocha at Madrid, which was erected in place of the church stan- ding there and torn down (after 1890), appeared a Neo-Romantic Structure. The restoration of the Alhambra (volume 1, page 2 219) also gave an icpulse to the adoption of the Moorish style. The amphitheatre for bull-fights at Madrid, erected in 1873-1 1874 by Emilio Rodriguez Ayuso (born 1845) and Alvarez Gapras, is in general kept within Moorish forms. Yet in eeneral a la- te Renaissance predominates, already standing on the Stage of transition to the Barocco style. It is represented by a splen- did example in the Bank Hispano-Americano Building at Madrid, erected in 1884-1891 by Hduardo de Adero (died 1906) in connec- tion with Severiano de la hastra. On the contrary the imposi- ng Bourse at Madrid, that had the architect Bnriogue Maria Rep- uiies as its creator, with hexastyle Xorinthian portico and p - pediment, in its entire treatment appears as a beleted produc- tion of Neo-Classistic architecture. o. Netherlands and Scandinavia. | After BELGIUM had separated from Holland and had been eleva- | ted to be an independent state (18380), under the wise governn~ | ent of its king Leopold I (1831-1865), to whom was largely due the inteliectuel and material development of the country, it entered on a splendid period, that had as a result an extreme- ly rich and grand architectural activity. This at first cont- inued in close adherence to French art, as in the Classistic epoch, and partacularly as fer as the Romantic tendency appear- e6. In the course of the seventies, the Belsian architects s Sought an art corresponding to their people by e@ return to the native Renaissance, and about the end of the century and eari- ler than in other lands, they passed ower to entire freedom f from all historical styles. fhe first work of the Neo-Romantic Style was executed by T. fr. Suys the Elder (page 300), known to us as a classicist,in § ie Ne ve . iy . yan a ce ) ine aye a e 1d le ey . fo pu'er08 Uisvintiat as 28 olwre deared. biwid {frse 8 § Isidas0 supesaesota bos auotoage edt a1ssaqs aoits -dotdw .dosdresdo8-eleaetaa te siash .2 to dowsdo oad ocsrateneliae atwod to easlq edt tetismO8SI-beSt ai bea ‘e Qntbired sit to avise tewol odd to erutosttdoywe ad? =. (CBSE et " po mm saatuspat | st00nte 208 yitetdo tod .em10? supeenea0% edt ai entsme1 [lisa :: | eoyRt8).em0b oda at ofdto® yixss as osat aegasg sdoess1 Lats otdeod: edt Hotretanste (8C3!-6ISI) shesdoe ervod daseck . (40S wSa8 bedS015 ,atewtak te samo0® eft ao statosdinors aslsose of (O01 ne déiw bedeinvs? of Lisd tasv saodw .SiaieS98L at wid vd wmgnulaae sbeatokdted ae beyolane yilesotesooo siew (woisd ‘ea, che satutfost fdors. dorsdo af “t itch wvibieint eas .e1scoa¢ tio1s asfelod ai slodw sat wo tug pas Somettogni bas sousuftat af sonsesisass edd bafded osnismes © eatened ad¢ beowdotsal bad r9bfT edd aywe .c18 to yrotaid sid > gs daseol .2 to doredo ortetaes(9 tondsa (Lise etd dtiw conse 1S. abt) sfoucotd te se1s08 woo sda.09 .(Ga62 tuods) eleasuda ky _ exesy sas, mi (TSBRDSS¢) evwe aosd com ekd yo botosts (89S ‘edPseenod e1sa0 e*refars® dtiw motsttequoy Jnsbive aL tnsaqo : to eoalad ‘ed¢ si sautoetidoms asisleF axebow to stow isaioniaa .(C8I-81ret) srseleog dassol yd (S80L-558L) elseau12 se sotsaul ad B008 x 8.083 to sets bavots s co bsdoere asw actbliud era? i Yo emaot: edd stididxe ¢b bas .ersf{loh wotiliw ass to ta0o 8 8 a -o098 dofdwiat ,eousaataneA ets! 10 osa0f svizase ylewotsxe as | -osTIes edt at eevitom asizyeed nove bas setae .nsttgyye 15 ie ~{quoo. doa eds Yo etiqe al .aceacw Lstusoetidots eaibasoas 43 ae ei sonsissqqs Let9nse edd (suetoetrdors otashi0e qlets fed acttisw di tg edt bas (N@S° ard): Side to dowwsds eds _~Leveb quede ot e1s9908 soneesians§ adoid domen® sas .e06l-85RL ead tofietaiveds ci .doe72 ylsakie + 4g D4 iid iD r we : , i mi) rn ! an BEE the chureh of S. george at Antwerp (1848-1853), conceived in @ still timid Gothic style. As an infinitely more mature cre- ation appears the spacious and picturesque central building of the church of S. Maria at Briissels-Schaerbeck, which was erec- ted in 1844-1850 efter the plans of Louis Overstraeten (died 1849). The architecture of the lower parts of the building s ‘still remains in the Romanesque forms, but chiefly for struct- -aral reasons basses into an early Gothic in the dome.(Pig. 295). doseph bonis Schaede (1818-1894) transferred the Gothic to secular architecture on the Bourse at Antwerp,erected anew by him in 18681872, whose vast hall he furnished with an iroo roof framework of wide span, and on the rebuilding of the rail- way station at Bruges, undertaken in 1877. In adherence to V Viollet-le-Buc was developed e school ef architecture in Bels- ium, which with refined understandings executed the restoration ef mediaevel buildings, also erected those of the picturesoue marketplace in Brussels, and e great number of church and sec- ular structures scattered over the entire country. Even the Chief Belgian masters of this time, Poelaert and Beyeart (see below) were occasionally employed as Gothicists, particularly in church architecture. But on the whole in Belgian architecture, the Neo-Romantic rehained behind the Renaissance in influence and importance in the history of art. Suys the Elder hed introduced the Reneis- Sance with bis still rather Classistic church of 8. Joseph at Brussels (about 1849). On the new Bourse at Brussels (Pig. 2 296) erected by bis son Leon Suys (1824-4887) in the years 1868-1875, the French high Renaissance appears in sharp devel- opment in evident competition with Garnier’s Opera House. The principal work of modern Belgian auchitecture is the Palace of Justice at Brussels (1866-1883) by Joseph poelaert (1816-1879). This building was erected on a ground area of 590.6 -x 557-8 ft. at a cost ef ten million dollars, and it exhibits the forms of an extremely massive Roman or late Renaissance, in which appe- ar Ksyotian, Persian, and even Assyrian motives in the terrac- ed ascending architectural masses. In spite of the not compl- etely organic architecture, the senerai appearance is overpow- 3) eringly grand. In the interior the statuary of the vestibule (Pig. 297) and the great waiting hall, whose dome rises to a Naty ; leet sah tig iit ave 7 é pir y ; 7 inet é ie sa : sods poe ods wearer sMoqaewéak al .auoor +9 2 8a ai peoaseetsasa dard aeencidimnsantie siden s at has ae eeaeetyses bettip of .stes0esidows oo901e9 fonste ys t ef @ nt sack Leaottsh eat betoers (AG8I-688!) tr9syse pont eis ted eon saatages a3id donstd sit ao bdSoesd Lirtse siya @adcodai lanieeso asts ,revitom IVX sivog has oon0189 aatvels @ asieied saz tlivd ed doftiw ai ,sonseeieasd daimelt Leaotian hcadiniatien od3 bas aiseeu18 3s beevelvod Isitas3 sas ao sand ‘dovm- edt) aid bowolfot siedt yousbasd 2idd oi -ysaussl gs cots _ tian 8 86 owond ols (2fCl-368!I) dovbasaY cov .% .%. davoicue | -toia esod" ot .ebatbited astaieS bio aco tooo aid vd tis a9 15 evites odt .tdosf{tebak to bas dssdtssdoG to elisd yiio supesis «to foteusu nefaled &atbsel sdf .stfl wen beaistte sonseatensh -o9nt9 wom 2882 e100) sbloV ob asv isneH ,ears tase saom 3dt =t08 tosor’ one .(asmie® ga asiatevbal t14 io [oado% edd To 109 ‘1 i E-.@ -atetéis uvebom te esinee edt o¢ gaoled ybasils et -q8 #oftad svitvaa tastoan esr OGSI suods ostaos nisas G44Jd08 =bem & no dtodd .en0ts two io ersdmem bas ebasd agin e1gsoss ido dt to somsaaieoeh odd to awitoi sad at ae ifew es ataed Llaveas -on-o9 to oviteinsas1981 beido onT .nstautdaso dx VE bas ds Of -wd-edt ean of .{VSS8E nrod) eroqywO t9s94 aan youedast ofsasm ); sisi eds hated med¢ Snome .eoedotwdo to asdwun gses2 6 to tsbLt eSunel sit te doxsdo ‘agdoosl 1.2 bos mabistemA at doiwdo euesl beaterdo of .slrte oidtoS gitse odd at betwooxe atod sis Jads —s [ayo eng ,Safdlivd asivoss sastioami teom gid yd tovsi Auta gp ienvtetxe gaiscami esode af ,(G8Sl-TVSL) asbvetemd si mveenh tena yd bedeowrsa 916 amok svossasmoh essai sas s1uso9dtdows q qu vo nevis asw siysa emse os? .(90S .9t%) .savisom eonser . “8hont detolusoo .ushtesamh ai aoltsts yswitsy atem sad oF ats ‘ vfega9 betodal eouseeionsd Isuocites sdt to Leviver sat aod «eS 8b beteLamoo) sdostee te ytiersvitad eff .dtfe0 te foodoe ofa stom tadwone’ ...clytaiyiise cid at dxow eupsetsdoia 's ei (80 raor® 38 roivete vexlien dntwisdo 663 ao emKe ots crsecan. sedo ei eens vs ferevinl edt... tfertoesad -b yds fied \neaad | | | Waisericors IsyoS sas io ae et ; a Dig? a ee S f 7 OF ary. th é ny 78 4 2 a itd ¥ vs he ' "eg Aas aha! ae: io tdbied sdootyfod act te toaastoig es toftisog atd dgvotd? (aitaso fat wie To eatot ctnsoO) yd betewins e10m has banyevnoe yisnoessG 323 height of 316.3 ft., are architecturally the most important r rooms. In Antwerp li. Bens built the Flemish theatre in 1869-. 1872 in a noble Prenéh-Flemish high Renaissance: touis Baecke- lman the Palaee of Justice (1871-1875) in the style of the ea- rly French Barocco architecture. The gifted and learned Henri Reysert (1823-1894) erected the National Bank in Brussels in a Style still based on the Prench high Renaissance, but also en- ploying Barocco and Louis XVI motives, then passing into the national Flemish Renaissance, in which he built the Belsian B Bank on the Central boulevand at Brussels and the railway sta- tion at Tournay. In this tendency there followed him the much employed J. J, von Ysendyck (1835-1911), also known as a writ- er on art by his book on old Beigian buildings, in whose pict- uresque city halls of Schaerbeek and of Anderlecht, the native Renaissance attained new life. The leading Belgian master of the most recent time, Henri van de Velde (born %863, now Direc- tor of the School of Art Industries at Weimer), and Victor Hor- ta already belong to the series of modern artists. HOLLAND again abopted about 1850 its ancient native brick ar- chitecture with bands and members of cut stone, both on a med- iaeval basis as well as in the forms of the Renaissance of th 16 th and-i17 th centuries. The chie@ representative of Neo-Ro- Se, Wéntic tendency was Peter Cuypers {born 1827). He was the bu- ilder of a sreat number of churches, among them being the Herg Jeus church in Amsterdam and 8. Jacobus’ church at the Hague, that are both executed in the early Gothic Style. He obtained high favor by his most important secular building, the Royal Museum in Amsterdam (1877-1885), in whose imposing external a architecture the late Romanesque forms are permeated by Renai- ssance motives. (Fig. 298). The same Style was given by Guyp- ers to the main railway station in Amsterdam, completed in :t3- 89. For the revival of the national Renaissance labored Gugel, influential through his position es professor at the Polytech- nic school at Delft. His University at Usrécht (completed 18- 94) is a picturesque work in his early style. Somewhat more personally concernéd and more animated by Gothic forms of ars - ches appears the same on the ‘charmins railway Station at Gron- ingen, built by J. Gosschalk. The University there is a work of the Royal architect Vryman and adheres more closely to the > Od bes ‘- r ‘ fa) A ee . or 7 ae ia 2 iia de Hi b. eso he Prt ene: te ice evitea 1 eteb ylaee ce te ‘bapiioh ni eatwodid cuenta sngasestd sert ylesivas as baswod Linitehs a wii eis of dowgdo tnetesoord wok sit .enoisibead as ‘ae eves end to aoketvibdue efs oi voeeale .insdreV .b 95908 f ~~ tifioms, ond of bas ,eoostave eas To doeiis scot mits i to08 olvte asedom sai of s9¥v0 Beoegsa ebsotls inom Bol higess nxod) egefted entde% doiabnel boxaow eexn00 ai BHOR wo odd Lo omsLeFIdoTe dois deeat9s S63 SAFE .eLI0% 8/9606 dnemtee1d bas sootic Lavenes efs ai .mebtedemA a4 ef Rabtoofiss {lite ,eouelS serit edd ta efoiciv tedo% -9up2sasno# ae - my ha éowe dowrte bed sstoieesiO erodw .BRAMNEG aT < rofl-os ens . (S06 ebsa) atiuti dois dove bsaidiaxs yoseris bea ond g9¥. eQotzo0t art 2 duit ylwole te0 Hiwoo asemevem Sidosm edd .benottnem 9d-od o1s ehnidlisd dowdo suprenswoh seoish : dovedoseds: bos (606 sacd) neeash nsiseisad yo vedioh se sossao @ (8682 o1r0d) quiefisGwlenitY .% yo negecnoqod se ewes io | =meesetqes er otdasmo1~oolk edt siudfedinois seluose aL Selwokry -edaeH .a8d sdob yd setedaseon si ytetcid yiterevinl eaa yo bes - \sedd tote emtot espsonsaof-bisdwod ai tfivd .(6fEI asoc) sblo ae 78mg eoneeetsash efs seivreds®. .nottouriegos sori To noisi bbe 28h a10d): aeerste9 svO daiw qoieins® ‘.bfefi edd ni asieniaot eds og (8¥EI-S8Er) neksdascod mf savseds [ayo sas bedoese (CE -=gdneqo0 sé wedtosoy{9 duedeliso yh odd oeit .olyse seioailed | ehP dain .onode, sexit eds yd SSSI wt bengivod. .(Jeet-1e8l)} noB A _ -queta cettel{eS es Saiased soitstodsb Sentesni -benbiasb yioa ‘ beonentint ors ostiduss foisd evidses edd oF benvotss (SE .ar% ee saeq .S emulov) esesecisas? osmisb-deifasitesse sad ya paren or befbosd seviton a waite yo 93iL Wor ovss of aoinw o8 ay ke . .Yeonse Lisbon a | OE ois To poibiind sant mie bevisoes Yank Pike _ teeTe caw rs -sneitersno ta vé iagaT edd tO! doyudo efd AL yonS _ + sh Poosttiors Qaudmal ede L0 aticeb edd yess ERSL-CHEL wi bed : lepiesren: as co aeibLivd iessae0-ofdsod #2 ee ivenszededs eb a ond pruxtnetenret sanet 8: bas: eRae eeoso diode x08 36082-8661): cezeadneqod te ide vtio wem etd oi gory sivish avo \ ‘ ; ) 324 native art of the 17 th century. bikewise in Holland at an early date prevailed the pressure toward an entirely free treatment completely independent from. traditions. The new Protestant church in the Hague built by d. Verheul, already in the subdivision of the masses, ‘in the aim for effect of the surfaces, and in the architectural treat- ment already passes over to the modern style. Entirely in th- is course worked Hendrick Petrus Berlage (born 1856), whose w works, Like the earnest brick architecture of the New Bourse in Amsterdam, in the general effect and treatment bear a char- acter visible at the first glance, still reflectins the native Romanesque. BSP In DENMARK, where Classicism had struck such deep roots and had already axhibited such rich fruits (page 302), the Neo=-Ro- mantic movement could but slowly find a farm footing. Yet two larger Romanesaue church buildings are to be mentioned, the e church at Holbak by Christian Hansen (pase 303) and the church of Jesus et Gopenhagen by J, Vilhelm Dahlerup (born 1836). | bikewise in secular architecture the Neo-romantic is -represen- ted by tae University Library in gopenhagen by Joh. Dan. Herh- oldt (born 1818), built in Lombard-Romanesgue forms with the addition of iron censtruction. Otherwise she Renaissance pre- dominates in the field. Dahlerup with Ove Petersen (born 18- 30) erected the Royal theatre in Copenhagen (1872-1874) in the Palladian style. Also the Ny Carlsbers Glyptothek in Copenha- gen (1891-1897), designed in 1888 by the first alone, with fi- nely designed internal decoration bearing a Palladian stamp. But Martin Nyrop in his new city hall at Copenhagen (1892-1903: Fig, 299) returned to the native brick architecture ‘influenced ‘by the Netherlandish-German Renaissance (volume 3, page 317), to which he gave new life by oriSinal motives handled in the modern manner. NORWAY received the first building of the Neo-Romantic tend- ency in the churca of the Trinity at Christiana. It was erec- ted in 1853-1858 after the design of the Hamburs architect &. de Chateauneuf as a Gothic central building on an octagon with Tour short cross arms and a dome. Wore closely to the nation- al style of architecture adheres &. Norgreen’s church at Brag- ernassBrammen (1863-1871), a three aisled basilican structure B&E Elise estoe [egnckitos .estodane seboow Iecteot (stodo otiw ‘edd gntifsoes ofnto’ & ut oidorxdenos smose fgnaesxe bas ‘ac r te sasdot .B io doasdo yresd oT .foodee caitevonsh genic) in & eoecerdxe SVES ak lick esi098 yd hesoets ansiteraad Suro ot mouse’ sc4 odd at s9MmIis08 sentra dotapie® atoosidors Po Gemotsek ead boteor10 Livh Ainnelt .GS6l-6VG! of efind ensie ~oe1eq glong bus reLivosa s nt (8S! betelawoo) exddd eadecds “covesbae od? .etniog ifs oi yaced tou ,mx0} to aoiegetgxe 166 -28 Ton0d Odi bniad o¢ efoodidors osikenio# aegawoy edd io 84 8d 08 besasbe Lien of ,sundoedidous to elyte noboow edd ofs -sh eddavl .8 .knieselg ytev 26 betantiesb od of o98 ,etantio 8d¢ of .moisetimi to yissow .zist io olausxs dneotifaiem 6 ev SME Ey es eS ~snsideisdo asen iosod asliotnemfot syidea wi slisd plodiocs? te muoeu¥ [snotsel eds ys bevisoes Haare @ Yq Saoasnow {srssocestivows sexsi eas (88S ekea) velbse .f .% domests .elebom aeiveaneY dott antifsos1 ,eonseetscsti-oel sna | Okdoeloe ylowa « ci beisow atoodsidots deibewe to eeises & ain Pe) soktingeses seus oF r0ovsebud nisdae9 @ Inodsiw Fon , THEW pset) Sofgosd LimS .anrct Lecixatetd Jo roiaamisee Iancerey,6 ag g to soi¢cere edd yd efoto obiIw 6 of awond oneded (F0RL ots OS Raibr00068 begner1s sedotudO LeuIsGe9 yfeartae Io TednKy nied) moesi9 vaveu® Asel .oiderow inmsseetes" lo esnerorisoet : 1h ak bogoes® ,eeonebiest inssz9qms lo sOdseT9 end een (O68! edd benoidnes od yam foicy 3aome .eolude faoisosain sasted eosteq odd bas .(6C8I) elyie cogorsd sas ni sea08 suueo Io sos * eB O8) -em10t (iste edd ni gnidososgge , (868s) iywifah dave te | betoete soft Ire8 -wlodtoose ai dsod ,ofdsod jal asiteas’ - e 1) SiddOD yliss ne ashetedd unedos'.5 to dowvdo yledede oad 4 Dien Yo drow {saioaixa off esoncd ebsost abid atin soilivss etd ei unud yuutago od Of eda to jisd baooee gt af sav7oedinoIs se Fn ‘edoie® ‘ede bus ooslsa evisslersed sa¢ te, ekoibliud Io ase7% | epe.ssorh 6 yd beseninod poe sosled fayo# ens aseu tikud ,xasé me ‘nb ngnecedcl. ost yd besvoexe ase $I .(008f ssodejoneh oreo ‘f fed tin8, soneaeienel esai dose’ sasingrel yuey bee ywode & yafodioose is 19399. +8 lo Gorndo add Yor rosse719 947) ,dhesasoi! basnthis¢ baz .mxed Lanoisnovnoo eds moat esiieiiso qiertses oitesa oisdoete. Ysio eit Yo rebliwd eds .(OO8T nred) s0ded tte yd pagenanei: oN Snonseond fevon edi yd dokaw ,evena «f os ae ry ) fia 8 “eda vd boouboutnt ean oonseaisne ed? . iced asmise'y § + vlerstedt, the creator of the church of S. Peter at Stockholn, cy éntirely differing from the conventional form, and Perdinand Bobor (born 1860), the builder of the city electric station 3825 with choir, internal wooden supports, horizontal wooden ceili- ng and external stone construction in a Sothic recalling the ; german Hanoverian school. The heavy church of 8. Johann at Christiana erected by George Bull in 1878 expresses a north G. ‘oe@erman basis. Phe Renaissance was introduced by the German architects Heinrich Erast Schirmer in the Art Museum in Chris- tiana built in 1879-1885. Henrik Bull created the National theatre there (completed 1899) in a peculiar and purely perso- nail expression of form, not happy in all points. The endeavo- rs of the younser Norwegian architects to bring into honor ag- ain the wooden style of architecture, so well adapted to the Climate, age to be designated as very pleasing. H. Munthe ga- ve a magnificent example of this, worthy of imitation, in the native Holmenkollen hotel near Christiana, bot) SWEDEN received by the National Museum at Stockholm built by #. A. Sttiler (page 285) its first architectural monument of t the Neo-Renaissance, recalling rich Venetian models. After h. him a series of Swedish architects worked in a purely eclectic Manner, not without a certain éndeavor to cause recognition of a personal estimation of historical forms. Emil banglet (1824- 1898) became known to a wide circle by the erection of a Sreat number of entirely central churches arranged accordins to the “requirements of Protestant worship. Isak Gustav Clason (born 1858) was the creator of important residences, erected in dif- ferent historical styles, among which may be mentioned the pal- ace of count Rosen in the Barocco style (1898), and the palace of count Hallwyl (1899), approaching in the detail forms to a Venetian late Gothic, both in Stockholm. “Garl MBiler erected the stately church of S. Johann theresas an early Gothic cross basilica with high facade towers The principal work of Swedi- =~ Sh architecture in the second half of the 19 th century is the ; Sroup of buildings of the Legislative palace and the Reichs’ “A Bank, built near the Royal palace and dominated by a great. sa- Fi uare domefabout 1900). It was executed by Aron Johansson in @ showy and very luxuriant French late Renaissance, #rik hai- there, which by its novel treatment and particularly by its j fe ad ae wid he ti Lela. dial | piWem Gelber’ sii e1s .colinsise espuots Is319q) bedote yirara 8 Saka! = Bee “an . e898 gtebom. 101 exe%eod ob bce asinolo® ef3 babheoisemA .ecomwe nistes® .8 ad d@iw esos oxvetcow mori onibesdora Thomsvom seenk ent eas to bas asas elbbinm sat to empsostivois sig paivives %o mis : “puedess edt buoyed oele sovew est bebnetxe eonsee {sash me Y esdbivore wveteew ofg al .sit¢enk Yo bas Yoawteds to ato SILL fapsceisetoi asm7199 no snobnogeb yffagtontaq .steesh Ja duals basintd at Sue esogrvoig oftie8 eta .baslo9 ~ metofeest@-oe! ed? .yaswied nf teds oF rsitmre tasmgoleveb 6 ~ooll od v6 penoi tos baw vinsneo dz CL ens Yo ofobiw sad yedte a te ,soneeerersfi-oel bas oftnamos Stienr .Strl sxe shiz to sagn99 of? bew10l wooes? .basfod al 326 } mighty arched portal arouses attention, are the Swedish path- breakers for modern art. 8. Eastern Europe, Americatand the Golonies. ‘The great movement proceeding from western Barope with the aim of reviving the architecture of the middle ages and of the Renaissance extended its waves also beyond the eastern fronti- ers of Sermany and of Austria. In the western provinces of R Russia, principally dependent on German intellectual bhife, in Poland, the Baltic provinces and in Finland, architetture took a development similar to that in Germany. The Neo-Classicism after the middle of the 19 th century was followed by the Neo= Romantic and Neo-Renaissance. In Poland, Gracow formed the centre of the art life. There Heliks Ksiezarski (1820-1884) erected the university in a tas- teless Gothic; Franz Macynski the Art palace in freely select- ed forms of the high and late Renaissance. In Rise originated the Gertrude church (1867), the Gatholic Franziskus churcn ( (1892), and a great number of secular buildings in the Neo-Go- taic style, the Bourse built in 1855 after the designs of da von Bosse in Venetian, and palace Ritterhaus (1868) in Ploren- tine Renaissance. In Helsingfors the Renaissance is represen- ted by palace Ritterhaus (1858), the Gothic by the new buther- 49 an church (1893). The later generation of architects in the Finnish capital, under the leadership of A, bindgren, H. Gesel- lius and &. Saaranen, who together erected the weighty buildi- ngs of the Fire Insurance Go. Polijola in Helsingfors, and to whom adhered other pupils of the Polytechnic school there, la- bored energetically -in the modern endeavor to obtain entirely independent modern style forms. In Russia in the capitals of S. petersbursh and of Hoscow, the Renaissance current coming from the West in the first balf ef the 19 th century caused an approximation of Classistic ar- chitecture to the Italian Renaissance, but from the Neo-Roman- tic a return to the ancient Russian art (volume 1, pages 198, 202). This was at first fonnected with Italian or mediaeval forms from the West, but later became ever more decided and gs severe. The vast palace in the Kremlin in Moscow built by Con- Stantin 4, Thon (1794-1881) in 1839-1844 still stands on the eae mee, Yas ,soanseianed fsifst? of setotesal9 sort moisiecsat end to eksta- bededkadds detvdexsses .2 te nottesonuand eid to sotwas edt uG “tf goieis etowod evil yd beowore ei doide ,xedeem Suse S03 oF do sit 20 gdeblm sdz nt bedseus od o¢ .NeWwoG: bre a9deH .Jdsii soT anoid q@ atedd to sovooos fo smx0l arebom hemuees yossils .esidiv 1o eorsnnod te} asnkbfind of? ssid add io, weiv eas oi sededa Ss Bnbeesrqxe Jnomtsess 8 headwpsx evosd sav Hos eepnetoxs ond . -fdote fevon viestts®. .bfaow ceonieue edz ni sonstieams ALSdd tse%% edd yd heeceorT9 een: etoriedar Io Iasasssis eft af ome -[sedaeo! acute ent sebwkd lis io ellad dgevaer ons eoavodsisy -oo8 eit bas esitio etd mi: sigooa eat to eseazcn sad to aoktess gem: to! eeasidusess teav col e2athlivd bearings: caoisibnoo ist ieieet yefsoe 28 dour ,igomnastier bos Jesneerns 14903 Oi bas | wtostetres sds jedi! edd bar coiso ,simagpesess ,eilen s190809 edd of bas beeee700i Lemans xe nokteonbs Yo ebeen sis to noi euomions stisp ai ebata: iis te eeesod foodos .ascesio seoutet oLusfgyd seed ens dtiw bos enoiensmib seinodid eit hebbs neds? five ese 6 » Sane, 2 i, > a Ce a” ea® ‘ ca —_ - ™ ao es JP fp ag MO TT a a ee aoe a — ne i * > =. 331 had scarcely ever been the ease. It was earliest expressed in paintins and sculpture. In France Millet and Monet had broken “64 the path for it in painting, and Meunier in sculpture: in Ger- | many &@ host of artists of high purpose went the same way. ‘in architecture, that by its entire nature required a longer time for obtaining new forms of expression, the new spirit appeared jater. But it then expressed itself with sSreater decision, + than in the two sister arts. Already for seme decades changes ‘in the problems, in the external conditions and requirements of architecture had prepared the soil for it, and so changed the basis for its development, that it already of itself pres- sed forward to leave the track already retained. The most important scenes of architectural activity, the ci- ties, in the last quarter of the 19 th century,bad changed th- €ir entire architectural appearance. The reasons and the imp- ellins forces for this lay in the fabulous advance in the ind- ustries and of the commerce developins parallel with them, as well as in the very influential transformations of the social conditions of our own time. The continued and increasing tra- vel made the baildins of vast railway stations with colossal halis, great post offices and grand hotels,designed for hundr- eds of travelers, an unavoidable necessity. fhe plans for in- dustrial purposes frequently extended over entire quarters of the city and gave to these a peculiar stano. The central sta- tions for light, water and power, to be erected in the midst of cities, already assumed modern forms on account of their p places in the view of the city. Phe buildings for commerce, the exchanges and the banks required a treatment expressing t their importance in the business world. fntirely novel probli- ‘ems in the treatment of interiors were proposed by the great warehouses and market halls of all kinds. The strons central- ization of the masses of the people in the cities and the soc- ial conditions required buildings for vast assemblases of men and for their amusement and refreshment, such as society halls, concert halls, restaurants, cafes and the like; the satisfact- ion of the needs of education, extremely increased ‘and ‘in the largest classes, schooi houses of all kinds in quite enormous dimensions and with the best hygienic appointments. To these are still further added the likewise gradually becomong colossal > ics ial ea Ps or “ee i * a ta rs ree | J , a. | a si wte ites sored. rot evarhlisd Feito eves page te angering tn of¢ bos of fim .eeoeleo bas evactsdo odd .pedorudo to! amefdorg Ison HOLsee79 Latstoet iors to ywtvets to estaes ods oswt0) ylavoiv ~ts100Neb bow [etooe ada ni ceil tT .baworsfead ens ovat ease .) “a8: asoetiiors edz to testedni odd tent .owis duo to Jitiae of u ren ot eonsbtieer a*sesitio edt og betoveb ed won blyo bea i -STHh850 HWORKAN qheds aot ebodisa won ot bei eevisemedsd to emaidora ved ont =ton071G ylanouwte .sddwods to atom oisetisinssan eft .aoituios eastitin.emeiseo as 103 bseceta meioks bas satisiasesbat yd be -ays to. aotésler off ennem Isoindost ban ear? ,ecsce to sok’ -efl od bus evpitne sid nt dewoleveb ylieido es .beod bas J100 ~of ,eeisudace 10% esudsedidore heteuimob bed doifwu ,sossesiaa Nt -ftonmwencs stetonce heorolmies evsbor ea? .somadaoums cot da \' sds Yo degneite edt at Hoessionk omsacxe as sidiesog eben a0 eantiftes to tdbiew edt at eidieeoqui ylevoiverg & has edaoquee $I) sea0iasetoi to enage seebiw saz os sonsvbe bivoo asm tedt oe | _yidkvorods sofdw .coo10h to notsibnoo Leoideste wen 8 sd2uoI0 ? _etdt of .santostindorys lo eslaionisva oftedise sid bomsolenssd < ‘douse .elsiroten al sasmdoisae hedruedag seomis sad oedts sew |
/ organic unity of high resistance. The entire surface of the facade was then resolved into piers, and at the heights at wh- ich these had to receive the internal beams and their loads, they were connected by horigontal beams of reinforced ‘concrete, thus obtaining a skeleton construction, which left entirely f free the surfaces lying between the viers and the horizontal beams. If as generally the case in the upper stories, it was not desired to extend a single window in these openings, then could be arranged a subdivision by tracery. Thus was develop- ed a mode of construction, which ‘is closely allied to the Goth- ic bustress system (volume 2, page 78). But it appears here entirely as an independent solution of one of the most import- ant problems of modern architecture. In its Ssreund lines it is found in the business office buildins erected by R. Norman Shaw in 1872, generally known under the name of New Zealand Steamship Sompany in feadenhall St. in London (page 349; Pis. 293). But it was first developed in Germany into a consistent— ly executed architectural system. The actual creative buildi- ng is the warehouse (department store) Wertheim in Berlin, bu- ilt in the years 1896-1900 by Alfred Messel (born 1853 in Darm- stadt, died 1910 in Berlin), a pupil of H. Strack (page 286). The Gothic keynote is here apparent at the first glance. ‘In the details of the main facade, besides purely novel forms and Gothic notives, are employed those of the Renaissance and the ee om 3 en = ‘pemee nie metaeds0 fanreito sot nort nlnucte oie youd ~\nauet basses oisosi dT .euoitonwt dasretirbd ylevitos eavces (ieee edt nt betpoexe bas SOS .a¢9 at bstaesenger ssarids sepiet edd iis yiisen al § .LigienOto entot ofat08 yLieido aad “e6¢ dotdw ao ,betentaizo sonie eved estode snenssegeh esisio ns ddiw yiete1 gon bos isanem Lebom e ni beooieveb Bi cave waa 9 iy) ie area 918 esitio asdisl eda ray 4 SF 339 : Barocco, but which produce an entirely nowel impression, since they are detached from their original organism, and here must- assume entirely different functions. The facade toward Voss- strasse represented in Fig. 302 and executed in the year 1900. has chiefly Gothic forms pfudetail. In nearly all the larger. cities department stores have since orisinated, on which the new type is developed in a model manner and not rarely with an ‘ entire rejection of historical forms. An extraordinarily adv- anced example in the openings of the wall surface between mass- ive piers is presented by the facade 249.4 ft. longs of the de- partment store Tietz in heipzigerstrasse in Berlin, desisned by Bernhard Sehring (Pigs. 303). The architectural system of the department store was also t transferred to the other business buildings of the larger cit- ies. Indeed in most of them it is not carriedroutiwith entire eonsistency, since as a rule mreat openings for shoo windows in the wall are only necessary for the lower, or for the two lower stories, while the upper stories are used for office or . residence purposes. Therefore here is found instead an approx- igation to the architecture of the dwellings built in blocks. The division into rooms permits and requires broader wall pie- rs between the windows. The need of light and air and the mo- st favorable view of the street here leads to a projection of certain wall strips, or of all lying between the piers in the form of prismatic or segmental surfaces, or even to the -inser- tion of a series of windows occupyins this entire width in ea- ch story. hikewise for this R. Norman Shaw save a model in h his New Zealand Ghambers. (Fig. 292). On the continent Martin Dilfer (born 1859) created in the Office Building of the Allge- meine 4Zeituns in Munich, erected in 1900-1901, a prominent and much approved work of this kind. (Pig. 304). Next to the buildings for industry, the citizen’s dwelling indéed occupies the most prominent position in modern architec- ture. Without doubt the English, and besides this also the 1 4.5 later American architecture, have here exerted a mighty (influ- ence. Here as well as there, to afford free access of light and air, as a building site is chosen a garden, which enjoys particular attention in plan and maintenance. Therefore for bhe ‘larger cities are developed villa colonies outside the in- ee ce penn .Sonetnsyo909 estén dansonie jt it eee edd ew -n99! end Roisdioswsa Juodsin .Elinst odd. to shesa Laubivibai sdz m9 od? -fondaoo of sheost eds to-tnemtseat ods Yo anoidsisbhre @)-eluditesy 10° Lisi cas vd bemaet ef oepodsedt Yo: snioa Iszé - $dd bos exedusto eterscee ods CeAnetts ote tf 7xeR :(826 opeak ~ (wedodrd sda vieeigoitess) aeétel oad as 12% o8 ,emoos Saivil 89007 Beigesia Bninicdido 10% -tnewessd edd ni bedsool Joa ox emoo: Batvil bus sfinenve brinzom oad ye beasiase od ifiw dotds no tooltne eds base ave edt oF brsge4 ddiw nottsool seed ens ak #8 boe ewobniw yed bso1é. .neisd ei ois Jse1g .cqsoehast sid -o0°s8 weds svic bas emoo1 edi io soneinevago eas oonsdias BevOd ‘ ydebeteluze2 oe ak THRiL io noivetmbs ent .rasdosisd9 sition -moréieod tisds of Souexsiex ai ewobaiw ofd to duomeRoevss ods -gakbipoos :.moo% dose, 10% efdssine seom meee yeds 2s ,wiot bus -yidstovel ei tofsegar eds Lo gcifeet eis bas ,sa0qiwe edi oF most tineet etoob edd to enoitsieo odd seinedid .beoneniinz jeetneolsad ous eoostte? Io ensse ya seed oF bisg9a inierss * fooo-bas geoeiq sett bas yuaue sediniw at Jedd .moted ai eaKo goésoennoo séssis0 6 Jaks Oboe ,basmmod ss s1g rsMmHHe at Beno edd gniveot ylizsessoen, tuonsinw .beoubowq si mebase sis avin ielem, no perfect substitute has been found. The charm of the no- a velty of a pier system arranged in any manner, the alternation of flat weil strips with those hollowed inward or swelled out- ward and the like does not suffice for this. Therefore the a architects devoted their attention chiefly to the most impres— Sive treatment of the portal, which attracted the eyes of obs- ervers to them. J. glbrich gave a model for this in the port- al of the Ernest hudwig house in Darmstadt. (Fis. 309). for the later time reference may be made further to the portal of the City Art Hell at Mannheim erected by Hermann Billing. (Pigs. 310). Church architecture on the whole appears still reserved with regard to the modern movement, indeed that.of @atholicism more than that of Protestantism. The requirements of the service have not Changed; the Catholic church architecture had already created architectural forms in the preceding periods, that en- tirely corresponded in purpose to the established requirements, while the much younger Protestantism has not yet attained to @ typical solution of the problem in its church architecture. Therefore its problems lie nearer to modern endeavors then th- ose of @atholicisn. Yet there is manifested in the new build- ings of churches for both confessions an inclination toward freedom from retaining a fixed scheme in the proportions of the interior and a stronger striving for unity of the interior. The unrestricted sequence of the room and the freer position of the tower frequently compels a picturesque effect enhanced by the lack of symmetry, such as appears in the (Protestant) ‘church of the Redeemer in Stuttgart, built py Theodore Pischer. (Fig. 311). The ground plan of this church is thet of a rect- angular hall with a side aisle and a gallery, with e semicire- ular apse. While the architecture here in general also exhib- its reminiscences of the early Romanesoue middle ages, Otto Wagner passes over to entirely free forms in his (Catholic) ¥ i tetoatvd hike ia a iil eli to domed ty | 2 6 ite fords Sem0b 8 ‘ab dns rvs ebe: BER) .onastV nthe a < gto noitthbe edt qi bsnodegnel wis saext ont déiw asia eco i a3 ow 6 ot sted ctasaus asiq evittmtsa sd? .elodtaaey ines (asqqos has Ieets Yo beaoqmoo yltetdo .aottowrsanve to se roast ‘efdd ad .totrssxe [eiwtootidore levon yfetitas as i, Maoas + 2e0dtsG ot ytilidattae to selaiscataa bavow% sat betbdo ‘ ed aa” .egase dauov0d? teom sd3 at vytittdersd bus alstaetem ai i per ab bevegera antesd edt no sxoget yrotensiaxe eat ot-eyse . @@@ Batblind ods to aottoeis six tot beyolqme alstiossm ods” eapbtey ai bre2971 yJeweds bus ,elisvicouss teed 6ds yisnodive -qoant fnotssiss (sa1ste Io saemetisoss sit of eldgeaos as al -si 913 g@ebsost ods to acosi¢ve ed? .“siadoesidots wort sidsis * Seod yd Blod evs Jods ,ASiAt tons a .8 edsle sidtac diytw beso eS settef od? .doids sedous S3.f das dard esdont £8.1f eerases feast ao bowersea bose sldireitv sist sbasd teqa09 vd Seastest 516 i bexttt baa edaie sldrem sdt wi esiod dgwo1da gnteasq exorfons | 4 eon vd goeodo 2sw kuttsvoo to bodsem sase ed?) .allsw add (BS eptt 7h0CP at slrvd .acasiV wi aed eaatve? [e720% add Tot ab betgooxe ylovitas si smoh bis wots add Yo woidootsance nT -oa¢e Sd? .aioenfe ssqce9 bexsmmed bas beaqmase yt dOstevoo foste ‘g' sd%¢ eventmisteb soisstanitoar Io astaye sit to Qoisicenaae 3A oes Tomoraesio@k sdz ensacel oale tod ,vooetssags [antsixe teet afssonco satievoo aii eont2 .{stnomgnom edt Ons Lv lteweg cree ads aust of ovead dotdw .wottowxteaoo oat to airso seods - -aniteed bas S10qage Io eseisvonul Iso tiib edge adfwice alfasob ant to tneaisott Lsrusoedidois on? 9005 .daomsvow atebom sad ai sineiiv9 aiew ows YO 4atdeioRnt yepelyse Isotsoteid edt ai nevis etasd sds mort ensoSoere sods to gapmedt nD wooded dtinw detoonres vifoe1ib ef asdio sar olidw ‘biod s of bsatisat exe enriced s7e deodw .egoosrnicie se0ds To _ gnibt0o9cs Jedd ,eaathlivd dose 10% bas .saemsse1s otselona Ou 0) | elise 543 .yttLidete bas 0x0) eestaxe bLwode Szoqx0G aésde of gott 6 exvedw tue -sonetetsig aisitss Yor he asiclt L[svestbom bas ,ooso1sd sit ,oidt09 ofsl odd .betkaeb et aofavetaxe aro? é Corie ale $18 o¢ode .alyte rsie*ysbs ts sd? ylasivoteres ce Soke) safes ‘Xo eaeey, dsiw AowNOD Ut PetousbasT ysem oF ITE geri an, a. \ SOME EER i, 3 Pia Galas! Nas tet 345 Church of the Lower Austrian Provincial Hospital and Asylum (Gin Vienna, (Bis. 312). It is a domed church with a Greek cr- oss plan with the front arn lengthened by the addition of a vestibule. The primitive plan appears here in a modern mode of construction, chiefly composed of steel and copper, and in an entirely novel architectural exterior. On this Wagner emb- odied the ground principles of Suitability te purpose, truth ‘in materials and durability in the most thorough sense. Ag he Says in the explanetory report on the design prepared in 1904: “the materials employed for the erection of the building are evidently the best conceivable, and thereby regard is paid +o far as possible to the requirement of eternal duration, insep- arable from architecture”. The surfaces of the facades are fa- ced with marble slabs 0.79 inch thick, that are held by bond courses 11.84 inches high and 1.58 inches thick. The latter are fastened by copper heads left visible and screwed on steel _. anchors pessing through holes in the marble slabs and fixed in the walis. (The same method of covering was chosen by Wagner for the Postal Savings Bank in Vienna, built in 1904; Figa 315). The construction of the drum and dome is entirely executed in Steel covered by stamped and hammered copper sheets. The stro- ng emphasizing of the system of incrustation determines the e external appearance, but also lessens the igpression of the Powerful and the monumental, since the covering conceals just those parts of the construction, which have to take the stati- cal functions of support and bearing. The architectural treatment of the details permits the dist- inguishing of two main currents in the modern movement. One of them proceeds from the basis given in the historical styles, while the other is directly connected with then. On the part of those architects, whose art designs are inclined to a bold 7-9 and nucleate treatment, and for such buildings, that according to their purpose should express force and stability, the early mediaeval forms enjoy a certain preference. put where a rich form expression is desired, the late Gothic, the Barocco, and particularly the Biedermeier style, whose art tendencies exhi- bit so many tendencies in common with those of modern times, (page 269) form the basis for a new creation, to be developed further. The adherents of this tendency have a strong support pues ‘gp Rabidoos, ataneiats WbtnberAetantes eas at -eozeslo. sanees Epes anctgvorss bebsetxe fies > i . Bos nance s%s 9seds te¥ welisted ada to basbidéce saebasg eee neo at wodt 16 aokttoq A .emts afeds af bert + egatbliad etosre odw .tos0izae sdt to sdguodt to shbom ads v9 - ged? .taboqbuete asitséilise yleisq 8 mo1i aegoc1sa, 94d 10% fd ar busresoarsa sav aot atot edd to soette soeiid adv ai gee add te-tetosisdo eds lo bse aoitoaxtenoo add io. gdagaeoos ont pftedtes yrotosleitss ‘seom bas tastioqst Jeon Miq .eleiiedsa -tgoueat0 iis doote1 sioteisds bas .etutoot idots| to taomon. beeaetaxe ei eted? .tecasm dgvorodd Jeow ead ai “Boitss0csb Is ~tboostg eft to aottqeon0o tis edt sanisss aoisosst edt aterod -tidows odt-.azolidso@ .azontoit istaemanio ao b9aed boiteg Om ° | ~teuxtesd viseutau tom os odw .coifooutb viad at! Seasane sdoe | 4 -bom aatbsel 10% sizom dzid betinpos ydetend ,“eastixusG” es bs soiade e boitvoss, ysdd teds .edtsq Savos ofni sissossfdois at9 - paoteesoos euoultiequa ifs watt stutossiiststto gotésorifava . -saubblivd tiesds mo suo gids Oeixtso bas % edt 908 vik: jatoosinors to quote tedsons ai meds os hssoaq0 | Va. soitetoos6 ee1t at tent. etaow wiedt To aoitvosatts Isqrourta | ial soa .bobiud yiietdo oss ssed? .atebom ylouisas Jaou adaomsato ] _gd¢ sebfes0o «9dde1 yest piaeageleved Isawioutse oF OIsdE7 YG dddgneds Soe1100 yd beds1009b od yam Jedd .eoostis2 as asheosi Isistootidose Jeow syd -daemevom pyebom os Yo ad (efbbialeds eutstot tsdt ,coittasomeo s mort antioe emit Wo To a gt 318 Lenoe19a 34% to sonsaimobera sdf os Saioroocs bas curt gaq5d eositsmoe woldorq Leawsostidors io baid ada 10 aoiseatre i -9egidoss odd isvo etool sao Il .sbis isaso sav Jo so OF SIOW a —eaidns ifoda ai agatdiivd) assbom io alisieb saa to emiot isis am etefaaos seouls sid at eet yilevon gatdiage seom odd sons ,¥a 4 ewobuiw odd to aewaofon’ -e1stoetidors wobaiw to inomaohasde (16 ‘ _betaess 0900764 ods bas eoaseaisneh sd doida ai xerosm odd oi i " ea ess yilesoiasce®: .destime ylottias teonle e1s , mods | tadd oF seltmie tonaem @ at aaatbluew dtiw actiovso ona aysi Y =bom edt al, .espe elbbdim ods to sgnibiiud rsisose ao beyolaws h ; ahve tad? ,egataeqo elao yliogoig s16 ewobuin eds .f1s 019 pe rela ts suo ers dotdwose ,tiesedi dtowomsth {ergdou1se ody gost eo edd) saiwreds0.,-.cooelave Lisw sdd ai eias : | edt) sotaividdus exttpe odd mort entstet yiao edus 8 @s 970s sf yd agizote ofat aoteiwth edT .e0tavoa Laqioniua odd has sasd : oe -bestesdaas: [Lise eias at ylisaoitusoxe vise corer. at esica esha pesos assed ads no emtot iieteb odz to sacussert oil os ETO ais ,eR ved oie ons 89° ,etsia, io ons sanuioo . . or, — oe: 347 (y vepresented in Pig. 314, Here not only the form of the windo- a sy +) ww WS in the uppermost story, but also the entire termination of the facade is dependent on the lines of the ‘ornaments. The up- per story no longer has any organic connection with the subst- ructure. This facade certainly forms an extreme in the style tendency designated. Its most fruitful field is found in pri- vate architecture, where the need of decoration is less suppor- ted by art and esthetic criticism. To i dividual character a and artistic caprice is thus opened a fied for the freest act- ivity. Phere originate buildings in not a few cases, such as One wes previously at mest accustomed to see in exhibition ha- lis, which were only erected for temporary purposes and by th- eir entire nature were~@esiréd to produce effects attracting attention by the simplest means. But in the final result, su- ch &@ procedure in “architecture” must lead to anarchy in style, that certainly does not further the obtaining of fixed artist- ic ground principles for the architecturel creations of our t time, The two tendencies here mentioned denote the extremest limi- ts of the modern movement. fut most architectural creations of our time spring from a conception, thet retains the middle line and according to the predominance of the personal art in- agination or the kind of architectural problem sometines turns more tO one or the other side. If one looks over the architec- tural forms of the details of modern buildings in their entire- ty, then the most striking novelty lies in the almost complete - abandonment of window architecture. Enclosures of the windows in the manner in which the Renaissance and the Barocco treated them, are almost entirely omitted. Occasionally aee found sp- lays and cavettos with mouldings in a manner similar to that employed on secular buildings of the middle ages. In the mod- ern art, the windows are properly only openings, that result from the structural framework itself, or which are cut at ple- asure in the wall surfaces. Otherwise the architectural struc- ture as a rule only retains from the entire subdivision the d base and the principal cornice. ne diwision into stories by belts is rare; only exceptionally is this still emphasized. The treatment of the detail forms on the bases and capitals of columns and of piers, on the portals, bay windows, main corni- > bas asofnr0o idee as atodaea aid is poas anseabuoees? ~siamexs rot it to mrot sagvoruw yilsocnioes bas gusieeggs vyileiussea 7 eeoetnwe anaiq eds asa sted 9 .beyolqas eletystsm— 646 tedd .bsliot 10 tuo ,awss ome tadd ,alsistedea to 78 ; se batbfoded .aiif eds bas badoavd .bsiemgsd , lates. ‘' nee 308 ‘years. StS .9f9).emiok btait séeisqes svotsmeda to osaoq the: “dtoz 6 to betatanco yedd Yi os atedmom aid amtol shieV¥ ob aeV bas bana aadivosateiah oft Fa notdw .isizessm oisesla has * Upauteiedtib taode scadtatast bas o1secotq o1edw ylaslootriea ous Bi - Stadowase ‘edt bat ilsoot ,eur0t siti-dood ofat #90 ework ,baees a -tretem at d3eut tastatenes to saomsttupes odd ATEW .a2adcd To ‘a 7 oanente vnaphengs tonnes etds (woktamrot to sbom ods totals | & } ee PUTAS Oy vicudo 4 i ateetidota atobow odd to soitqeonoo toista add od SafoTOODA , ¥ -Sastants odd .eanibitad edd lo taomseo1s Latstostidors oat mk % i — eldasotviee er tb es ret os ak aottsoitites, s seeeesvoq ylao ; | sivsotbai aod3 .mofeestaxs Leastootidow add to viiislo edt of -abbiodua ait yo aebrud to txoqgque Yo noftonwt [soitata sad as ‘ _ Stow @taomertigost onsa edt. jageaotte estatied to arselie ods " | abiviastvotsxeq® e50i199 r9tires nt evisentassseb yoostls o9fs | ¢ 103 ipfasod odd to Bae septine astoerd sd3 to aemid saed odd } y i ae Re a1 aiebos toq .atnemsaro edt to Suentsert bas tacayalaws adi ‘y : LS ahaha .easem [evon yvletitaa yd wedt yisisee of sisse _ ed8%to aotttoa 4 Lesfonebaes owt Gedaivanizels sd os o18 ards , s[oteseeaieds ni bas sent{ eds to ea1u00 ads ai 99@ etoasidors © j | =100 syd bom10h 2t atesd seodw .emyot sosiseds To woidsatodis ’ - etoslresat f{aotrtomosa to anttetaanoco .esarl to eetwo0s antdarxe. . : = tarot snesteeis tolos a déitw ,9e1% vletises 19 etae0e7 to 280) % “Soneage qonabaet wedto edt . (OL 683) .toenca totdo sad ga — éaeto edd mort ylisluots1sq bas .exeiag wort aut0l ledaeusnae gow {beat{saottaevage(yloett t1sq ai ste amtoi etl -mobaaty cee sREQ) sidsetagooer togc0f om ots efsbow Lstustsn ods Jsat i , , Sa =Sosisio to sattweode Sdvos as défn bsosboige1 e186 It6g Af OAs | ale) tud" jeronLt bas: eev99! Yo emtot edt yinor-sow seotseize Dis Jedd) ited bas a9t2 903 to stot oft ywodousid edt ,ete01 oad Al 9 bus botbuse ‘widauorods ous ebud bas eaiut sdd to anotsonut ‘eS \batesotd regnsw etsatsige! odd détw soashao908 at deyota | | 69 9Y. 10086) aly ac ot eaoisoast tieds ie Dn 9 Aa A 1M “ : Py CIO 348 cornices and crowning members is entirely individual. Thus f for example, Otto Wagner treats his members entirely in the naturally appearang and technically wrought form of the solid materials employed. We here see the plane surfaces composed of materiels, that are sawn, cut or rolled, that are. carved in metal, hammered, punched and the like, beholding the whole com- posed of numerous separate rigid forms (Pig. 312, 315). But Van de Velde forms his members as if they consisted of a soft and plastic material, which at the intersections and endings, and particularly where pressure and resistance should be expr- essed, grows out into knob-like forms, recalling the structure of bones. With the requirement of consistent truth in materi- als for the mode of formation, this cannot certainly always comply. According to the strict conception of the modern architects in the architectural treatment of the buildings, the ornament only possesses a justification in so far as it is serviceable to the clarity of the architectural expression, thus indicati- ng the statical function of support or burden or the subordin- ate effects of definite stresses. The same requirements were also already determinative in earlier periods, particularly in bhe best times of the Grecian antique and of the Gothic for t the employment and treatment of the ornaments. Rut modern art seeks to satisfy them by entirely novel means. likewise in t this are to be distinguished two tendencies. A portion of the architects see in the course of the lines and in the #asteful alternation cf abstract forms, whose basis is formed by a non- vy, existing course of lines, consisting of seometrical interlaci- ngs or repeats or entirely free, with a color treatment formi- ng the chief moment. (Pig. 316). The other tendency takes-dts ornamental forms from nature, and particularly from the plant kingdom. Its forms are in part freely conventionalized, so t that the natural models are no longer recognizable (Big. 3179,~_ and in part are reproduced with an acute accenting of charact- eristics. Not only the forms of leaves and flowers, but also the roots, the branches, the form of the stem and bark, the junctions of the twigs and buds are thoroughly studied and em- ployed in accordance with the legitimate manner dictated by their fupctions in nature. In decorative painting liwing bei- wee i TM it: ns Be git Se ldad sf Che avn iteidohevcs .tis0 tostroqmt ne ysla sodsaut skated a veasasoubasl neve bus ,sttl off Sas eRowd pebsesil .cb1id S)edd esestinen ylierds tromant0 af etostdo watvtl to saa odd -gased6s ovree vino eevivom eqsoedusl sods .siwtem to tuenyotse =-i3.%0 t9n0se 9d¢ 104 .astcomvad ‘to notdonborg odd 1x0} yilets -vew od¢ to ifomscd sot -{sbom 2 semooed J78% easusqsl seu 116 9sat yiev s ai xws9eq0s (8% saeqa .f emuiov) oaad buolo ads .29 fife Yoremrot iamias oboe sasle yo betsming .soittssilisnoitasvaos -you semiveucs tsdz .oswe od3 o160 soe ow yoiamsxs 108 .2ebnid oa baewot emiwe asuttemoe ,(SI6 .at%) zovaw dSovemins Suows 29 ¥ exeds saboor yd forshr0d sei1s0coTesaWw & Yo egnibutw sds wort semeo sdt ni Hottifaute of sts soqsoabast odt bes eatot sad -91 sd ysu gveom ts [obow ods teat ,etolos ads bas eenti sit te & .et0ofos Baworw ss1d3 vo ows wi bas aoailsuo sdt at hastaxo9 ~ gevre asus aed oagisa to soitsvisado Yo d108 aids tot JauG -ysdaevbe odd aed fnensat9 dusfq niche .anoitasaiea sliseley bas yeixelo duebive: divin ,gtrirdom bus ysietevtb JastgQ To 29 ~ edt no sosiis iwivivrs yliusafo1cstixs of asd di pydtot lomta ~89%081590 aaintedes eeelQ ao yvlislusitaisq@ .goiststoosb to sida o¢ Stiri wom Suiwie .edts tontw odd [fe ao dus .nits Siszom 903 sonte ,alidsenev a6 yrodosterise od Jom vsH Jr Joy Oak ..wedd bas daaxtaoo edt .enotd1oqgexg eds .wdivrt io agol isisaek ods ,beesd ef tasmsa10 odd Yo soneterxe adé doidw ao ,yisoumye ond -90 Qubesetowi at eiseqqs stolsted? § .beilitiud eyewis Jon sis to aldeqso aevitom [soiit0tetd Jqohs os aoitsaitont ad3 gies ,os007es sdé to daa Lsveribem to sso? ylistosqes ,Jasnqeleveb 9’ .Siil azve60u's modd evig of Ons ,TVE etwod to slyte sdé io bas ‘et? .edtsa woo tetas eteife1 s1wait Istetoeridore ouiwodtd fenottaevaoo ai bsrttateq joretqinoe Latatossidors ofseieesio eds dgin betoean09 yiesool ylao yltaonpe1t .aotessigxs te fost | t to4 .yousbasds otterises s of sosiq svia Jeum .notsouss anos -9297991 ont af betivget es .Snenevow Jud. seoqer isoiauelo sdz \ witgeoaos 4) ar besbat bas .bseestgqxes sied sr .sodsl te softtsta _ @ 03 bai Yoeeti io ata? .istiedsa att bas sostdo eds To ao -get 946 e9%08iT oooorsd off .osc0189 eds ov Ostiis saousssad atedt at wiet [esetoegaido1s atebom sd% ut beowboitai efivieds -199 .soottelibustS ati eonsins base ,dasmzoleveb bas coitizoomes -ittbuveds of ebdsel oted sewisqua 943 To sogstseqqs sat yiaied vases aa aml rt 18 gusdt Jud yee ga 349 Ros aca Ae” beings further play an important part, particularly fishes, b birds, lizards, frogs and the like, and even landscapes. If the use of living objects in ornament chiefly manifests the enjoyment of nature, then landscepe motives only serve substan- tially for the production of harmonies. gor the manner of th- elr use Japanese art becomes a modei. The turmoil of the wav- es, the cloud band (volume 1, page 49) appear in a very free conventionalization, animated by plant and animal forms of ali kinds. Hor example, we see here the swan, that sometimes mov- es among animated waves (Fis. 318), sometimes swims toward us from the windings of a watercourse bordered by reeds; there t the forms and the landscapes are so simplified in the course ef the lines and the colors, that the model at most may be re- cognizec in the outlines and in two or three ground colors. d dust for this sort of observation of nature has Japan siven valuable suggestions. Modern plant ornament has the advantas- es of Ssreat diversity and mobility, with evident clarity and Simplicity; it bas an extraordinarily fruitful effect on the style of decoration, particularly on glass staining, ceramics, the mosaic arts, and on all the minor arts, giwings new life to them. And yet it may not be satisfactory as versatile, since the general loss of rythm, the proportions, the contrast and the symmetry, on which the existence of the ornament is based, are not always fulfilled. Therefore appears in increasing me- asure the inclination to adopt historical motives capable of Jgo development, especially those of mediaeval art, of the Barocco, "and of the style of bouis XVI, end to give them e modern life. bikewise architectural figure reliefs enter new paths. The classistic architectural sculpture, petrified in conventional lack of expression, frequently only ioosely connected with the construction, must sive place to a realistic tendency. Not t the classical repose but movement, as reouired in the represe- Rtation of labor, is here expressed, and indeed in ea concepti- on of the object and its material. This of itself led to a treatment allied to the Barocco. The Barocco figures are tas- tefully introduced in the modern architecturel form in their composition and development, and enhance its @rand%effect. Cer- tainly the appearance of the supermen here leads to absurditi- es; but these are not seldom to be placed to the account of a onan Devine ‘sees tsxiiscot a eciaes vaued eset . anal * ada’ de. 10% eoviade. pessisacon aba eis io gaixiesa + uw om i odt at oaks eleiies n1isbom odd aeve de¥ -aliatod oe ytiorlqaie tae13 io escemsiiegst bago1h 3d yadeo - erry) edd ot aoiésatdt09de2 sidetine s déiw .easow tasd a8 80) nous of b8o01000s 34,07 af dorama Sissosdtaors sad To gen ah -Jtivow Isio pees ao dank testi be02% aed cakwedil guttaiea aviseroosd | =WE6 Besoorg som 2000 3i Ti Geve .yew awo art asok bas aaoia ld 80 sfdatrezo0s009 .sgonseltat [stackt0 dasivas work yidasare at bas teéles ai enoitqeos’ to actawdoxe edd at moitasonoo ev was as [fisw odd teexs oF etooe tedte1 Raisaie® .svisoeqaeted | fobrsdat. edt 2ntecloas Jo sgo0a1ve ath dtiv soandteo0n ai soBt fo toved ak taomiaest swoidoylog sdt atostie1 si’ sacicisds bas #0: tose ebteed boosiq atoleo ossinowied vilvisiss es1ds 10 ong -@bastiosd -asiatete eesip at axsoogs ylnielg deow etaT .t9de a ~teq, ovsait bas istaomento aft af ys toliqnia Jeeta esaivpst me eta nies tt ead, omits Josost teom- ods at ylnO -.emo0y to Raidn AEN: G2 -sonsvds te tot tfeatf o518e0 _ efiois Qafheol to enoives1, tmanimorq eds Yo aoidues rsdda254 emer’ gaum .etetqedo zeifwee oat ai asvig sion veds as .etost “sgons@aoami bas avosiq tisdt to siewites as 104 .ay Yo dosdL | ie asian Of Siuoitito od bivow sr .sisiostitors Yo yiotaid odd af — oddata dotdw wort ,eoid efst te yossils tnfoqgiuspa bexit s 9% gas bas adostdo,ssiv evieaesdatgmoo 8 ddin bevisado taddxe od $- $ mo sbdiceb vlovitoetdo of bus . test of smoo Psy fom asonatAas yf ‘ pin 0% ydiavdtouge ns etaixs yisotsoa Sasbai exsds oslh .meds eee acibecs4g edt 10% sonsbive tedtwwt to aottersmuas adt ee ,ekatblivd atobom edt avisedo ylovitaetie tad ang del {sia (eatin ga bokt dhtw of bas .oxsdwyteve s200ls botoots axa yond ee niiviews | : ~eelqusre:-To sons ; neh lis vioabi aid shies toa at eoias Snsaevom arabow ed? Bi ae yaseted ai bawot gm sud ;P@uswacieveb ewss ong estade deci lt 1} hie asotvesy sti revo atool eno TL. .ifoa aidesovel yfisiveisies re og Naa ea as 19%9 Batsiatouso8 6 divbw, auniintwete Side iis liso iehtebel inatene etic obvi jepa ogis st .settsex ivtvot) bas aa1k bs | Berea, Foam wes a a a 350 less happy mode of conventionalization, that the powerful emp- hesizing of the characteristic strives for at the cost of the details. Yet even the modern reliefs also in the better works ebey the ground requirements of sreet simplicity and self-evi- dent means, with a suitable subordination to the sreat lines ef the architecture, which is to be accorded to them as & spe- Gial merit. Decorative painting likewise has freed itself from most tra- ditions and goes its own way, even if it does not proceed div- ercentiy from ancient oriental influences. Characteristic of its conception is the exclusion of deceptions in relief and in perspective. Painting rather seeks to treat the wall as a sur- face in accordance with its purpose of enclosing the interior, and therefore it rejects the polychrome treatment in favor of two or three carefully harmonized colors placed beside each o- ther. This most plainly appears in glass staining. Puriteni- Sm requires great simplicity in the ornamental and fisure pai- nting of rooms.- Only in the most recent time has it again pre- pared itself for an advance. Parther mention of the prominent creations of leading archi- tects, as they were given in the earlier chapters, must be om- ittea by us. For an estimate of their places and importance in the history of architecture, it would be difficult to secu- re a fixed standpoint already at this time, from which might be further observed with a comprehensive view,objects and app- -, €arances not yet come to rest, and to objectively decide on t them. Also there indeed scarcely exists an opportunity for t the enumeration of further evidence for the preceding stateme- nts; let one but attentively observe the modern buildings, as they are erected elmost everywhere, and he will fine an abund- ance of examples. fhe modern movement takes in architecture in nearly all civ- ilized states the same development; but it found in Germany a particularly favorable soil. If one looks over its previous acquisitions with a scrutinizing eye, then is presented to us @ varied picture of strongly pulsating life. Modern art has Siven to the youthful artist world the strongest impulse towa- ré free and joyful creation. It also seeks to permeate our e entire culture and all classes of society. Not onky the impo- Ried bala dined : ’ £83 id Hi .davdve sliiv ent asmeldon & to savod gaizoqur Sosy Saeliiv e*aeuiiow wrebom si¢ ai aniliowh saolquia feu, si si sostizeq .eoY .Omads Ieubivibar as jr most dd wort thtened dzetset® dd bovissh sed? .oavod a*isi | bas is ieee pes i wesiiidssiue amsigxs of ; eel ats wort beetl ,srwtoetidews edt 10% is PCA lavag Betuices atobom ¢4 noissomteg. adi at .enotsisans to nofaiuunss dottafove edt 10 Jossroami _yldgtd seow .soaevbe os beosd07s4i -tvoe edd af bexiskoos: et Lis fo weak? dobdw .etstosdidows to heebat bas .asq7s (sxitoesingie aisste9 to aoitsaioltssae1s 91 ovad ybeatis won ow osf{f .esoqiva ati yd SetiupeT sense & ui ow, wedsorbat os adzow [axgtfossidotwe a1900a to 19dm0d 3sie972 & bas dotdersbiedos Lin? a0, siren: gvetitas oissidas.as 28 dotde edt moti bas suemoneda to booit edt ai setwiedso tug =. 19000" -[ssayto od Som yeu omit a0 Po ataeitiwo sastisv> aig to seou1wa -sesaGxs Sis bas aoidqoonoo tas bogoieveh vliagedataaoo & bearl baovboig earet wen sot Saiviate Gus anidsoe af evesi eit aot yao tedw .betootes et ysbod sedt .edasd s1e ai s3iupeto dope 8 Sttsisis Jas1z 6 28 tnemdeinotes beeuso sonka aissy Ket 4 i nottse10 {arssostidors sodw ,adtsa sitse t9tae vise Lisde s% ples feottos1q yloase esdiesd doiiw .2saiaioaiaqg bayora yo osf ~s1g070 oieisis betliny bas dexth s esnsae1g omic ose oad Je gnétasn seed Jom ead coidiens1t io emis yreve us destal = .omm ‘syed dotdn .amaot wea Ofod bas eoiyia Yo svasxim LutisonoM 6 3 abitod .tluest tuodtiw od 08 aovisescns awoda vyitussoeedue on bas -- doidw ,efeoe svitieod s beifupet gen enitol isblo sid odd dein seol at--- ets satnteonos eovieaiwo svisos toa zum 8B aied0m yd batiasd gjeeq oft to tas sis sort wobesst sdolaavo aatbtus odd ud aevdR Pom at aids 10t siviidacnr A .asoedinors ' femdougsts .utilidetiue to saemetinpst edz worl beviaed aoaid | Yo snowlitint odd deal. .efetredew to seousatune, bas dtuas _ & a€ wesatne ons To seetecui odd Istousg uf sasweriupes e609 | Odw .toesiders edd to sats dom tod .bedewadxe at avntblind. aid atid sobiasd 19n0\ ed bloods 10 \Jeiv1s ae onid omse odd te at cysgsaapnesonathe gam aid Yo seoussa@ ods of gafbsooos bas! _hienalogeero anti of3 tot vilsttasssdse eisead: gl i ‘ a a8 a bas ysiasegorg to .,somedetxs | noite eee TOKO ea to mente 351 imposing house of a nobleman in a villa suburb, but also the simplest dwelling in the modern workmen’s village receives from it an individual stamp. Yes, perhaps it is just the wor- ker’s house, that derived the greatest benefit from the regard to extreme suitability, convenience, adaptation and durability. fhe sharp accenting and consistent carrying out of the funden- ental requirements for the architecture, freed from the formal compulsion of traditions, in its permeation by modern technics, introduced an advance, most hishly important for the evolution of architecture, which first of all is recognized in the enti- re transiormation of certain architectural types, and indeed in @ sense required by its purpose. Also we now already have &@ greater number of medern architectural works to indicate, w which as an artistic entirety merit our full consideration and wonder. Rut otherwise in the flood of phenomena and from the purpose of the culture currents of our time may not be crystal- lized a consistently developed art conception and art express- ion. The haste in seeking and striving for new forms produced such disquiet in art taste, that today is rejected, what only & few years since caused astonishment as a great artistic work. We shall only enter safe paths, when architectural creation is led by ground principles, which besides purely practical aims, at the same time presents a fixed and unified artistic progra- mme. Indeed in every time of transition has not been wanting & wonderiul mixture ef styles and bold new forms, which have Subsequently shown themselves to be without result. But in t the older forms was required a positive scale, which -- and we must not deceive ourselves concerning this -- is lost with the complete freedom from the art of the past desired by modern a architects. A substitute for this is not siven by the guiding Lines derived from the requirement of suitability, structural truth end genuineness of materials. With the fulfilment of t this requirement in ganeral the interest of the engineer in h his buildings is exhausted, but not that of the architect, who is at the same time an artist, or should be one; besides this ‘and according to the purpose of his architectural work, he yet “>seeks substantially for the impression of comfort, of joy in ‘ existence, of prosperity and sufficiency, and to produce the 1 feeling of greatness, power, dimensions, elevation, earnestness, hain her oft (bis ens tk ll ~Racainizeons 9 bai a Tidussi elgniboraeorangnyeeOeNtEs/// 77" dbp / 8° si | co (ob aeaide’ Iwtitosed ylerea awd J eapti/dnr, pra to on Lanisoen to aoisoaiaties Lscrndces atsoent die / Uh t bejyd ‘to bac nortoustedoo Yo songafmots sar sidati as Jaub ip YO! enoat8 3 teido ods sansa ottodsee ads at od asd isr4 Don Ste sististes bus eotadost .gotzee1o"otssidis” io ba i ikl pid eviee tats .es0snst Lemotsiowo ying sed . sore edt qo% sansom ee [lim evigos ait .soitouborg To Te8H089 - © add gnome wo ,nees wiliss ovsd e# .snemgeous [gtituesd To ai * eid bareero yitissnenmsnom hbiswotterueesi4 sasvy odd anstdaygs 4 6a toed eds dviw wod .xtivisos eidd aol oOstfgoed a0Lanses | -entfreore beitizols s Oda bogolevao Satlest t18 bankier yre¥ _ gasebr eyivem102 ati to Taaaibodme sés +ot aoiioursenco ads Ba + gata eforto bextslas tiefis dtin souehiooss al susmoH eat KOS “moon ttede tot t£ bobnosxe z9eW0Og volosams tious bas aottasifiv “ome: Weeks oLSbie ott wor bas ,teebms1y OF Ji ovt«t1H9 wove bas eb @ Ye aoktssxilsys ition edd biawos Detoodtb (fiw mis -adét hetbod aren wiinaet tas{ sit oF THO herAtow sotndoed aL. 4atxeten oad 018 feoteydg eds rol gbodsem 6ne andom ont hobtoiis vino eola 5%. aakbeed vo) inte guitista & t9v9q sud ,sitaw s4s To aotsown Settentorodes ein! .aofttaszo otfetsis to sewed end 101 tofssi ) ent ai qigzate etow aeve Oscse1gxe af Lliw its of soraices to >> ,eterLoo aisdt to etinedse add? weseess oni .shoitsa tas7sTirb Ors 35 cheerfulness, magnificence, charm and the like, which as a ru- ie can only be attained by correspondingly beautiful effects of his creations. But purely beautiful things do not result from the engineer’s technical satisfaction of practical needs. Just as little the prominence of construction and of the mate- rial can be in the esthetic sense the chief purpose of any ki- nd of “artistic”’creation. Technics and materials are no crea- tion, but only conditional factors, that serve the artistic p power of production, the active will as means for the purpose of beautiful treatment. We have earlier seen, how among the #gyptians the vast pressure’ toward monumentality created the technics reouired for this activity, how with the Greeks the very refined art feeling developed into a slorified orderline- SS the construction for the embodiment of its formative ideas, how the Romans in accordance with their enlarged circle of ci- vilization and their consciou power extended it for their nee- ds and even carried it to Ssrandeur, and how the middle ages en- bodied its art will directed toward the spiritualization of t the material in technics worked out to the last result. Tech- nics only afforded the means and methods for the physical pro- duction of art works, but never a starting point or beading f tractor for the power of artistic creation. This subordination of technics to art will is expressed even more sharply in the different periods, the sreater the maturity of their culture. In the culture stream of our present time, that is so impulsi- vé and so rich in new purposes, we may at least hope to be ab- le to develop a striking style and ea permanently satisfactory expression. If we desire to advance, we must give to the art- istic primitive force, to the innate in us to beautiful treat- nent, that aims and suides, that come from=theimaturity of our culture, and we must advance with the progress of the spirit of the time in art life as well. Besides and with the extren- est fulfilment of the problem in regard to purpose, technics and materiel, of our buildings, we must also seek to Sive them a beauty corresponding to their purposes, a beauty in which t (the mode of thought of our time receiwes a likewise character- istic appearance, as was the case in the earlier centuries. The seeker for beauty in architecture, perhaps more than in any other domain of art, must be Suided by clear processes of Pe Ne . io ae eee oak - tae SOT 7199 { Cy] ci. i. a a, e oe a. ‘ fe oi. ar ie, ; * bp te ¢ SS cree gee oe, A COT Yee LAS ed ‘ »? at bane ‘J ih & ‘ a’ ‘ ets ne a Sai GAS, 4 Day pes ty * Pt Ra, e paaotly aa Lia Leee a, Wi oo qi fos tdavods a sce soauone: bIvow seeds pee’ ne sph ae stele, . > .e0sl sie 316 ai seimedid itaodave bas datog Yel day 610584 a #8 deol ed oissi{ as saut aso 1863 .zisaecewseq Suh stds sada D ‘90 a89 ens Sesit ito ¢oefkea od¢ tesanetoa Letnemiusaxe odd of to sexsoo ([atstsa edd af goiftotitess » mi siuaer ¢l ® St Isatosliotai aancd to dooqe teefklies oat of fond Satta _ =fbso6qq dose exAid .atssy 20 abmeswont dQuoids auisaitaos bas oe to aisdo edt to antl ego yloo ei d1s n190d, «sm BS eidd giuemoolevst anol s Ie souboug oat ei Ft .oiysa Ja8 an ia Reh dee tH .visaetsienoo aedtast betas. 3d younso taemuolsvesé =169 8 af teum of ti .ow00 asd st dotdw at yen sds woos tom as -t0t edd i6 soisibaoo evistaraa sit wort ¢ieda aisge sence aiss / 30 dsinow visatbx0ettxe ods Soo¢91 03 saduiw bas .adts evista * 6) 30 o1ssluo oft fotiw ,wirot 19v0 t9K0qG oz to das eoas tregxe edt to Istnsb sis yd tok .datded. sisl esd esixutass ri l1ss -1q. bavoiy. esi to [ssisver add V3 Jom ,HOLdLSs71s Ta@-sonsstoqul -itttetuoos att to nottsaimexs avoidastoesos 8 yd ted .aslatout 3S wio o¢ak Jes baa Geulsver sd ysm oneds asan6m tenw ac .ene mort cotdiansat to esmrd rsiliss si bariva9se eid 28 enol Af #58 besuase ddiw deeooue ow (fade .x9dsous of aiyde tris 9n0 Banod af Oftow etittns eeodw .ouit ioe to ameldows eds amtassr2 “-Mivesifivio Yo. edooge. jesq edt to ssods of ebt09 avotecua vd ~s00 Lamtot 8 of tiaedi simtl ton teum besbat aotssaimaxs sid? -i2 odd antwollol .oodiem ottenek odd yinO .asiyte lo soariaa -itelqnoo edd bastsisbox of rebi0 ak .dnengoleveb eit Sue deo =of aso ,do1soae% To acismobd fie ai svttean besbnt af doidw. a0 ,otekd adé oat noissiseas0 269996 sd? .mte oat ot eu baal ed Sidscisy saom eds 20 eevt® orssossinors to nottulovs ods to ut - Yo potéscttiasis bas twemeoleveb Ivislucos s 10% encktsoront . eeoubo1d .adsworstuo [ive seciess anisw Jt yRoilest ofyte od3 5) 38 to eeoaseool of boaogqo gino et das .eqwotess to soustelod ~odt bas. .wsisisiao 58 aotssvteado eleqmt yilsatoniaa st rely > sat ltde Svitse1 snebusgebat to aseneuotogaos adt saau07s yoo? ge bing book .Jasstoamt seow gdt besbat af sadw yewioh ti past bas. aisrgenh etgsaeeiiors af els dod .grceed 20% aatidva et 353 thought and by fiked and lasting conceptions. But by the com- plete rejection of traditions, these would renounce their most secure starting point and support. bikewise in art are lews, that continue permanently, that can just as little be lost, as in the experimental sciences; the neglect of these laws can on- ly result in a restriction in the natural course of developme- sunt. f¥odern art is only one link of the chain of culture exte- ; nding back to the earliest epoch of human intellectual life a and continuing through thousands of years. Like each precedi- né art style, it is the product of a longs development} this 4d development cannot be carried further consistently, if one do- es not know the way in which it bas come, if he must in a cer- tain sense again start from the primitive condition of the for- mative arts, and wishes to reject the extraordinary wealth of experience and of the power over form, which the culture of e earlier centuries has left behind. Not by the denial of the importance ofstradition, not by the reversal of its ground pr- inciples, but by a conscientious examination of its acaquisiti- ons, in what manner these may be revalued and cast into niw f forms, as this occurred in earlier times of transition from one art style to another, shall we succeed with assured aim in grasping the problems ef our time, whose entire worid is bound by numerous cords to those of the past epochs of civilization. This examination indeed must not limit itself to a formal com- parison of styles. Only the genetic method, following the gr- owth and the development, in order to understand the completi- on, which is indeed native in all domains of research, can ‘he- re lead us to the aim. The deeper penetration into the histo- ry of the evolution of architecture sives us the most valuable indications for e sesultful development and clarification of the style feeling; it warns against evil outgrowths, produces tolerance of amateurs, end is only opposed to looseness of st- yle: it principally impels observation and criticism, and the- reby arouses the consciousness of independent creative abilit- ies: it forms, what is indeed the most important, goed taste (seeking for beauty, which also in architecture denotes, and must denote the truly creative force. In bringing out e hist- orically founded understanding of the present time, we shall best assist in a permanent further development of art, corres- we ae 5A uly ae eae ne be ls a2 is Bd See | ~ * et ee OT aes, a ri / UNIVERSITY OF ILLINOIS-URBANA 720.9H25BER CO ARCHITECTURE IN ITS DEVEL 01 v002 OPMENT FROM THE i il 591 Must Leste ote wear or eae a agement a A a J SE a SN SE BN se ee sere aOR ene " — Rte yen SO o ct ola nt sx hahaa Se eae : 2am Ee ARI RI EI a wae EC a i ei Spon Ra De cee ni ce ae h8 { a we 5 ue . i" y, 1a rae ee on a ie iar Atael 2 2 {ii ABS oo a ee ee De Ae oe NE my ety SOM cia 2 SRR anrcin paso ceo Bae IT = Ne A a oem