GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS, AND SPAIN

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CHAPTER XVIII.

GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS,

AND SPAIN.

BOOKS RECOMMENDED: As before, Corroyer, Reber. Also, Adler, Mittelalterliche

Backstein-Bauwerke des preussischen Staates. Essenwein (Hdbuch. d. Arch.), Die

romanische und die gothische Baukunst; der Wohnbau. Hasak, Die romanische und die

gothische Baukunst; Kirchenbau; Einzelheiten des Kirchenbaues (both in Hdbuch. d.

Arch.). Hase and others, Die mittelalterlichen Baudenkmäler Niedersachsens.

Kallenbach, Chronologie der deutschen mittelalterlichen Baukunst. Lübke, Ecclesiastical

Art in Germany during the Middle Ages. Redtenbacher, Leitfaden zum Studium der

mittelalterlichen Baukunst. Street, Gothic Architecture in Spain. Uhde, Baudenkmäler

in Spanien. Ungewitter, Lehrbuch der gothischen Constructionen. Villa Amil, Hispania

Artistica y Monumental.

EARLY GOTHIC WORKS. The Gothic architecture of Germany is less interesting to

the general student than that of France and England, not only because its

development was less systematic and more provincial, but also because it produced

fewer works of high intrinsic merit. The introduction into Germany of the pointed

style was tardy, and its progress slow. Romanesque architecture had created

imposing types of ecclesiastical architecture, which the conservative Teutons were

slow to abandon. The result was a half-century of transition and a mingling of

Romanesque and Gothic forms. St. Castor, at Coblentz, built as late as 1208, is

wholly Romanesque. Even when the pointed arch and vault had finally come into

general use, the plan and the constructive system still remained predominantly

Romanesque. The western apse and short sanctuary of the earlier plans were

retained. There was no triforium, the clearstory was insignificant, and the whole

aspect low and massive. The Germans avoided, at first, as did the English, the

constructive audacities and difficulties of the French Gothic, but showed less of

invention and grace than their English neighbors. When, however, through the

influence of foreign models, especially of the great French cathedrals, and through

the employment of foreign architects, the Gothic styles were at last thoroughly

domesticated, a spirit of ostentation took the place of the earlier conservatism.

Technical cleverness, exaggerated ingenuity of detail, and constructive tours de force

characterize most of the German Gothic work of the late fourteenth and of the

fifteenth century. This is exemplified in the slender mullions of Ulm, the lofty and

complicated spire of Strasburg, and the curious traceries of churches and houses in

Nuremberg.

PERIODS. The periods of German mediæval architecture corresponded in sequence,

though not in date, with the movement elsewhere. The maturing of the true Gothic

styles was preceded by more than a half-century of transition. Chronologically the

periods may be broadly stated as follows:

THE TRANSITIONAL, 11701225.

THE EARLY POINTED, 12251275.

THE MIDDLE OR DECORATED, 12751350.

THE FLORID, 13501530.

These divisions are, however, far less clearly defined than in France and England.

The development of forms was less logical and consequential, and less uniform in the

different provinces, than in those western lands.

FIG. 139.--ONE BAY OF CATHEDRAL OF ST. GEORGE, LIMBURG.

CONSTRUCTION. As already remarked, a tenacious hold of Romanesque methods is

observable in many German Gothic monuments. Broad wall-surfaces with small

windows and a general massiveness and lowness of proportions were long preferred

to the more slender and lofty forms of true Gothic design. Square vaulting-bays were

persistently adhered to, covering two aisle-bays. The six-part system was only rarely

resorted to, as at Schlettstadt, and in St. George at Limburg-on-the-Lahn (Fig. 139).

The ribbed vault was an imported idea, and was never systematically developed.

Under the final dominance of French models in the second half of the thirteenth

century, vaulting in oblong bays became more general, powerfully influenced by

buildings like Freiburg, Cologne, Oppenheim, and Ratisbon cathedrals. In the

fourteenth century the growing taste for elaboration and rich detail led to the

introduction of multiplied decorative ribs. These, however, did not come into use, as

in England, through a logical development of constructive methods, but purely as

decorative features. The German multiple-ribbed vaulting is, therefore, less satisfying

than the English, though often elegant. Conspicuous examples of its application are

found in the cathedrals of Freiburg, Ulm, Prague, and Vienna; in St. Barbara at

Kuttenberg, and many other important churches. But with all the richness and

complexity of these net-like vaults the Germans developed nothing like the fan-

vaulting or chapter-house ceilings of England.

SIDE AISLES. The most notable structural innovation of the Germans was the

raising of the side aisles to the same height as the central aisle in a number of

important churches. They thus created a distinctly new type, to which German

writers have given the name of hall-church. The result of this innovation was to

transform completely the internal perspective of the church, as well as its structural

membering. The clearstory disappeared; the central aisle no longer dominated the

interior; the pier-arches and side-walls were greatly increased in height, and flying

buttresses were no longer required. The whole design appeared internally more

spacious, but lost greatly in variety and in interest. The cathedral of St. Stephen at

Vienna is the most imposing instance of this treatment, which first appeared in the

church of St. Elizabeth at Marburg (123583; Fig. 140). St. Barbara at Kuttenberg,

St. Martin's at Landshut (1404), and the cathedral of Munich are others among

many examples of this type.

FIG. 140.--SECTION OF ST. ELIZABETH, MARBURG.

TOWERS AND SPIRES. The same fondness for spires which had been displayed in

the Rhenish Romanesque churches produced in the Gothic period a number of

strikingly beautiful church steeples, in which openwork tracery was substituted for

the solid stone pyramids of earlier examples. The most remarkable of these spires are

those of Freiburg (1300), Strasburg, and Cologne cathedrals, of the church at

Esslingen, St. Martin's at Landshut, and the cathedral of Vienna. In these the

transition from the simple square tower below to the octagonal belfry and spire is

generally managed with skill. In the remarkable tower of the cathedral at Vienna

(1433) the transition is too gradual, so that the spire seems to start from the ground

and lacks the vigor and accent of a simpler square lower portion. The over-elaborate

spire of Strasburg (1429, by Junckher of Cologne; lower parts and façade, 1277

1365, by Erwin von Steinbach and his sons) reaches a height of 468 feet; the spires

of Cologne, completed in 1883 from the original fourteenth-century drawings, long

lost but recovered by a happy accident, are 500 feet high. The spires of Ratisbon

and Ulm cathedrals have also been recently completed in the original style.

DETAILS. German window tracery was best where it most closely followed French

patterns, but it tended always towards the faults of mechanical stiffness and of

technical display in over-slenderness of shafts and mullions. The windows, especially

in the "hall-churches," were apt to be too narrow for their height. In the fifteenth

century ingenuity of geometrical combinations took the place of grace of line, and

later the tracery was often tortured into a stone caricature of rustic-work of

interlaced and twisted boughs and twigs, represented with all their bark and knots

(branch-tracery). The execution was far superior to the design. The carving of foliage

in capitals, finials, etc., calls for no special mention for its originality or its departure

from French types.

FIG. 141.--COLOGNE CATHEDRAL. PLAN.

PLANS. In these there was more variety than in any other part of Europe except

Italy. Some churches, like Naumburg, retained the Romanesque system of a second

western apse and short choir. The Cistercian churches generally had square east

ends, while the polygonal eastern apse without ambulatory is seen in St. Elizabeth at

Marburg, the cathedrals of Ratisbon, Ulm and Vienna, and many other churches. The

introduction of French ideas in the thirteenth century led to the adoption in a

number of cases of the chevet with a single ambulatory and a series of radiating

apsidal chapels. Magdeburg cathedral (120811) was the first erected on this plan,

which was later followed at Altenburg, Cologne, Freiburg, Lübeck, Prague and

Zwettl, in St. Francis at Salzburg and some other churches. Side chapels to nave or

choir appear in the cathedrals of Lübeck, Munich, Oppenheim, Prague and Zwettl.

Cologne Cathedral, by far the largest and most magnificent of all, is completely

French in plan, uniting in one design the leading characteristics of the most notable

French churches (Fig. 141). It has complete double aisles in both nave and choir,

three-aisled transepts, radial chevet-chapels and twin western towers. The

ambulatory is, however, single, and there are no lateral chapels. A typical German

treatment was the eastward termination of the church by polygonal chapels, one in

the axis of each aisle, the central one projecting beyond its neighbors. Where there

were five aisles, as at Xanten, the effect was particularly fine. The plan of the curious

polygonal church of Our Lady (Liebfrauenkirche; 122743) built on the site of the

ancient circular baptistery at Treves, would seem to have been produced by doubling

such an arrangement on either side of the transverse axis (Fig. 142).

FIG. 142.--CHURCH OF OUR LADY, TREVES.

HISTORICAL DEVELOPMENT. The so-called Golden Portal of Freiburg in the

Erzgebirge is perhaps the first distinctively Gothic work in Germany, dating from

1190. From that time on, Gothic details appeared with increasing frequency,

especially in the Rhine provinces, as shown in many transitional structures.

Gelnhausen and Aschaffenburg are early 13th-century examples; pointed arches and

vaults appear in the Apostles' and St. Martin's churches at Cologne; and the great

church of St. Peter and St. Paul at Neuweiler in Alsace has an almost purely Gothic

nave of the same period. The churches of Bamberg, Fritzlar, and Naumburg, and in

Westphalia those of Münster and Osnabrück, are important examples of the

transition. The French influence, especially the Burgundian, appears as early as 1212

in the cathedral of Magdeburg, imitating the choir of Soissons, and in the structural

design of the Liebfrauenkirche at Treves as already mentioned; it reached complete

ascendancy in Alsace at Strasburg (nave 124075), in Baden at Freiburg (nave

1270) and in Prussia at Cologne (12481320). Strasburg Cathedral is especially

remarkable for its façade, the work of Erwin von Steinbach and his sons (1277

1346), designed after French models, and its north spire, built in the fifteenth

century. Cologne Cathedral, begun in 1248 by Gerhard of Riel in imitation of the

newly completed choir of Amiens, was continued by Master Arnold and his son John,

and the choir was consecrated in 1322. The nave and W. front were built during the

first half of the 14th century, though the towers were not completed till 1883.

FIG. 143.--PLAN OF ULM CATHEDRAL.

In spite of its vast size and slow construction, it is in style the most uniform of all

great Gothic cathedrals, as it is the most lofty (excepting the choir of Beauvais) and

the largest excepting Milan and Seville. Unfortunately its details, though pure and

correct, are singularly dry and mechanical, while its very uniformity deprives it of the

picturesque and varied charm which results from a mixture of styles recording the

labors of successive generations. The same criticism may be raised against the late

cathedral of Ulm (choir, 13771449; nave, 1477; Fig. 143). The Cologne influence

is observable in the widely separated cathedrals of Utrecht in the Netherlands, Metz

in the W., Minden and Halberstadt (begun 1250; mainly built after 1327) in

Saxony, and in the S. in the church of St. Catherine at Oppenheim. To the E. and S.,

in the cathedrals of Prague (Bohemia) by Matthew of Arras (134452) and Ratisbon

(or Regensburg, 1275) the French influence predominates, at least in the details and

construction. The last-named is one of the most dignified and beautiful of German

Gothic churches--German in plan, French in execution. The French influence also

manifests itself in the details of many of the peculiarly German churches with aisles

of equal height.

More peculiarly German are the brick churches of North Germany, where stone was

almost wholly lacking. In these, flat walls, square towers, and decoration by colored

tiles and bricks are characteristic, as at Brandenburg (St. Godehard and St.

Catherine, 13461400), at Prentzlau, Tängermünde, Königsberg, &c. Lübeck

possesses notable monuments of brick architecture in the churches of St. Mary and

St. Catherine, both much alike in plan and in the flat and barren simplicity of their

exteriors. St. Martin's at Landshut in the South is also a notable brick church.

LATE GOTHIC. As in France and England, the fourteenth and fifteenth centuries

were mainly occupied with the completion of existing churches, many of which, up to

that time, were still without naves. The works of this period show the exaggerated

attenuation of detail already alluded to, though their richness and elegance

sometimes atone for their mechanical character. The complicated ribbed vaults of

this period are among its most striking features. Spire-building was as general as was

the erection of central square towers in England, during the same period. To this

time also belong the overloaded traceries and minute detail of the St. Sebald and St.

Lorenz churches and of several secular buildings at Nuremberg, the façade of

Chemnitz Cathedral, and similar works. The nave and tower of St. Stephen at Vienna

(13591433), the church of Sta. Maria in Gestade in the same city, and the

cathedral of Kaschau in Hungary, are Austrian masterpieces of late Gothic design.

SECULAR BUILDINGS. Germany possesses a number of important examples of

secular Gothic work, chiefly municipal buildings (gates and town halls) and castles.

The first completely Gothic castle or palace was not built until 1280, at Marienburg

(Prussia), and was completed a century later. It consists of two courts, the earlier of

the two forming a closed square and containing the chapel and chapter-house of the

Order of the German knights. The later and larger court is less regular, its chief

feature being the Great Hall of the Order, in two aisles. All the vaulting is of the

richest multiple-ribbed type. Other castles are at Marienwerder, Heilsberg (1350) in

E. Prussia, Karlstein in Bohemia (1347), and the Albrechtsburg at Meissen in Saxony

(147183).

Among town halls, most of which date from the fourteenth and fifteenth centuries

may be mentioned those of Ratisbon (Regensburg), Münster and Hildesheim,

Halberstadt, Brunswick, Lübeck, and Bremen--the last two of brick. These, and the

city gates, such as the Spahlenthor at Basle (Switzerland) and others at Lübeck and

Wismar, are generally very picturesque edifices. Many fine guildhalls were also built

during the last two centuries of the Gothic style; and dwelling-houses of the same

period, of quaint and effective design, with stepped or traceried gables, lofty roofs,

openwork balconies and corner turrets, are to be found in many cities. Nuremberg is

especially rich in these.

THE NETHERLANDS, as might be expected from their position, underwent the

influences of both France and Germany. During the thirteenth century, largely

through the intimate monastic relations between Tournay and Noyon, the French

influence became paramount in what is now Belgium, while Holland remained more

strongly German in style. Of the two countries Belgium developed by far the most

interesting architecture. Some of its cathedrals, notably those of Tournay, Antwerp,

Brussels, Malines (Mechlin), Mons and Louvain, rank high among structures of their

class, both in scale and in artistic treatment. The Flemish town halls and guildhalls

merit particular attention for their size and richness, exemplifying in a worthy

manner the wealth, prosperity, and independence of the weavers and merchants of

Antwerp, Ypres, Ghent (Gand), Louvain, and other cities in the fifteenth century.

CATHEDRALS AND CHURCHES. The earliest purely Gothic edifice in Belgium was

the choir of Ste. Gudule (1225) at Brussels, followed in 1242 by the choir and

transepts of Tournay, designed with pointed vaults, side chapels, and a complete

chevet. The transept-ends are round, as at Noyon. It was surpassed in splendor by

the Cathedral of Antwerp (13521422), remarkable for its seven-aisled nave and

narrow transepts. It covers some 70,000 square feet, but its great size is not as

effective internally as it should be, owing to the poverty of the details and the lack of

finely felt proportion in the various parts. The late west front (14221518) displays

the florid taste of the wealthy Flemish burgher population of that period, but is so

rich and elegant, especially its lofty and slender north spire, that its over-decoration

is pardonable. The cathedral of St. Rombaut at Malines (choir, 1366; nave, 1454

64) is a more satisfactory church, though smaller and with its western towers

incomplete. The cathedral of Louvain belongs to the same period (13731433). St.

Wandru at Mons (14501528) and St. Jacques at Liège (152258) are interesting

parish churches of the first rank, remarkable especially for the use of color in their

internal decoration, for their late tracery and ribbed vaulting, and for the absence of

Renaissance details at that late period.

FIG. 144.--TOWN HALL, LOUVAIN.

TOWN HALLS: GUILDHALLS. These were really the most characteristic Flemish

edifices, and are in most cases the most conspicuous monuments of their respective

cities. The Cloth Hall of Ypres (1304) is the earliest and most imposing among

them; similar halls were built not much later at Bruges, Louvain, Malines and

Ghent. The town halls were mostly of later date, the earliest being that of Bruges

(1377). The town halls of Brussels with its imposing and graceful tower, of Louvain

(144863; Fig. 144) and of Oudenärde (early 16th century) are conspicuous

monuments of this class.

In general, the Gothic architecture of Belgium presents the traits of a borrowed style,

which did not undergo at the hands of its borrowers any radically novel or

fundamental development. The structural design is usually lacking in vigor and

organic significance, but the details are often graceful and well designed, especially

on the exterior. The tendency was often towards over-elaboration, particularly in the

later works.

The Gothic architecture of Holland and of the Scandinavian countries offers so little

that is highly artistic or inspiring in character, that space cannot well be given in this

work, even to an enumeration of its chief monuments.

SPAIN AND PORTUGAL. The beginnings of Gothic architecture in Spain followed

close on the series of campaigns from 1217 to 1252, which began the overthrow of

the Moorish dominion. With the resulting spirit of exultation and the wealth accruing

from booty, came a rapid development of architecture, mainly under French

influence. Gothic architecture was at this date, under St. Louis, producing in France

some of its noblest works. The great cathedrals of Toledo and Burgos, begun

between 1220 and 1230, were the earliest purely Gothic churches in Spain. San

Vincente at Avila and the Old Cathedral at Salamanca, of somewhat earlier date,

present a mixture of round- and pointed-arched forms, with the Romanesque

elements predominant. Toledo Cathedral, planned in imitation of Notre Dame and

Bourges, but exceeding them in width, covers 75,000 square feet, and thus ranks

among the largest of European cathedrals. Internally it is well proportioned and well

detailed, recalling the early French masterworks, but its exterior is less

commendable.

In the contemporary cathedral of Burgos the exterior is at least as interesting as the

interior. The west front, of German design, suggests Cologne by its twin openwork

spires (Fig. 145); while the crossing is embellished with a sumptuous dome and

lantern or cimborio, added as late as 1567. The chapels at the east end, especially

that of the Condestabile (1487), are ornate to the point of overloading, a fault to

which late Spanish Gothic work is peculiarly prone. Other thirteenth-century

cathedrals are those of Leon (1260), Valencia (1262), and Barcelona (1298), all

exhibiting strongly the French influence in the plan, vaulting, and vertical

proportions. The models of Bourges and Paris with their wide naves, lateral chapels

and semicircular chevets were followed in the cathedral of Barcelona, in a number of

fourteenth-century churches both there and elsewhere, and in the sixteenth-century

cathedral of Segovia. In Sta. Maria del Pi at Barcelona, in the collegiate church at

Manresa, and in the imposing nave of the Cathedral of Gerona (1416, added to

choir of 1312, the latter by a Southern French architect, Henri de Narbonne), the

influence of Alby in southern France is discernible. These are one-aisled churches

with internal buttresses separating the lateral chapels. The nave of Gerona is 73 feet

wide, or double the average clear width of French or English cathedral naves. The

resulting effect is not commensurate with the actual dimensions, and shows the

inappropriateness of Gothic details for compositions so Roman in breadth and

simplicity.

FIG. 145.--FAÇADE OF BURGOS CATHEDRAL.

SEVILLE. The largest single edifice in Spain, and the largest church built during the

Middle Ages in Europe, is the Cathedral of Seville, begun in 1401 on the site of a

Moorish mosque. It covers 124,000 square feet, measuring 415 × 298 feet, and is

a simple rectangle comprising five aisles with lateral chapels. The central aisle is 56

ft. wide and 145 high; the side aisles and chapels diminish gradually in height, and

with the uniform piers in six rows produce an imposing effect, in spite of the lack of

transepts or chevet. The somewhat similar New Cathedral of Salamanca (1510

1560) shows the last struggles of the Gothic style against the incoming tide of the

Renaissance.

LATER MONUMENTS. These all partake of the over-decoration which characterized

the fifteenth century throughout Europe. In Spain this decoration was even less

constructive in character, and more purely fanciful and arbitrary, than in the

northern lands; but this very rejection of all constructive pretense gives it a peculiar

charm and goes far to excuse its extravagance (Fig. 146). Decorative vaulting-ribs

were made to describe geometric patterns of great elegance. Some of the late Gothic

vaults by the very exuberance of imagination shown in their designs, almost disarm

criticism. Instead of suppressing the walls as far as possible, and emphasizing all the

vertical lines, as was done in France and England, the later Gothic architects of Spain

delighted in broad wall-surfaces and multiplied horizontal lines. Upon these surfaces

they lavished carving without restraint and without any organic relation to the

structure of the building. The arcades of cloisters and interior courts (patios) were

formed with arches of fantastic curves resting on twisted columns; and internal

chapels in the cathedrals were covered with minute carving of exquisite

workmanship, but wholly irrational design. Probably the influence of Moorish

decorative art accounts in part for these extravagances. The eastern chapels in Burgos

cathedral, the votive church of San Juan de los Reyes at Toledo and many portals of

churches, convents and hospitals illustrate these tendencies.

FIG. 146.--DETAIL, PORTAL S. GREGORIO, VALLADOLID.

PORTUGAL is an almost unknown land architecturally. It seems to have adopted the

Gothic styles very late in its history. Two monuments, however, are conspicuous, the

convent churches of Batalha (13901520) and Belem, both marked by an extreme

overloading of carved ornament. The Mausoleum of King Manoel in the rear of the

church at Batalha is, however, a noble creation, possibly by an English master. It is a

polygonal domed edifice, some 67 feet in diameter, and well designed, though

covered with a too profuse and somewhat mechanical decoration of panels,

pinnacles, and carving.

MONUMENTS: GERMANY (C = cathedral; A = abbey; tr. = transepts).--13th century:

Transitional churches: Bamberg C.; Naumburg C.; Collegiate Church, Fritzlar; St. George,

Limburg-on-Lahn; St. Castor, Coblentz; Heisterbach A.;--all in early years of 13th

century. St. Gereon, Cologne, choir 121227; Liebfrauenkirche, Treves, 122744; St.

Elizabeth, Marburg, 123583; Sts. Peter and Paul, Neuweiler, 1250; Cologne C., choir

12481322 (nave 14th century; towers finished 1883); Strasburg C., 125075 (E. end

Romanesque; façade 12771365; tower 142939); Halberstadt C., nave 1250 (choir

1327; completed 1490); Altenburg C., choir 125565 (finished 1379); Wimpfen-im-Thal

church 125978; St. Lawrence, Nuremberg, 1260 (choir 143977); St. Catherine,

Oppenheim, 12621317 (choir 1439); Xanten, Collegiate Church, 1263; Freiburg C.,

1270 (W. tower 1300; choir 1354); Toul C., 1272; Meissen C., choir 1274 (nave

131242); Ratisbon C., 1275; St. Mary's, Lübeck, 1276; Dominican churches at

Coblentz, Gebweiler; and in Switzerland at Basle, Berne, and Zurich.--14th century:

Wiesenkirche, Söst, 1313; Osnabrück C., 1318 (choir 1420); St. Mary's, Prentzlau,

1325; Augsburg C., 13211431; Metz C., 1330 rebuilt (choir 1486); St. Stephen's C.,

Vienna, 1340 (nave 15th century; tower 1433); Zwette C., 1343; Prague C., 1344;

church at Thann, 1351 (tower finished 16th century); Liebfrauenkirche, Nuremberg,

135561; St. Sebaldus Church, Nuremberg, 136177 (nave Romanesque); Minden C.,

choir 1361; Ulm C., 1377 (choir 1449; nave vaulted 1471; finished 16th century); Sta.

Barbara, Kuttenberg, 1386 (nave 1483); Erfurt C.; St. Elizabeth, Kaschau;

Schlettstadt C.--15th century: St. Catherine's, Brandenburg, 1401; Frauenkirche,

Esslingen, 1406 (finished 1522); Minster at Berne, 1421; Peter-Paulskirche, Görlitz,

142397; St. Mary's, Stendal, 1447; Frauenkirche, Munich, 146888; St. Martin's,

Landshut, 1473.

SECULAR MONUMENTS. Schloss Marienburg, 1341; Moldau-bridge and tower, Prague,

1344; Karlsteinburg, 134857; Albrechtsburg, Meissen, 147183; Nassau House,

Nuremberg, 1350; Council houses (Rathhaüser) at Brunswick, 1393; Cologne, 140715;

Basle; Breslau; Lübeck; Münster; Prague; Ulm; City Gates of Basle, Cologne, Ingolstadt,

Lucerne.

THE NETHERLANDS. Brussels C. (Ste. Gudule), 122680; Tournai C., choir 1242 (nave

finished 1380); Notre Dame, Bruges, 123997; Notre Dame, Tongres, 1240; Utrecht C.,

1251; St. Martin, Ypres, 1254; Notre Dame, Dinant, 1255; church at Dordrecht; church

at Aerschot, 1337; Antwerp C., 13521411 (W. front 14221518); St. Rombaut,

Malines, 135566 (nave 145664); St. Wandru, Mons, 14501528; St. Lawrence,

Rotterdam, 1472; other 15th century churches--St. Bavon, Haarlem; St. Catherine,

Utrecht; St. Walpurgis, Sutphen; St. Bavon, Ghent (tower 1461); St. Jaques, Antwerp; St.

Pierre, Louvain; St. Jacques, Bruges; churches at Arnheim, Breda, Delft; St. Jacques,

Liège, 1522.--SECULAR: Cloth-hall, Ypres, 12001304; cloth-hall, Bruges, 1284; town

hall, Bruges, 1377; town hall, Brussels, 140155; town hall, Louvain, 144863; town

hall, Ghent, 1481; town hall, Oudenarde, 1527; Standehuis, Delft, 1528; cloth-halls at

Louvain, Ghent, Malines.

SPAIN.--13th century: Burgos C., 1221 (façade 144256; chapels 1487; cimborio

1567); Toledo C., 122790 (chapels 14th and 15th centuries); Tarragona C., 1235;

Leon C., 1250 (façade 14th century); Valencia C., 1262 (N. transept 13501404;

façade 13811418); Avila C., vault and N. portal 12921353 (finished 14th century);

St. Esteban, Burgos; church at Las Huelgas.--14th century: Barcelona C., choir 1298

1329 (nave and transepts 1448; façade 16th century); Gerona C., 131246 (nave added

1416); S. M. del Mar, Barcelona, 132883; S. M. del Pino, Barcelona, same date;

Collegiate Church, Manresa, 1328; Oviedo C., 1388 (tower very late); Pampluna C.,

1397 (mainly 15th century).--15th century: Seville C., 1403 (finished 16th century;

cimborio 151767); La Seo, Saragossa (finished 1505); S. Pablo, Burgos, 141535; El

Parral, Segovia, 1459; Astorga C., 1471; San Juan de los Reyes, Toledo, 1476;

Carthusian church, Miraflores, 1488; San Juan, and La Merced, Burgos.--16th century:

Huesca C., 1515; Salamanca New Cathedral, 151060; Segovia C., 1522; S. Juan de la

Puerta, Zamorra.

SECULAR.--Porta Serraños, Valencia, 1349; Casa Consistorial, Barcelona, 136978; Casa

de la Disputacion, same city; Casa de las Lonjas, Valencia, 1482.

PORTUGAL. At Batalha, church and mausoleum of King Manoel, finished 1515; at Belem,

monastery, late Gothic.

Ebd

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