Spanish and Portuguese Spanish Gothic cathedrals of special in terest or beauty are Burgos Cathedral, dating from 1230; Toledo, 1227; Tarra gona, 1235; Barcelona, 1298; and Seville, 1403-1520, the last-mentioned being the largest mediaval cathedral in any country. Its tower, called the Giralda (upper part rebuilt in 1395; the lower built in 1195) is not Gothic but Span ish Saracenic. Others are Zamora, 1151; Leon, 1250; Valencia, 1262; Oviedo, 1388; Pamplona, 1397; Gerona, 1312; Salamanca, 1510-60; Segovia, 1525, and Valladolid, 1585. Also Spanish Saracenic is the great Mosque at Cordova (A.D. 786), some portions of which were destroyed by Charles V to build his church, described by Russell Sturgis as an "interpolated Christian cathedral church in the very heart of the great prayer-hall of the mosque?' In Portu gal the cathedral at Coimbra is a fine example.
Flemish, Dutch, Scandinavian and Swum —In the Netherlands, the famous ecclesiasti cal buildings are the cathedral of Sainte Gudule of Brussels; Saint Martin at Ypres, begun in 1254; the cathedral of Antwerp with six aisles; the cathedral of Liege; Saint Sanveur, Bruges, 13th and 14th centuries; Saint Bavon, Ghent, made a cathedral in 1559; Tournai (11th and 12th centuries) ; Saint Rombaut, Malines (Mechlin), with its huge spire; the cathedral of Bois-le-Duc (1419) in Holland, and that of Utrecht (1251). Norway, Sweden, Denmark and Switzerland have borrowed architectural forms or received guidance for the construc tion of their most important buildings from other countries. Thus, the Cathedral of Upsala was built from the designs of Etienne de Bon neval of Paris. Switzerland has Lausanne and Bern (1421).
American Ecclesiastical Architecture.— In the United States some churches show independent architecture while others are in fluenced by foreign styles.
The cornerstone of Saint Patrick's Cathe dral, New York, was laid 15 Aug. 1858, exactly six centuries to the year, after the com pletion of Salisbury Cathedral, England, and about six centuries after the laying of the cornerstone of Saint Patrick's Cathedral in Dublin. The original plans of its architect, Mr. James Renwick, were drawn in 1853. The around on which it stands (Fifth and Madison avenues, 50th and 51st streets) was bought in 1852 by the trustees of the cathedral for $59,500. The building admirably and quite frankly perpetuates the decorated and geometric style of Gothic architecture which prevailed in Europe from 1275 to 140Q examples of which are the cathedrals of Rheims and Amiens and the naves of York Minister, Exeter and Westminster. Its plan is a Latin cross. The exterior dimensions are: Extreme length (with lady chapel), 398 feet; extreme breadth, 174 feet; towers at base, 32 feet; height of towers, 330 feet. The interior dimensions are : length, 370 feet; breadth of nave and choir, including chapels, 120 feet ,• length of transept, 140 feet; central aisle, 48 feet wide and 112 feet high; side aisles, 24 feet wide and 54 feet high; chapels, 18 feet wide, 14 feet high and 12 feet deep. Above the granite base-course, the exterior is entirely of white marble. The lady chapel, which was finished in 1906, is of 13th century French Gothic design, by Mr. Charles T. Mathews. Its length is 56Y2 feet, its width 28 feet and its height 56 feet. The cost of the building was
about $4,000,000. The ceremony of dedication took place 25 May 1879, somewhat less than 21 years after the laying of the cornerstone. Between the lady chapel and Madison avenue stand the archbishop's house and the presby tery.
The cathedral church of Saint John the Divine, situated on Morningside Heights, in New York city, was begun in 1892. It has been under active construction since 1901. The design of Heins and LaFarge was adopted in 1891, and the consecration of the choir occurred 19 April 1911. The material of the walls is Mohegan granite; wrought work of exterior, Frontenac stone and Mohegan granite; wrought work of interior, Frontenac stone; columns of apse, Penobscot granite; marbles in choir and chapels, Siena, Cipollino, serpentine, Alps green, Belgian black, yellow Numidian, red Nu midian, Hauteville, Skyros, Briche violaces and Grueby tile. The rose red bases of walls and piers are of South Dakota jasper. The total projected length of the building is given as 520 feet; the total projected breadth, across transepts, 290 feet; total projected height, to crown of dome, 254 feet; total projected height, to top of spire, 425 feet. Both The American Architect (Vol. XCIX, p. 146) and Mr. LaFarge (in Scribner's) lay special stress on the octagon of Ely Cathedral when tracing to its source the idea carried out in Saint John's 'of the arrangement proper to the modern and Protest ant Cathedral in which the preaching is as important as the procession. Stated in sim plest terms, this is to be essentially a modern cathedral; not a mere copy of any ancient one or a reproduction of an ancient type; and it borrows suggestions not alone from Ely but also from Spanish churches, perhaps particu larly that of Toro, The Architectural Record reminds us that ethe winning design was de scribed, at the time of the competition of 1891, as a domical church in a Gothic shell.'" Up to 1916 somewhat less than $4,000,000 had been spent for the choir, with its ambulatory and chapels, the arches of the crossing and the crypt Saint Thomas's Church, New York, was founded in 1823. In 1867 the present site was acquired (Fifth avenue at 53d street) ; three years later the °old° Saint Thomas's was dedi cated, and for a third of a century its tower was a noted landmark on the avenue; more over the church was beloved on account of its magnificent altar, with LaFarge's decorations, and for its organ. That earlier building was destroyed by fire 8 Aug. 1905; a competition for architects' designs was held; the design by Messrs. Cram, Goodhue & Ferguson was selected. Adequate size was achieved (the nave is 43 feet wide and the vault rises 90 feet above the pavement), de spite the limited area available, by the success ful solution of novel problems in ecclesiastical architecture. The building-stone employed for the exterior is the oolithic limestone of Bowling Green, Ky.; for the interior, soft yellow sandstone from South Carrollton in the same State. Guastavino tile was used for the vault. The cost of the new Saint Thomas's was approximately $1,000,000. The interior is simple, though restful rather than severe, as to its main lines and proportions.