A triforium lighted the roof of the side-aisle, which was replaced by a vaulted gallery at a later date. The triforium had small pointed arches resting on small columns, each pair of arches embraced by a round arch; two of these round arches, with their pillars, correspond to one of the main arches. Over the pillar which separates each pair of these semi circular arches a shaft rises from a corbel and receives an intermediate rib of the groining, and also the rib of the highly-pitched, round-arched wall-ribs that spring to the shafts over the main pillars. Thus the vaulting is so arranged that a hexapartite vault is erected over a single -oblong compartment or bay of the choir. In the bay next to the chevet, which is subdivided below by the slender intermediate columns, a rib also rises from a colonnette which stands on a corbel. In the very nar row rectangle of the first half of this bay there is a quadripartite groined vault with diagonal ribs, but the vault of the second half of the bay forms part of the vaulting of the chevet. The clere-storey win dows are pointed and of tolerable size; so that they fill almost the whole of the space beneath the external ribs of the vaulting. The exterior was originally without buttresses, but they appear to have been subsequently added.
German Transition to the GoMin—By the close of the twelfth and at the beginning of the thirteenth century French chivalry not only had found a place in Germany, but also held sway there; and with it came the elements of French architecture. It did not crush the German ideal: it only refined it. The love for rich decoration, for elegant membering, for more definite characterization of the details, for a lighter poesy, and for a more worldly gayety as opposed to solemn strength were the acqui sitions. Naturally, it was first upon the Rhine, in the old centres of population, in the seats of the bishops, that an architecture developed poetical as chivalry itself. Thence it spread to Swabia, the home of the ruling emperors, and lastly to Austria, the seat of a prosperous and princely house and of rich and influential conventual establishments. This period may be called the late Romanesque or Transitional, since the entire period in which the German idea dominated is falsely called the Romanesque.
One of the elements taken from France was the pointed arch; a second, the membering of the pillars into angular portions bound up with detached shafts which are secured to the main pillars with projecting ring-shaped bond-stones. The capitals are broad and projecting and the ribs richly moulded. Besides the pointed arch, the trefoil is widely used. All the details are lighter; hexapartite vaulting expresses the greater lightness of the supported mass. Yet still the ancient ideal for the general plan
of the church remains intact. The wall-masses yet retain their import ance and furnish the abutment to the vaults, since buttresses are used only timidly and singly and are of slight projection.
At the close of the twelfth century the upper part of the choir of Sta. Maria in Capitolo at Cologne was rebuilt. The Church of the Apostles obtained its present form in 1219, having occupied a long time in its con struction. The Church of St. Martin he Grand was rebuilt 1206-1211; the upper part of the nave and the narthex are of this date. In i2o9 the foundation of the fanciful Church of St. Ouirin at Neuss was laid, and the church is said to have been built in fourteen years.
In the first years of the thirteenth century the renovation of St. Cuni bert at Cologne was undertaken; the high altar was consecrated in 1222, but it was not until r247 that the final consecration took place. In 122o the octagonal central tower of St. Andrew was built, and at the same time the narthex and other parts were added; in 1221 the conventual church of Sion was erected; 1227 saw the completion of the still-existing much admired centre tower of St. Gereon (pl. 25, fig. 7), and in the same year a part of the conventual church of Heisterbach was consecrated. This church was not entirely finished until ten years later, and in the ruins of its choir one of the most expressive and poetical works of mediaeval art has come down to us. To the same age belong the church at Brauweiler, that of Gladbach, the rebuilt choir of Kaiscrswerth, and St. Nicholas at Wipperfiirth. The nave of the minster at Bonn and the Abbey-church of Werden belong to this group.
To all the edifices on the Rhine, both large and small, from its source to its delta, some portions were added at this period; others were renewed, the enumeration of which would make an extensive catalogue. In two lateral valleys of this river yet stand structures which represent that period as characteristically as the group in and around Cologne, and are so unique, withal, that they must be considered as its most surpassing repre sentatives. These arc the Church of Gclnhausen (jig. 6) and the Cathedral of Limburg, on the Lahn 25, _fig. 4), built between 1213 and 1242. The exteriors of these churches retain completely the leading features of the churches of the older period, while the interior of the latter (pl. 24, fig. 3), though of rather small size, exhibits in the gallery and triforium forms entirely analogous to those French ones which we met with in Notre Dame at Paris, though the severe and massive construction shows how unwilling the Germans were to abandon their old system.