Later Gothic Germany also, where the specifically German Gothic was chiefly followed, the general desire to provide something national occasioned the return to the Gothic and caused the national German style to come to the front.' This was due to the definite feel ing that inward piety, which in its time so long withstood the onward march of the Renaissance, was specifically national German; and where such an inclination toward piety was not predominant, there was the idea that the earlier purer Italian Renaissance was national Italian and belonged to Italian joyousness and freedom of life; that in Italy it gave expression to habits which depended on the climate, but that it was not suited to those of Germany, which were brought about by totally different conditions; also that the cosmopolitan later baroque direction was but the work of a complete degeneration, so that the German idea could find no other expression save the Gothic. In many stringently Catholic circles of Germany a certain mistrust existed toward the accepted mediaeval styles as adopted contemporaneously by other less conservative Catholic and by Protestant circles. It was felt that the Catholic Church was not a national, but a cosmopolitan, institution. At the metropolis of the Church the Gothic tendency had found no standing and had taken no root: the cosmopolitan antique and Renaissance were there cultivated exclusively; yet still in Germany the medic-eval tendency forced its way into Catholic communities.
Gothic School of intelligent acceptance of the medi xval style started with the architects of the Cathedral of Cologne. The two principal masters were V. Statz and Fr. Schmidt, who built a series of churches. The most important structures of the former are the votive church at Aix-la-Chapelle and St. Maurice at Cologne. Later comes the construction of the cathedral at Linz, in Austria. Schmidt went afterward to Vienna, where his autzwe (which will be spoken of directly) are to be found.
A number of residences were also built at Cologne, Aix-la-Chapelle, and other places, and the school—in which, meanwhile, young and skil ful architects have grown up—is still in full For secular build ings a slight variation was developed out of this, in which, in place of Gothic forms, those of the German and some of those of the earliest French Renaissance are accepted—styles which, as we have before shown, took only certain details from the Italian Renaissance, and which here also, arclueologically considered, can be classed only as a later phase of development of the Gothic, and cannot be brought into consonance with the true Renaissance. The chief interpreter of this style at Cologne was Raschdorf, who came from the Berlin school; his pleasing facade of the Rathhaus at Cologne is an admirable work of art. This Gothic school of Cologne, encouraged from England, joined in the fifth decade a similar one at Hamburg, where the Englishman Scott built the magnificent Church of St. Nicholas in the German-Gothic style, and where Milan
and Ungewittcr built many secular structures with some specific North German motives. Other masters followed them; so that a widespread school was soon formed in North Germany.
We reckonhere also the attempts to bring into customary use the Ger man and Early French Renaissance in secular structures, the most mag nificent result of which was the construction of the grand-ducal palace at Schwerin by Denimler. As the years of political commotion obliged this master to give up the direction of the works, Staler and Strack came in, who finished it more in the Berlin manner. In general, the Gothic made decided progress in Northern Germany. We may, indeed, entirely ignore all the Gothic efforts of the Berlin school except the most recent; but, on the other hand, Gothic obtained decided importance in the Hanoverian school. Haase has executed an extensive structure in the Christ Church at Hanover; and many private houses in that city, and in Hildesheim, Bruns wick, and other cities, are in this manner. Next to Haase, Oppler and a number of younger masters were presently placing their New Gothic buildings among those of other styles. That English influence is of decided importance is proved by the leaning toward the thirteenth-cen tury style, suggested to our architects chiefly through the study of the writings of Viollet-le-Duc, who exercised much more influence in Ger many than in his native country, where Gothic was scarcely ever used for secular structures.
Ungewitter, who founded a school in Cassel, has encouraged the Gothic in Hesse more than he has practised it; vet Cassel shows to-day in its new streets many Gothic houses in which the influence of Viollet-le-Duc, which Ungewitter warnily advocated, is perceptible.
In Southern Germany only half-successful attempts were for a long time made. The completion of Ratisbon Cathedral, to which Den zinger added two towers and a transept-gable, is the most important work, and next to it the new Church of St. Elizabeth at Basle, which Riggenbach executed after Stadler's plans. Two Gothic churches—the Protestant St. John's, with the richest French detail, and the new Catho lic church, of simple but worthy execution—were recently constructed in Stuttgart by Leins and Egle, the latter of whom proved himself an able Gothicist. Many small structures in themselves successful cannot here be mentioned.
In Austria, Kranner was the first who, in the fountain on the Franz ensquai, at Prague (pt. 52, fig. 2), erected a truly Gothic structure. Then began the thorough restoration of St. Stephen's Cathedral. The competition for the Vienna votive church resulted in the adoption of the design by Ferstel, which was in the style of the French cathedrals. It was commenced in 1856, and is now completed (fig. 7).