St. Pancras Church.—But there was now a desire for greater artistic de:icacy of forms, and this desire was chiefly satisfied by the opening of the sources of classical art, the monuments of Greece. Toward the close of the last century the English devoted themselves to the investigation of these sources and published the results, and it was not long before they had produced imitations of these classical structures. In 1S19 a copy of the Erechtheion was constructed in London as St. Pancras Church, but the row of caryatides was repeated on the other side for the sake of symmetry.
Schinkel.—The best interpreter of this return to the most refined period of the classical style in Germany was the ingenious Schinkel. By the execution in Berlin of the royal guard-house (1818), of the artistically arranged theatre (r82r; ,b/. 49, fig. 6), and of the magnificent Ionic colon nades of the old museum (1828)—all works of genuine classic and artistic delicacy—he became the foremost of Prussian architects, and exercised the greatest influence throughout the kingdom through the eminent school which he founded. Vet he not only established the purest classical school, but worked also in other directions. Along with Schinkel in Northern Germany, among several others, worked Karl Ottmer of Brunswick, who in 1522 built the Konigstadtische Theatre, and in 1827 the Singakadeuiie, both at Berlin. His principal building was the grand-ducal palace at Brunswick (183o-1836).
Uon A7en7e.—In Southern Germany, Leo von Klenze, though not equal to Schinkel in refinement of conception or nobility of effect, more nearly approached him than any other of his contemporaries. Of all the architects whom king Ludwig I. employed for his buildings, Von Klenze displayed most ideality. Among his works are the Glyptotliek at Munich, commenced by Ludwig while he was yet crown-prince (fig. 7); the Walhalla at Ratisbon, begun in 183° (fig. 5); the Bavarian Ruhmes halle, built in later decades and enclosing Schwanthaler's colossal statue of Bavaria (pi. 5o, fig. 3); the Hall of Liberty at Kehlheim, and the Propylaea at Munich (pl. 51, fig. 3).
But Grecian style in its purity, even more than in the forms it assumed under the Roman Empire, appears but a foreign and borrowed garment for modern edifices. While, therefore, this style continued to be used in its purity for several decades and at last found an ingenious interpreter in Hansen, other tendencies very soon manifested themselves. While some
considered the Greek style the ideal of form and turned toward it all their conscious thoughts, others at the same period sought their ideal in another direction, and recommended and selected the styles of past periods other than Grecian as a model for the future.
Tendencies.—In architecture, as in other departments of culture, there arose a series of romanticists who asserted that the works of our time should be modelled on the great works of the Middle Ages. These based their pretensions partly on national principles, and claimed that since Germany had broken the French yoke, and as a result of the war of liberation had made herself politically independent of France, she ought also to stand upon her own base in art-matters and work out a new national style from the great structures of her own past. But cosmopol itanism had already so permeated the whole of the Western nations that national isolation was no longer possible, and only such tendencies of thought as included all nations could long subsist. In France and in England also arose romanticists who in. the name of their nationality advocated the return to medixvalism as a national matter in their respect ive countries.
Romanesque advocated a return to mediaeval forms in the name of Christianity and of the Church, and turned to some extent toward Italy, whose medieval edifices were set forth as models. The Gothic cathedrals of Italy were studied together with those of old Chris tian and Romanesque times. St. Mark's at Venice naturally made a pow erful impression. Men saw patterns and directions everywhere, each one being considered by a certain group of artists as exclusively author ized and worthy of imitation, without, however, actually seizing its characteristics rightly, as all attempts to work out independence in this direction proved.
Church of SI. the attempt to build in the Byzantine style we owe St. Michael's at Munich, erected by Leo von Klenze between 1826 and 1837. The interior is decorated with costly marbles and paint ings on a gold ground, and presents a most solemn and dignified appear ance (b/. 5o, jig. 2), though the exterior is neither Byzantine nor artistic.