Heinrich Rfibsch of Carlsruhe, who from the third decade of the cen tury sought to reintroduce the Romanesque style, raised in 1827 the ques tion, " In what style shall we build?" and answered it with the recom mendation to use the style he had chosen. De Lassaulx, who also followed this direction, built many churches upon the Rhine in the psendo-Roman esque style, while Hiibsch built a series of such in Baden. The Bois serees published pictorial views of the Rhenish architectural monuments, and thus gave architects the opportunity to learn the forms of that style.
llTrrnielr also followed this direction, and, like Hiibsch at Carlsrnhe, formed at Munich a Romanesque school. In the Lndwigs kirche, commenced in 1829, but not entirely completed until 1842, he found the opportunity to execute a grand edifice in this style, though leaning rather toward Italy than toward Germany (j/. 50, I).
The Roman basilicas also captivated Ludwig I. both by their spa ciousness and by the splendor of their decoration, and he had one (St. Boniface) built at Munich by Ziebland. The ceiling is of metal in imita tion of wood. The erection occupied from 1835 to 1840, and the decora tion of the interior took four rears more. As far as architectural forms are regarded, those of the Romanesque prevailed in this building more than those of the period which gave the model for the general arrange ment.
Secular and his pupils built a series of secular public buildings and dwellings which might be called Romanesque—or, as it was then named, " Byzantine "—but which were, in fact, structures arranged after the system of the soberest direction taken by the eigh teenth century, with decorations which consisted of pilasters, inscrip tions, and curved friezes enclosing single plain round-arched windows, usually in the manner of the Venetian palaces, grouped in the middle of the façade or in the wings. At the same time, the question as to the exclusive " right of the round arch " in our time was thoroughly dis cussed. The more the publications of Romanesque architects multiplied, the less really Romanesque were the works of either the Munich or the Carlsruhe school, even after men like Ludwig Lange at Munich and Eisenlohr at Carlsruhe, and others, had followed Gartner and Hiibsch. Naturally, the Romanesque of the eleventh to the thirteenth century could afford very few models for secular structures, and these did not agree with the requirements of our modes of life, which steadfastly con tinued to be those which had been developed under the influence of the Renaissance, especially during its latest phase. The whole of the so
-called Byzantine direction of Munich may be considered as a queue bound with a fillet which differs from the antique and is not always the most attractive.
Though these structures cannot be called Romanesque, it cannot be said that they are all inartistic, as are many of Gartner's in the Ludwig's-Strasse. The most important of his buildings, the library, unites round-arch architecture with that of the first bloom of the Floren tine Renaissance, and attains thereby a somewhat imposing earnestness and monumentality. The ensemble is thoroughly Gartnerian-Byzantine, yet nevertheless produces in the staircase, where this is most apparent, a really magnificent effect. The copy which Gartner in the so-called Feldherrenhalle (Hall of the Generals) made of the Loggia dei Lauzi is entirely inartistic when compared with its model. But others did better; thus, Lange, and also Biirklein, in his railway-stations and Schiesshaus, and the latter, together with Metzger, Kreuter, etc., in various private houses.
Nezu characteristic but not exactly beautiful work is the new Pinakot4k at Munich, built by Voit (fi. 51, fig. 2). This structure plainly shows on its exterior that it was erected exclusively for a picture-gallery.
Car/sr/the importance attaches to the Carlsruhe school, since Hiibsch advocated as a fundamental essential the vis ibility both of the materials and of the construction required by them, through the influence of the eighteenth century, this idea had completely disappeared. The entire masonry had been executed in the crudest manner and then concealed by plaster or stucco, and stone had been used only where durability seemed to render it indispensable. Wood was frequently used instead of stone, particularly for the entablatures of the colonnades, for cornices, and for parts which could by a coat of paint or plaster be made to enter into the circle of forms without being recog nized, since forms, and not materials or construction, were cared for.