Though the consideration of the magnificent works of the ancients had sharpened the esthetic sense, so that mankind desired to have archi tectural forms executed in beautiful and durable materials, this had not yet become a fundamental principle of the schools of the nineteenth cen tury. Romanesque and Greek forms alike were plastered, and the con ception that not luxury, but fundamental tectonic necessities, demanded that brick and wood should have their own distinct characteristic con struction unlike that of stone, and that each should in consequence have its own characteristic forms, became a very fruitful one. Although this idea appeared in isolated instances elsewhere, it could attain a widespread importance only if, as was done by Hiibsch, it was made absolutely the principle of an entire school. By this Hiibsch has done far more for the development of Architecture than by agitating the question of style, par ticularly after Eisenlohr had even more successfully than he demonstrated in an entire series of large and small structures what a wealth of charm is possessed by genuine forms, what a picturesque and pleasing appearance and what variety of combination a characteristic disposition of different modes of construction makes possible, whether the proportions are large or small.
Revived with the taste for the Romanesque style a contemporary movement took place in favor of the Gothic, which Goethe had praised as the national German style. Gott von and the von Orleans, and likewise the knightly plays and tales by authors of greater or lesser note, had already opened the way to the romanticists; the stage had developed for such plays a Gothic style which met with popular favor; and so it came about that the demands of the romanticists for a reintroduction of this style awakened a joyful response in the hearts of the German people. Even men like Schinkel conceived for it a lively interest, and, as the latter had made designs for theatre decorations in the Gothic, he was also one of the first who designed new buildings in that style. The monument on the Kreuzberg, at Berlin, in commemoration of the war of liberation, and the Werder Church at Ber lin (r825), have both been completed. It is, indeed, not the Gothic known to the Middle Ages, but only a theatrical Gothic seen through antique spectacles. By Grmeized details the master sought to give this the artistic refinement he missed in the original works, with which he had but a lim ited acquaintance. Although the Werder Church is, therefore, not strictly Gothic, it surpasses in artistic importance all other Gothic attempts of the period, as Schinkel surpassed his contemporaries in the third decade of the century.
enumeration of all the pseudo-Gothic attempts of this time may be spared to us, that we may proceed to a master who was very active in the style without having deeply penetrated its intricacies. Heid
eloff of Nuremberg, originally a scene-painter, greatly interested himself in the preservation of the Gothic structures of his city, some of which lie injured, however, under the pretext of restoration. He built Gothic churches in various parts of Germany, and gathered around him a circle of pupils who either did little that was artistic or worked more as painters; so that only a few developed into able architects. But it was by publish ing works that had an extensive circulation that Heidcloff contributed most to obtain wide acceptance for the Gothic.
King Ludwig I. of Bavaria also encouraged this tendency, and the Gothic church (begun in 1831) in Au, a suburb of Munich, was for decades afterward the best example of the revived Gothic, though it is far removed from a correct archeological conception. In general, the many Gothic structures which were executed prior to the sixth decade were as little -Gothic as the so-called " Romanesque " structures were Romanesque, even though theorists like Hofstadt taught the round of art and propriety.
Zwiriier.—A veritable approach to the ancient Gothic was not made in 'Germany until the resumed construction of the cathedral at Cologne by Zwiruer, who, indeed, in his own masterpiece, St. Apoilinaris at Remagen, did not prove himself a Gothic architect, but who saw a school forming .around him from which proceeded capable masters concerning whose works, which are still in progress, and which belong even to the nearest futilire, we shall hereafter speak. Though all these attempts—which, in consequence of the zealous efforts of Ludwig I., had Munich for their centre—constrain us to the recognition of earliest endeavor, some have an oppressive effect, particularly since neither the Romanesque nor the Gothic rises to really worthy achievement in a truly artistic sense.
The king had more good fortune in equalling his models in those edi fices of Munich which he commissioned Kleuze to execute in the style of the earlier Italian Renaissance, as the Konigsban of the capital, which was finished in 1835, the Saalbau, with its massive facade toward the court gardens, and the old Pinakothek (pi. 5r, fig. r), finished in 1836.
Revived Roman style was also revived. In 1823, Klenze rebuilt the theatre according to the old plan of Fischer, and the Protestant church in front of the Karlsthor was rebuilt (r827--1833) in a style which may be called Roman if it is to have a name. In the Gate of Victory which King Ludwig caused to be erected by Gartner at the end of the street named after the former the Roman triumphal arches are again copied, and the great obelisk which was set up in 1833 may also be deemed Roman.