The Marburg at Munich and the Geltenzunft House at Basel date from 157S, and both have regular palatial façades. The magnificent Church of St. Michael at Munich was built between 1582 and 1597; its immense. tunnel-vaulted nave with a row of chapels on each side produces an impression of grandeur scarcely attained by any mediaeval church, yet, notwithstanding the magnificence and the skilful effects of the lighting,' does not present that special church-like appearance which characterizes. the Gothic structures. The lofty gate of Dantzic and the small Castle of Gottesau, near Carlsruhe, with its five towers, belong to the year 15SS. The charming Topler House at Nuremberg, in which the fantasy of the mediaeval ages again appears, except in some tracery which assumes wildly classical forms, belongs to the year 159o. The Gewandhaus at Brunswick (159o) returns entirely to the design of the mediaeval gable house with many low storeys thickly covered with Renaissance ornamen tation (Al. 46, fig. 3).
The Knight's House at Heidelberg (fig. i) also shows in the fan tastic contours of the gables and in many details vagaries going even beyond the privileges of fancy, as is also the case with the gables and windows of the university at Helmstiidt, constructed 1593-1612. The New Church at WUrzburg (1591) has departed from medieval church traditions in every important respect, yet has preserved many traces of them. After the pattern of the Rialto at Venice is the Fleischbriicke at Nuremberg, with its one mighty arch, erected between 1596 and 159S by the architects Unger and Stromcr, and exhibiting a work of public utility essentially remodelled with the special aim of producing a work of art. The church at Freudenstadt (1599) is original in the highest degree, but proves in its beautiful Gothic netted vaulting and a number of other parts that at that time Gothic was not by any means extinct.
Works of the Seventeenth the works which carry this older style into the seventeenth century, albeit with many baroque details, some following more the palace style, others, again, perpetuating the old German gabled house, we may mention the Neue Ban at Stuttgart (1600-16o9), which is four storeys high and at the angles and in the centre of the sides has towers a storey higher, adorned with many balconies. In the eighteenth century this edifice was unfortunately burned, and was afterward demolished. The royal palace at Munich, erected between 1600 and ii616, follows even more the Italian style of Bernini's time, especially in the marble decorations, while the architecture of the facade, entirely painted on smooth ornamented surfaces, and the pilasters running through several storeys, recall Palladian motifs without obtaining their severity.
The Friedrichsbau at the Castle of Heidelberg, with its two lofty gables—which our view of the court (p/. 46, fig. 2) shows exactly oppo site, adjoining the porticoed structure of Frederick I.—continues, indeed, the system of the Otto Heinrichsbau, but is more massive and allows the details, especially the entablatures, which are broken around the pilasters, so to stand out that they entirely dominate the impression of the ensemble. Vet many details are very clever, as the manner in which the vertical membering of the pilasters and that of the figure-niches blend with each other, and in the piers between the windows, which, after a projection.
under the capitals corresponding to the heads of the Hermes figures, widen out into breasts and shoulders, and thence, mummy-like, narrow downward to the feet, which are again allowed to project uncovered. The pilasters— those which have Hermes figures, as well as the others—are overlaid with rich ornament. The massive projecting cornice, as well as the exuber ance of the ornamentation, gives to the entire structure an extremely pic turesque effect. This structure of the year 16or shows no longer Italian gayety, but German gravity. The aspect of the Spiesshof at Basel is more Italian, and it was probably finished a little earlier, since its interior finish bears the dates r6o1 and 1607.
Arsenal at varied fantasy similar to that which is appa rent in the Friedrichsbau of the Heidelberg Castle is also displayed by the much more simple forms at the arsenal at Dantzic (16o5), in which, as in many buildings of the Netherlands, a more vivid effect is produced by the use of light-colored stones whose clear tint shows boldly out from the dark red-brick walls in which they are inserted according to a definite system.
The Pellerhaus at Nuremberg (1605) is equally fanciful in its gable and is almost overwhelmed with mouldings and ornament, but the details are smaller, corresponding to the smaller dimensions; so that the effect of the ensemble is not destroyed by the burden of the ornament. The court 47, fig. I), with its porticoes, balconies, and terraces, has all the romance of the Middle Ages notwithstanding its baroque details; Gothic motives are still present in the fan-groining, in the execution of the spiral stair cases, in the open-work of the parapets, and, indeed, in so many ways that the late date is but another, and yet not the final, proof of how deeply the Gothic style had permeated the German spirit.
The Church of SI. Mary at Wolfenbiittel, begun in 16o8 and finished in 166o, is another proof of this. It has narrow pointed windows filled with remarkable reproductions of Gothic tracery, lighting three aisles of equal height separated by octangular pillars and ceiled with Gothic vault ing, though every portion of the moulding exhibits the wildest forms of the latest Renaissance.
The at Bremen (p1. 46, fig. 5) was restored in 1612. The older Gothic part was preserved, and the newer po'rtion shows baroque elements.
The Ctrslle of Aschaffenburg, erected by Georg Ridinger of Strasburg in the beginning of the seventeenth century and finished in 1613, exhibits the palace style in tolerably simple but solid forms, and is dominated 'by massive towers in which the old castellated character is still displayed.
The House of Liebni1.7, at Hanover, belongs also to the seventeenth century, and shows how this picturesque Gothic style, which corresponds so well to German taste, long held its own in isolated works. Indeed, the German gabled house, with low storeys and its fantastic decoration of curved gable lines, remained predominant throughout the seventeenth century in most German cities, not only after a new direction had been given to art, but also after all the details had been completely changed. In many cities it continued in use throughout the entire eighteenth century.