DOI Page / Citation link:
https://doi.org/10.11588/diglit.26747#0817
Chap. I.
XANTEN— MAGDEBUEG.
753
style, can be but ill dispensed witb in pointed architecture. In this
instance they are particularly needed, as the building is overwlielmed,
as is too often the case in Germany, by an enormously high ugly roof.
The principles of the French schooLs of art seem to have prevailed
to a much greater estent in the north of Germany, and we have in
consequence several churches of more pleas-
ing design than those last mentioned. Among
these is the cathedral at Halberstadt, a
simple but beautiful church, not remarkable
for any very striking peculiarities, but ex-
tremely satisfactory in general effect. The
great church, too, at Xanten may be quoted
as another very favourable specimen, though
far more essentially German in its arrange-
ment. The western front is older than the
rest, and is German, wholly without French
influence. It has no central entrance, but
two bold massive towers. The church be-
hind these is of the latter part of the 13th
and the 14th centuries. Itis generally good
in detail and proportion, but arranged, as
seen in the plan, in a manner wholly differ-
ent from the French method, though common
in all parts of Germany. The polygonal
form is retained both for the apse and for the
chapels, but without adopting the chevet
with its surrounding aisle, nor the absolute seclusion of the choir as a
priestly island round which the laity might circulate, but within whose
sacred precincts they were not permitted to enter. It is observable
that in those districts where chevets are most frequent, generally
speaking, the Catholic religion has had the firmest hold. On the other
hand, where the people had declined to adopt that arrangement, it was
a sign that they were ripe for the Eeformation, which accordingly
they embraced as soon as the standard of rebellion was raised.
In the south of Germany we have already had occasion to remark
on the tendency to raise the side aisles to the same height as the
central one, wliich eventually became the rule in the great brick
churches of Munich and other parts of Bavaria, the piers or pillars be-
coming mere posts supporting what was practically a horizontal roof.
In the north the tendency seems to have been the other way—to ex-
aggerate the clerestory at the expense of the aisles. A notable example
of this is found in the nave at Magdeburg, where the side aisles are
practically little more than one-third of the whole height of the church ;
and there being no triforium, the clerestory windows rest apparentiy
on the vault of the side aisle. Thi's lias now no doubt a disagreeable
effect, but when filled with painted glass the case must have been dif-
lurent, and the effect of this immense screen of brilliant colours must
have been most beautiful.
A better example of this arrangement is found in the cathedral at
3 c
Plan of Church at Xanten.
Scale 10.0 ft. to 1 in.
XANTEN— MAGDEBUEG.
753
style, can be but ill dispensed witb in pointed architecture. In this
instance they are particularly needed, as the building is overwlielmed,
as is too often the case in Germany, by an enormously high ugly roof.
The principles of the French schooLs of art seem to have prevailed
to a much greater estent in the north of Germany, and we have in
consequence several churches of more pleas-
ing design than those last mentioned. Among
these is the cathedral at Halberstadt, a
simple but beautiful church, not remarkable
for any very striking peculiarities, but ex-
tremely satisfactory in general effect. The
great church, too, at Xanten may be quoted
as another very favourable specimen, though
far more essentially German in its arrange-
ment. The western front is older than the
rest, and is German, wholly without French
influence. It has no central entrance, but
two bold massive towers. The church be-
hind these is of the latter part of the 13th
and the 14th centuries. Itis generally good
in detail and proportion, but arranged, as
seen in the plan, in a manner wholly differ-
ent from the French method, though common
in all parts of Germany. The polygonal
form is retained both for the apse and for the
chapels, but without adopting the chevet
with its surrounding aisle, nor the absolute seclusion of the choir as a
priestly island round which the laity might circulate, but within whose
sacred precincts they were not permitted to enter. It is observable
that in those districts where chevets are most frequent, generally
speaking, the Catholic religion has had the firmest hold. On the other
hand, where the people had declined to adopt that arrangement, it was
a sign that they were ripe for the Eeformation, which accordingly
they embraced as soon as the standard of rebellion was raised.
In the south of Germany we have already had occasion to remark
on the tendency to raise the side aisles to the same height as the
central one, wliich eventually became the rule in the great brick
churches of Munich and other parts of Bavaria, the piers or pillars be-
coming mere posts supporting what was practically a horizontal roof.
In the north the tendency seems to have been the other way—to ex-
aggerate the clerestory at the expense of the aisles. A notable example
of this is found in the nave at Magdeburg, where the side aisles are
practically little more than one-third of the whole height of the church ;
and there being no triforium, the clerestory windows rest apparentiy
on the vault of the side aisle. Thi's lias now no doubt a disagreeable
effect, but when filled with painted glass the case must have been dif-
lurent, and the effect of this immense screen of brilliant colours must
have been most beautiful.
A better example of this arrangement is found in the cathedral at
3 c
Plan of Church at Xanten.
Scale 10.0 ft. to 1 in.