DOI Page / Citation link:
https://doi.org/10.11588/diglit.29899#0260
240 RHENISH ARCHITECTUBE. Part II.
The façade of the church of Marmoutier in the same province, and
of the cathedral of Gebweiler, are two examples—very similar to one
another—of a compromise between the purely German and purely
Italian styles of design. The small openings in the former look almost
like those of a southern clime, but in its present locality give to the
church an appearance of gloom by no means usual. Still it has the
merit of vigorous and purpose-like character.
At Bamberg the church of St. Jacob is well worthy of attention,
717. Church at Marmoutier (Maarmünster). (From Chapuy.)
and the Scotch church at Ratisbon is one of the best specimens in
Germany of a simple basilica without transepts or towers. Its
principal entrance is a bold and elegant piece of design, covered with
grotesque figures whose meaning it is diificult to understand. Had
it been placed at the end of the church, it might have formed the
basis of a magnificent façade ; but stuck unsymmetrically on one
side—as is so usual in Germany—it loses half its effect, and can
only be considered as a cletached piece of ornamentation, which is here
—as it generally is—fatal to its effect as an architectural composition.
The façade of the church of Marmoutier in the same province, and
of the cathedral of Gebweiler, are two examples—very similar to one
another—of a compromise between the purely German and purely
Italian styles of design. The small openings in the former look almost
like those of a southern clime, but in its present locality give to the
church an appearance of gloom by no means usual. Still it has the
merit of vigorous and purpose-like character.
At Bamberg the church of St. Jacob is well worthy of attention,
717. Church at Marmoutier (Maarmünster). (From Chapuy.)
and the Scotch church at Ratisbon is one of the best specimens in
Germany of a simple basilica without transepts or towers. Its
principal entrance is a bold and elegant piece of design, covered with
grotesque figures whose meaning it is diificult to understand. Had
it been placed at the end of the church, it might have formed the
basis of a magnificent façade ; but stuck unsymmetrically on one
side—as is so usual in Germany—it loses half its effect, and can
only be considered as a cletached piece of ornamentation, which is here
—as it generally is—fatal to its effect as an architectural composition.