Chapter 22

GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS, AND SPAIN.

BOOKS RECOMMENDED: As before, Corroyer, Reber. Also, Adler, _Mittelalterliche Backstein-Bauwerke des preussischen Staates_. Essenwein (_Hdbuch. d. Arch._), _Die romanische und die gothische Baukunst; der Wohnbau_. Hasak, _Die romanische und die gothische Baukunst; Kirchenbau_; _Einzelheiten des Kirchenbaues_ (both in _Hdbuch. d. Arch._). Hase and others, _Die mittelalterlichen Baudenkmäler Niedersachsens_. Kallenbach, _Chronologie der deutschen mittelalterlichen Baukunst_. Lübke, _Ecclesiastical Art in Germany during the Middle Ages_. Redtenbacher, _Leitfaden zum Studium der mittelalterlichen Baukunst_. Street, _Gothic Architecture in Spain_. Uhde, _Baudenkmäler in Spanien_. Ungewitter, _Lehrbuch der gothischen Constructionen_. Villa Amil, _Hispania Artistica y Monumental_.

+EARLY GOTHIC WORKS.+ The Gothic architecture of Germany is less interesting to the general student than that of France and England, not only because its development was less systematic and more provincial, but also because it produced fewer works of high intrinsic merit. The introduction into Germany of the pointed style was tardy, and its progress slow. Romanesque architecture had created imposing types of ecclesiastical architecture, which the conservative Teutons were slow to abandon. The result was a half-century of transition and a mingling of Romanesque and Gothic forms. St. Castor, at Coblentz, built as late as 1208, is wholly Romanesque. Even when the pointed arch and vault had finally come into general use, the plan and the constructive system still remained predominantly Romanesque. The western apse and short sanctuary of the earlier plans were retained. There was no triforium, the clearstory was insignificant, and the whole aspect low and massive. The Germans avoided, at first, as did the English, the constructive audacities and difficulties of the French Gothic, but showed less of invention and grace than their English neighbors. When, however, through the influence of foreign models, especially of the great French cathedrals, and through the employment of foreign architects, the Gothic styles were at last thoroughly domesticated, a spirit of ostentation took the place of the earlier conservatism. Technical cleverness, exaggerated ingenuity of detail, and constructive _tours de force_ characterize most of the German Gothic work of the late fourteenth and of the fifteenth century. This is exemplified in the slender mullions of Ulm, the lofty and complicated spire of Strasburg, and the curious traceries of churches and houses in Nuremberg.

+PERIODS.+ The periods of German mediæval architecture corresponded in sequence, though not in date, with the movement elsewhere. The maturing of the true Gothic styles was preceded by more than a half-century of transition. Chronologically the periods may be broadly stated as follows:

THE TRANSITIONAL, 1170-1225.

THE EARLY POINTED, 1225-1275.

THE MIDDLE OR DECORATED, 1275-1350.

THE FLORID, 1350-1530.

These divisions are, however, far less clearly defined than in France and England. The development of forms was less logical and consequential, and less uniform in the different provinces, than in those western lands.

+CONSTRUCTION.+ As already remarked, a tenacious hold of Romanesque methods is observable in many German Gothic monuments. Broad wall-surfaces with small windows and a general massiveness and lowness of proportions were long preferred to the more slender and lofty forms of true Gothic design. Square vaulting-bays were persistently adhered to, covering two aisle-bays. The six-part system was only rarely resorted to, as at Schlettstadt, and in St. George at Limburg-on-the-Lahn (Fig. 139). The ribbed vault was an imported idea, and was never systematically developed. Under the final dominance of French models in the second half of the thirteenth century, vaulting in oblong bays became more general, powerfully influenced by buildings like Freiburg, Cologne, Oppenheim, and Ratisbon cathedrals. In the fourteenth century the growing taste for elaboration and rich detail led to the introduction of multiplied decorative ribs. These, however, did not come into use, as in England, through a logical development of constructive methods, but purely as decorative features. The German multiple-ribbed vaulting is, therefore, less satisfying than the English, though often elegant. Conspicuous examples of its application are found in the cathedrals of Freiburg, Ulm, Prague, and Vienna; in St. Barbara at Kuttenberg, and many other important churches. But with all the richness and complexity of these net-like vaults the Germans developed nothing like the fan-vaulting or chapter-house ceilings of England.

+SIDE AISLES.+ The most notable structural innovation of the Germans was the raising of the side aisles to the same height as the central aisle in a number of important churches. They thus created a distinctly new type, to which German writers have given the name of _hall-church_. The result of this innovation was to transform completely the internal perspective of the church, as well as its structural membering. The clearstory disappeared; the central aisle no longer dominated the interior; the pier-arches and side-walls were greatly increased in height, and flying buttresses were no longer required. The whole design appeared internally more spacious, but lost greatly in variety and in interest. The cathedral of +St. Stephen+ at Vienna is the most imposing instance of this treatment, which first appeared in the church of St. Elizabeth at Marburg (1235-83; Fig. 140). St. Barbara at Kuttenberg, St. Martin’s at Landshut (1404), and the cathedral of Munich are others among many examples of this type.

+TOWERS AND SPIRES.+ The same fondness for spires which had been displayed in the Rhenish Romanesque churches produced in the Gothic period a number of strikingly beautiful church steeples, in which openwork tracery was substituted for the solid stone pyramids of earlier examples. The most remarkable of these spires are those of Freiburg (1300), Strasburg, and Cologne cathedrals, of the church at Esslingen, St. Martin’s at Landshut, and the cathedral of Vienna. In these the transition from the simple square tower below to the octagonal belfry and spire is generally managed with skill. In the remarkable tower of the cathedral at Vienna (1433) the transition is too gradual, so that the spire seems to start from the ground and lacks the vigor and accent of a simpler square lower portion. The over-elaborate spire of +Strasburg+ (1429, by Junckher of Cologne; lower parts and façade, 1277-1365, by _Erwin von Steinbach_ and his sons) reaches a height of 468 feet; the spires of Cologne, completed in 1883 from the original fourteenth-century drawings, long lost but recovered by a happy accident, are 500 feet high. The spires of +Ratisbon+ and +Ulm+ cathedrals have also been recently completed in the original style.

+DETAILS.+ German window tracery was best where it most closely followed French patterns, but it tended always towards the faults of mechanical stiffness and of technical display in over-slenderness of shafts and mullions. The windows, especially in the “hall-churches,” were apt to be too narrow for their height. In the fifteenth century ingenuity of geometrical combinations took the place of grace of line, and later the tracery was often tortured into a stone caricature of rustic-work of interlaced and twisted boughs and twigs, represented with all their bark and knots (_branch-tracery_). The execution was far superior to the design. The carving of foliage in capitals, finials, etc., calls for no special mention for its originality or its departure from French types.

+PLANS.+ In these there was more variety than in any other part of Europe except Italy. Some churches, like Naumburg, retained the Romanesque system of a second western apse and short choir. The Cistercian churches generally had square east ends, while the polygonal eastern apse without ambulatory is seen in St. Elizabeth at Marburg, the cathedrals of Ratisbon, Ulm and Vienna, and many other churches. The introduction of French ideas in the thirteenth century led to the adoption in a number of cases of the chevet with a single ambulatory and a series of radiating apsidal chapels. +Magdeburg+ cathedral (1208-11) was the first erected on this plan, which was later followed at Altenburg, Cologne, Freiburg, Lübeck, Prague and Zwettl, in St. Francis at Salzburg and some other churches. Side chapels to nave or choir appear in the cathedrals of Lübeck, Munich, Oppenheim, Prague and Zwettl. +Cologne+ +Cathedral+, by far the largest and most magnificent of all, is completely French in plan, uniting in one design the leading characteristics of the most notable French churches (Fig. 141). It has complete double aisles in both nave and choir, three-aisled transepts, radial chevet-chapels and twin western towers. The ambulatory is, however, single, and there are no lateral chapels. A typical German treatment was the eastward termination of the church by polygonal chapels, one in the axis of each aisle, the central one projecting beyond its neighbors. Where there were five aisles, as at Xanten, the effect was particularly fine. The plan of the curious polygonal church of +Our Lady+ (Liebfrauenkirche; 1227-43) built on the site of the ancient circular baptistery at Treves, would seem to have been produced by doubling such an arrangement on either side of the transverse axis (Fig. 142).

+HISTORICAL DEVELOPMENT.+ The so-called +Golden Portal+ of +Freiburg+ in the Erzgebirge is perhaps the first distinctively Gothic work in Germany, dating from 1190. From that time on, Gothic details appeared with increasing frequency, especially in the Rhine provinces, as shown in many transitional structures. +Gelnhausen+ and Aschaffenburg are early 13th-century examples; pointed arches and vaults appear in the Apostles’ and St. Martin’s churches at Cologne; and the great church of +St. Peter and St. Paul+ at Neuweiler in Alsace has an almost purely Gothic nave of the same period. The churches of +Bamberg+, +Fritzlar+, and +Naumburg+, and in Westphalia those of +Münster+ and +Osnabrück+, are important examples of the transition. The French influence, especially the Burgundian, appears as early as 1212 in the cathedral of Magdeburg, imitating the choir of Soissons, and in the structural design of the Liebfrauenkirche at Treves as already mentioned; it reached complete ascendancy in Alsace at +Strasburg+ (nave 1240-75), in Baden at +Freiburg+ (nave 1270) and in Prussia at +Cologne+ (1248-1320). Strasburg Cathedral is especially remarkable for its façade, the work of Erwin von Steinbach and his sons (1277-1346), designed after French models, and its north spire, built in the fifteenth century. Cologne Cathedral, begun in 1248 by _Gerhard of Riel_ in imitation of the newly completed choir of Amiens, was continued by Master _Arnold_ and his son _John_, and the choir was consecrated in 1322. The nave and W. front were built during the first half of the 14th century, though the towers were not completed till 1883. In spite of its vast size and slow construction, it is in style the most uniform of all great Gothic cathedrals, as it is the most lofty (excepting the choir of Beauvais) and the largest excepting Milan and Seville. Unfortunately its details, though pure and correct, are singularly dry and mechanical, while its very uniformity deprives it of the picturesque and varied charm which results from a mixture of styles recording the labors of successive generations. The same criticism may be raised against the late cathedral of +Ulm+ (choir, 1377-1449; nave, 1477; Fig. 143). The Cologne influence is observable in the widely separated cathedrals of Utrecht in the Netherlands, Metz in the W., Minden and +Halberstadt+ (begun 1250; mainly built after 1327) in Saxony, and in the S. in the church of +St. Catherine+ at Oppenheim. To the E. and S., in the cathedrals of +Prague+ (Bohemia) by _Matthew of Arras_ (1344-52) and +Ratisbon+ (or Regensburg, 1275) the French influence predominates, at least in the details and construction. The last-named is one of the most dignified and beautiful of German Gothic churches--German in plan, French in execution. The French influence also manifests itself in the details of many of the peculiarly German churches with aisles of equal height (see p. 240).

More peculiarly German are the brick churches of North Germany, where stone was almost wholly lacking. In these, flat walls, square towers, and decoration by colored tiles and bricks are characteristic, as at Brandenburg (St. Godehard and +St. Catherine+, 1346-1400), at +Prentzlau+, Tängermünde, Königsberg, &c. Lübeck possesses notable monuments of brick architecture in the churches of +St. Mary+ and St. Catherine, both much alike in plan and in the flat and barren simplicity of their exteriors. +St. Martin’s+ at +Landshut+ in the South is also a notable brick church.

+LATE GOTHIC.+ As in France and England, the fourteenth and fifteenth centuries were mainly occupied with the completion of existing churches, many of which, up to that time, were still without naves. The works of this period show the exaggerated attenuation of detail already alluded to, though their richness and elegance sometimes atone for their mechanical character. The complicated ribbed vaults of this period are among its most striking features (see p. 239). Spire-building was as general as was the erection of central square towers in England, during the same period. To this time also belong the overloaded traceries and minute detail of the +St. Sebald+ and St. Lorenz churches and of several secular buildings at Nuremberg, the façade of Chemnitz Cathedral, and similar works. The nave and tower of St. Stephen at Vienna (1359-1433), the church of Sta. Maria in Gestade in the same city, and the cathedral of Kaschau in Hungary, are Austrian masterpieces of late Gothic design.

+SECULAR BUILDINGS.+ Germany possesses a number of important examples of secular Gothic work, chiefly municipal buildings (gates and town halls) and castles. The first completely Gothic castle or palace was not built until 1280, at +Marienburg+ (Prussia), and was completed a century later. It consists of two courts, the earlier of the two forming a closed square and containing the chapel and chapter-house of the Order of the German knights. The later and larger court is less regular, its chief feature being the +Great Hall+ of the Order, in two aisles. All the vaulting is of the richest multiple-ribbed type. Other castles are at Marienwerder, Heilsberg (1350) in E. Prussia, Karlstein in Bohemia (1347), and the +Albrechtsburg+ at Meissen in Saxony (1471-83).

Among town halls, most of which date from the fourteenth and fifteenth centuries may be mentioned those of Ratisbon (Regensburg), Münster and Hildesheim, Halberstadt, +Brunswick+, Lübeck, and Bremen--the last two of brick. These, and the city gates, such as the +Spahlenthor+ at Basle (Switzerland) and others at Lübeck and Wismar, are generally very picturesque edifices. Many fine guildhalls were also built during the last two centuries of the Gothic style; and dwelling-houses of the same period, of quaint and effective design, with stepped or traceried gables, lofty roofs, openwork balconies and corner turrets, are to be found in many cities. Nuremberg is especially rich in these.

+THE NETHERLANDS+, as might be expected from their position, underwent the influences of both France and Germany. During the thirteenth century, largely through the intimate monastic relations between Tournay and Noyon, the French influence became paramount in what is now Belgium, while Holland remained more strongly German in style. Of the two countries Belgium developed by far the most interesting architecture. Some of its cathedrals, notably those of Tournay, Antwerp, Brussels, Malines (Mechlin), Mons and Louvain, rank high among structures of their class, both in scale and in artistic treatment. The Flemish town halls and guildhalls merit particular attention for their size and richness, exemplifying in a worthy manner the wealth, prosperity, and independence of the weavers and merchants of Antwerp, Ypres, Ghent (Gand), Louvain, and other cities in the fifteenth century.

+CATHEDRALS AND CHURCHES.+ The earliest purely Gothic edifice in Belgium was the choir of +Ste. Gudule+ (1225) at Brussels, followed in 1242 by the choir and transepts of +Tournay+, designed with pointed vaults, side chapels, and a complete _chevet_. The transept-ends are round, as at Noyon. It was surpassed in splendor by the +Cathedral+ of +Antwerp+ (1352-1422), remarkable for its seven-aisled nave and narrow transepts. It covers some 70,000 square feet, but its great size is not as effective internally as it should be, owing to the poverty of the details and the lack of finely felt proportion in the various parts. The late west front (1422-1518) displays the florid taste of the wealthy Flemish burgher population of that period, but is so rich and elegant, especially its lofty and slender north spire, that its over-decoration is pardonable. The cathedral of +St. Rombaut+ at Malines (choir, 1366; nave, 1454-64) is a more satisfactory church, though smaller and with its western towers incomplete. The cathedral of +Louvain+ belongs to the same period (1373-1433). +St. Wandru+ at Mons (1450-1528) and +St. Jacques+ at Liège (1522-58) are interesting parish churches of the first rank, remarkable especially for the use of color in their internal decoration, for their late tracery and ribbed vaulting, and for the absence of Renaissance details at that late period.

+TOWN HALLS: GUILDHALLS.+ These were really the most characteristic Flemish edifices, and are in most cases the most conspicuous monuments of their respective cities. The +Cloth Hall+ of +Ypres+ (1304) is the earliest and most imposing among them; similar halls were built not much later at +Bruges+, +Louvain+, +Malines+ and +Ghent+. The town halls were mostly of later date, the earliest being that of +Bruges+ (1377). The town halls of +Brussels+ with its imposing and graceful tower, of +Louvain+ (1448-63; Fig. 144) and of +Oudenärde+ (early 16th century) are conspicuous monuments of this class.

In general, the Gothic architecture of Belgium presents the traits of a borrowed style, which did not undergo at the hands of its borrowers any radically novel or fundamental development. The structural design is usually lacking in vigor and organic significance, but the details are often graceful and well designed, especially on the exterior. The tendency was often towards over-elaboration, particularly in the later works.

The Gothic architecture of +Holland+ and of the +Scandinavian+ countries offers so little that is highly artistic or inspiring in character, that space cannot well be given in this work, even to an enumeration of its chief monuments.

+SPAIN AND PORTUGAL.+ The beginnings of Gothic architecture in Spain followed close on the series of campaigns from 1217 to 1252, which began the overthrow of the Moorish dominion. With the resulting spirit of exultation and the wealth accruing from booty, came a rapid development of architecture, mainly under French influence. Gothic architecture was at this date, under St. Louis, producing in France some of its noblest works. The great cathedrals of +Toledo+ and +Burgos+, begun between 1220 and 1230, were the earliest purely Gothic churches in Spain. +San Vincente+ at Avila and the +Old Cathedral+ at Salamanca, of somewhat earlier date, present a mixture of round- and pointed-arched forms, with the Romanesque elements predominant. +Toledo Cathedral+, planned in imitation of Notre Dame and Bourges, but exceeding them in width, covers 75,000 square feet, and thus ranks among the largest of European cathedrals. Internally it is well proportioned and well detailed, recalling the early French masterworks, but its exterior is less commendable.

In the contemporary cathedral of Burgos the exterior is at least as interesting as the interior. The west front, of German design, suggests Cologne by its twin openwork spires (Fig. 145); while the crossing is embellished with a sumptuous dome and lantern or _cimborio_, added as late as 1567. The chapels at the east end, especially that of the Condestabile (1487), are ornate to the point of overloading, a fault to which late Spanish Gothic work is peculiarly prone. Other thirteenth-century cathedrals are those of +Leon+ (1260), +Valencia+ (1262), and +Barcelona+ (1298), all exhibiting strongly the French influence in the plan, vaulting, and vertical proportions. The models of Bourges and Paris with their wide naves, lateral chapels and semicircular chevets were followed in the cathedral of Barcelona, in a number of fourteenth-century churches both there and elsewhere, and in the sixteenth-century cathedral of Segovia. In Sta. Maria del Pi at Barcelona, in the collegiate church at Manresa, and in the imposing nave of the +Cathedral+ of +Gerona+ (1416, added to choir of 1312, the latter by a Southern French architect, Henri de Narbonne), the influence of Alby in southern France (see p. 206) is discernible. These are one-aisled churches with internal buttresses separating the lateral chapels. The nave of Gerona is 73 feet wide, or double the average clear width of French or English cathedral naves. The resulting effect is not commensurate with the actual dimensions, and shows the inappropriateness of Gothic details for compositions so Roman in breadth and simplicity.

+SEVILLE.+ The largest single edifice in Spain, and the largest church built during the Middle Ages in Europe, is the +Cathedral of Seville+, begun in 1401 on the site of a Moorish mosque. It covers 124,000 square feet, measuring 415 × 298 feet, and is a simple rectangle comprising five aisles with lateral chapels. The central aisle is 56 ft. wide and 145 high; the side aisles and chapels diminish gradually in height, and with the uniform piers in six rows produce an imposing effect, in spite of the lack of transepts or chevet. The somewhat similar +New Cathedral+ of Salamanca (1510-1560) shows the last struggles of the Gothic style against the incoming tide of the Renaissance.

+LATER MONUMENTS.+ These all partake of the over-decoration which characterized the fifteenth century throughout Europe. In Spain this decoration was even less constructive in character, and more purely fanciful and arbitrary, than in the northern lands; but this very rejection of all constructive pretense gives it a peculiar charm and goes far to excuse its extravagance (Fig. 146). Decorative vaulting-ribs were made to describe geometric patterns of great elegance. Some of the late Gothic vaults by the very exuberance of imagination shown in their designs, almost disarm criticism. Instead of suppressing the walls as far as possible, and emphasizing all the vertical lines, as was done in France and England, the later Gothic architects of Spain delighted in broad wall-surfaces and multiplied horizontal lines. Upon these surfaces they lavished carving without restraint and without any organic relation to the structure of the building. The arcades of cloisters and interior courts (_patios_) were formed with arches of fantastic curves resting on twisted columns; and internal chapels in the cathedrals were covered with minute carving of exquisite workmanship, but wholly irrational design. Probably the influence of Moorish decorative art accounts in part for these extravagances. The eastern chapels in Burgos cathedral, the votive church of +San Juan de los Reyes+ at Toledo and many portals of churches, convents and hospitals illustrate these tendencies.

+PORTUGAL+ is an almost unknown land architecturally. It seems to have adopted the Gothic styles very late in its history. Two monuments, however, are conspicuous, the convent churches of Batalha (1390-1520) and +Belem+, both marked by an extreme overloading of carved ornament. The +Mausoleum of King Manoel+ in the rear of the church at Batalha is, however, a noble creation, possibly by an English master. It is a polygonal domed edifice, some 67 feet in diameter, and well designed, though covered with a too profuse and somewhat mechanical decoration of panels, pinnacles, and carving.

+MONUMENTS+: GERMANY (C = cathedral; A = abbey; tr. = transepts).--13th century: Transitional churches: Bamberg C.; Naumburg C.; Collegiate Church, Fritzlar; St. George, Limburg-on-Lahn; St. Castor, Coblentz; Heisterbach A.;--all in early years of 13th century. St. Gereon, Cologne, choir 1212-27; Liebfrauenkirche, Treves, 1227-44; St. Elizabeth, Marburg, 1235-83; Sts. Peter and Paul, Neuweiler, 1250; Cologne C., choir 1248-1322 (nave 14th century; towers finished 1883); Strasburg C., 1250-75 (E. end Romanesque; façade 1277-1365; tower 1429-39); Halberstadt C., nave 1250 (choir 1327; completed 1490); Altenburg C., choir 1255-65 (finished 1379); Wimpfen-im-Thal church 1259-78; St. Lawrence, Nuremberg, 1260 (choir 1439-77); St. Catherine, Oppenheim, 1262-1317 (choir 1439); Xanten, Collegiate Church, 1263; Freiburg C., 1270 (W. tower 1300; choir 1354); Toul C., 1272; Meissen C., choir 1274 (nave 1312-42); Ratisbon C., 1275; St. Mary’s, Lübeck, 1276; Dominican churches at Coblentz, Gebweiler; and in Switzerland at Basle, Berne, and Zurich.--14th century: Wiesenkirche, Söst, 1313; Osnabrück C., 1318 (choir 1420); St. Mary’s, Prentzlau, 1325; Augsburg C., 1321-1431; Metz C., 1330 rebuilt (choir 1486); St. Stephen’s C., Vienna, 1340 (nave 15th century; tower 1433); Zwette C., 1343; Prague C., 1344; church at Thann, 1351 (tower finished 16th century); Liebfrauenkirche, Nuremberg, 1355-61; St. Sebaldus Church, Nuremberg, 1361-77 (nave Romanesque); Minden C., choir 1361; Ulm C., 1377 (choir 1449; nave vaulted 1471; finished 16th century); Sta. Barbara, Kuttenberg, 1386 (nave 1483); Erfurt C.; St. Elizabeth, Kaschau; Schlettstadt C.--15th century: St. Catherine’s, Brandenburg, 1401; Frauenkirche, Esslingen, 1406 (finished 1522); Minster at Berne, 1421; Peter-Paulskirche, Görlitz, 1423-97; St. Mary’s, Stendal, 1447; Frauenkirche, Munich, 1468-88; St. Martin’s, Landshut, 1473.

SECULAR MONUMENTS. Schloss Marienburg, 1341; Moldau-bridge and tower, Prague, 1344; Karlsteinburg, 1348-57; Albrechtsburg, Meissen, 1471-83; Nassau House, Nuremberg, 1350; Council houses (Rathhaüser) at Brunswick, 1393; Cologne, 1407-15; Basle; Breslau; Lübeck; Münster; Prague; Ulm; City Gates of Basle, Cologne, Ingolstadt, Lucerne.

THE NETHERLANDS. Brussels C. (Ste. Gudule), 1226-80; Tournai C., choir 1242 (nave finished 1380); Notre Dame, Bruges, 1239-97; Notre Dame, Tongres, 1240; Utrecht C., 1251; St. Martin, Ypres, 1254; Notre Dame, Dinant, 1255; church at Dordrecht; church at Aerschot, 1337; Antwerp C., 1352-1411 (W. front 1422-1518); St. Rombaut, Malines, 1355-66 (nave 1456-64); St. Wandru, Mons, 1450-1528; St. Lawrence, Rotterdam, 1472; other 15th century churches--St. Bavon, Haarlem; St. Catherine, Utrecht; St. Walpurgis, Sutphen; St. Bavon, Ghent (tower 1461); St. Jaques, Antwerp; St. Pierre, Louvain; St. Jacques, Bruges; churches at Arnheim, Breda, Delft; St. Jacques, Liège, 1522.--SECULAR: Cloth-hall, Ypres, 1200-1304; cloth-hall, Bruges, 1284; town hall, Bruges, 1377; town hall, Brussels, 1401-55; town hall, Louvain, 1448-63; town hall, Ghent, 1481; town hall, Oudenarde, 1527; Standehuis, Delft, 1528; cloth-halls at Louvain, Ghent, Malines.

SPAIN.--13th century: Burgos C., 1221 (façade 1442-56; chapels 1487; cimborio 1567); Toledo C., 1227-90 (chapels 14th and 15th centuries); Tarragona C., 1235; Leon C., 1250 (façade 14th century); Valencia C., 1262 (N. transept 1350-1404; façade 1381-1418); Avila C., vault and N. portal 1292-1353 (finished 14th century); St. Esteban, Burgos; church at Las Huelgas.--14th century: Barcelona C., choir 1298-1329 (nave and transepts 1448; façade 16th century); Gerona C., 1312-46 (nave added 1416); S. M. del Mar, Barcelona, 1328-83; S. M. del Pino, Barcelona, same date; Collegiate Church, Manresa, 1328; Oviedo C., 1388 (tower very late); Pampluna C., 1397 (mainly 15th century).--15th century: Seville C., 1403 (finished 16th century; cimborio 1517-67); La Seo, Saragossa (finished 1505); S. Pablo, Burgos, 1415-35; El Parral, Segovia, 1459; Astorga C., 1471; San Juan de los Reyes, Toledo, 1476; Carthusian church, Miraflores, 1488; San Juan, and La Merced, Burgos.--16th century: Huesca C., 1515; Salamanca New Cathedral, 1510-60; Segovia C., 1522; S. Juan de la Puerta, Zamorra.

SECULAR.--Porta Serraños, Valencia, 1349; Casa Consistorial, Barcelona, 1369-78; Casa de la Disputacion, same city; Casa de las Lonjas, Valencia, 1482.

PORTUGAL. At Batalha, church and mausoleum of King Manoel, finished 1515; at Belem, monastery, late Gothic.