s and apses make up in general effect what it lacks in
actual area.

The facade is imposing, though decidedly bizarre when compared with the
simple flowing lines of Gothic; but, on the whole, the effect is one of
a certain grandeur.

The aisles are astonishingly tall when compared with the nave.

There are various meetings of round-arched windows and arcades with
those of a pointed nature, but there is not the slightest evidence of a
development or transition from one to the other, hence the Gothic strain
may be said not to exist.

The general effect of the exterior is polychromatic, which is not
according to the best conceptions of ecclesiastical decorations in
architecture. A twilight or a moonlight view, however, tones it all down
in a manner that makes the fabric appear quite the most imposing church
of its size that one may find in these parts.

The great central tower, reminiscent enough of the parish church in
England, but not so frequent in Germany, and still less so in France,
forms a great lantern which rises over the crossing in a marvellous and
exceedingly practical manner, in that it affords about the only
adequate means of admitting light into the interior.

The triforium of the nave is the chief interior feature to be remarked,
and is most spaciously planned. It forms the _maennerchoere_ before
mentioned.

The clerestory windows are decidedly Rhenish in character, resembling,
says one antiquary, who is a humourist if nothing else, an ace of clubs.
At any rate, it is a most unusual and inefficient manner of lighting a
great church. These windows are practically trefoils of most
unsymmetrical proportions, and are in every way unlovely.

The choir is raised on a platform, beneath which is the crypt. Three
flights of steps lead to this platform, which gives it a far more grand
appearance than its actual dimensions would otherwise allow.

The choir-stalls are of the fourteenth century, and are the only
mediaeval furnishings to be seen in the church to-day.

The apses contain only moderately effective glass.

The frescoes in the cupola of St. Quirinus, which are the work of
Cornelius of Duesseldorf (about 1811), are most interesting, and are
among the most successful of the great number of modern works of their
kind to be seen in Germany.

_Muenchen-Gladbach_

Muenchen-Gladbach is one of those "snug" little German towns that one
comes across now and then when wandering along off the beaten tra