ncient
amphitheatre, which denotes a considerable importance for the
neighbourhood in Roman times. If more proof were needed, it will be
found in the museum at Bonn, where are many Roman antiquities coming
from the neighbourhood.

Xanten is celebrated for having given birth to St. Norbert, the founder
of the order of Premonstratension monks, and for having been the cradle
of Siegfried, the hero of the "Nibelungen Lied."

The city was captured by the French in 1672.

The collegiate church of Xanten is known as St. Victor's, and is truly
celebrated for the grace and beauty of its early twelfth-century Gothic.

Without transepts or clerestory, it shows in its one ample chamber,
comprising both nave and choir, an exemplification of the art of
combining the accessories of the Latin-cross structures of France with
the hall-church idea so frequently met with in Germany, and so well
recognized as a distinct German type.

This arrangement does not give the church the appearance of being in any
way confined or limited; quite the reverse is the case, and the double
range of windows in the apse indicates, at least, a loftiness and
hardiness of construction which is highly commendable.

There are, moreover, double aisles to both nave and choir which give an
ampleness to the interior which even its abundance of furnishings does
not overcrowd.

There are few five-aisled churches such as this in Germany, or indeed
elsewhere, Cologne being Germany's chief example in this style.

In general, the Gothic of this highly interesting church is of the best,
though it dates from various periods. The primitive church, we know,
was a Romanesque structure; but, beyond the foundations of the western
towers, and possibly other fragmentary works yet hidden, there is
nothing but the most acceptable Gothic in evidence.

[Illustration: S. VICTOR'S. XANTEN.]

A distinctly curious feature is the apse-sided termination to the
aisles, radiating from the main apse at an angle of forty-five degrees.
It is a distinct innovation in the easterly termination of a church; a
sort of a compromise between the French, English, and German styles, and
wholly a successful one.

In the chancel is a sort of screen before the high altar, worked in
brass at Maastricht in 1501.

The windows contain a great deal of beautiful old glass, and some other
that is by no means as good.

The clerestory windows are elaborately traceried, and there is much
detail of chu