in traditions till
quite the end of the thirteenth century.

Later, in the Gothic period, Germany returned the compliment and sent
Zamodia of Freiburg and Ulric of Ulm to lend their aid in the
construction of the grand fabric at Milan; and John and Simon of Cologne
to Spain to erect that astonishingly bizarre cathedral at Burgos.

Beginning with the revival of the arts in Italy, the Renaissance German
architects, in other countries than Germany, were apparently few in
number and not of their former rank.

Not alone did Italy aid Germany in the erection of ecclesiastical
monuments, but France as well, with the Norman variation of the
Romanesque and the later developed Gothic, sent many monkish craftsmen
to lend their aid and skill. Their work, however, was rather the putting
on of finishing touches than of planning the general outlines.

German architecture on the Rhine then was but a development and
variation of alien importations, which came in time, to be sure, to be
recognized as a special type, but which in reality resembled the
Lombardic and the Romanesque in its round-arched forms, and the Gothic
of France in its ogival details. German architecture in time, though not
so much with respect to churches, even went so far as to imitate the
rococo and bizarre ornamentation fathered and named by the Louis of
France.

Germany was a stranger to the complete development of Gothic
architecture long after it had reached its maturity elsewhere; so, too,
it was quite well into the fifteenth century before the slightest change
was made toward the interpolation of Renaissance details, and even then
it was Renaissance art, more than it was Renaissance architecture, which
was making itself felt.

The Renaissance came to Germany through the natural gateway of the north
of Italy; although it spread perhaps to some extent from France into the
Rhine district.

In truth, German Renaissance has ever been heavy and ugly, though
undeniably imposing. In both the ecclesiastical and the secular
varieties it lacked the lightness and grace which in France, so far as
domestic architecture went, soon developed into a thing of surprising
beauty.

What the Renaissance really accomplished in Germany toward developing a
new or national style is in grave doubt, beyond having left a legacy of
bizarre groupings and grotesque and superabundant ornament. In France
the case was different, and, while in ecclesiastical edifices the result
was poo