h those of classic art. This architectural style took so
strong a hold that examples of it may be found throughout the
seventeenth and eighteenth centuries in almost every northern town.

That part of the Castle of Heidelberg, which was built at the
beginning of the seventeenth century, may be cited as belonging to
this German transitional style. The front in this case is regularly
divided by pilasters of the classic orders, but very irregular in
their proportions and position. The windows are strongly marked, and
with carved mullions. Large dormer windows break into the high roof;
ornaments abound, and the whole presents a curiously blended mixture
of the regular and the picturesque. Rather earlier in date, and
perhaps rather more Gothic in their general treatment, are such
buildings as the great Council Hall at Rothenberg (1572), that at
Leipzig (1556), the Castle of Stuttgart (1553), with its picturesque
arcaded quadrangle, or the lofty and elaborate Cloth Hall at
Brunswick.

[Illustration: FIG. 79.--COUNCIL-HOUSE AT LEYDEN. (1599.)]

Examples of similar character abound in the old inns of Germany and
Switzerland, and many charming features, such as the window from
Colmar (Fig. 77), dated 1575, which forms one of our illustrations
could be brought forward. Another development of the same mixed style
may be illustrated by the Zeug House at Dantzic (1605), of which we
give the rear elevation (Fig. 78). Not altogether dissimilar from
these in character is the finely-designed Castle of Fredericksberg at
Copenhagen, testifying to the wide spread of the phase of architecture
to which we are calling attention. The date of this building is 1610.
A richer example, but one little if at all nearer to Italian feeling,
is the Council House at Leyden, a portion of which we illustrate (Fig.
79). This building dates from 1599, and bears more resemblance to
English Elizabethan in its ornaments, than to the architecture of any
other country.

Simultaneously with these, some buildings made their appearance in
Germany, which, though still picturesque, showed the dawn of a wish to
adopt the features of pure Renaissance. The quadrangle of the Castle
of Schalaburg (Fig. 80), may be taken as a specimen of the adoption of
Renaissance ideas as well as forms. It is in effect an Italian
cortile, though more ornate than Italian architects would have made
it. It was built in the latter part of the sixteenth century, and
seems to point to a