The earliest church is the one called the Holy Sepulchre. It is circular, with antique columns, some of these in twins, or double columns, but one has a capital used as a base, and there are other signs of rebuilding. Under it is a crypt of the eleventh century, with stunted columns, the capitals of which are left plain, not carved. There is a fine early pulpit in the church of the Sepulchre.

The first church has been rebuilt, and is now modern; the second is the one called of the Sepulchre; the third, dedicated to SS. Peter and Paul, is of the eleventh century, with some antique capitals, others plain, not carved. A sarcophagus of the third century is used as a side altar, no doubt it contains the relics of some martyr. The fourth church, called the "Hall of Pilate," is made out of the cloister court, with a font in the centre. There is a fragment of Roman reticulated-work of the second century in the wall; probably a portion of the wall of the old temple has been preserved, though it has been thoroughly concealed by plaster in other parts. The fifth church is the crypt under that of the Sepulchre, and is of the eleventh. The sixth church is made in a cloistered court of the twelfth, with an upper storey of the thirteenth, which is woll preserved, with twin shafts. The seventh church, called of the Holy Trinity, is of the twelfth century, with antiquo capitals, as before.

The idea of a Lombardic style belonging to the ancient Lombards appears to be altogether a delusion; the small remains that there are in Lombardy of any buildings before the eleventh century are distinctly of Roman character. At Como and in the suburbs are two remarkable churches of the eleventh and twelfth centuries, which may be called Lombardic, but do not amount to a distinct style. The Certosa, or Charter-house at Pavia, is a very fine building, and the church very rich, but it belongs chiefly to the fifteenth and sixteenth centuries.

In Naples and Sicily there is a mixture of the Byzantine and Oriental character with the Roman, and occasionally portions of Norman, giving this part of Italy quite a style of its own1.

The best work on the architecture of Italy is still the "Remarks" of Professor Willis, published in 1835. The work of Mr. Okeley, on the "Development of Christian Architecture in Italy," published in 1880, contains

SPAIN.

The different provinces of Spain differ from each other in their architecture as in their history; some of the buildings are purely Moorish, others have a mixture of that style, while in other parts they are almost French. The idea of the Gothic stylo having originated in Spain, and spread from thence to othor parts of Europo, is now gonorally exploded; an oxumination of the buildings of Spain, with their history and datos, does not in any degree bear out that theory. The use of the dome does, however, occur in some districts at an early period; and here, as elsewhere, the Gothic style may have been developed, without being copied from any other country".

SWITZERLAND has no distinct architecture of its own, for the obvious reason that in the Middle Ages, when these buildings were erected, it had no separate existence. In some cantons the buildings are French, in others German, and in others Italian, according to the country they belonged to at the time when their architecture flourished. The buildings follow the same order as the languages,-here, as everywhere else, they are part of the history of the people.

The architecture of BELGIUM may be divided into two main portions; that of the hilly country which formed the province of Liège, which partakes of the German character, and that of the level country of Flanders, which has more of the French. In many of the domestic buildings there is a mixture of Spanish character, but this is hardly perceptible in the churches. The celebrated Town-halls, or "Hotels de Ville," have quite a character of their own, not borrowed from any other country. They are the finest buildings of their class in Europe.

a great deal of valuable observation, being the result of a three years' tour as "Travelling Bachelor" of the University of Cambridge: but unfor tunately it is drawn up rather in the form of a mathematical treatise, illustrated by diagrams, than in a readable form, as a work of historical research. There is a good deal of information in the book, but it is very difficult to get at it.

m For the Architectural History of Spain, see "Some Account of Gothic Architecture in Spain," by G. E. Street, F.S.A. London, 1865, 8vo.

The architecture of HOLLAND is rather German than Flemish, but has a distinct national character of its own. Many of the churches are fine, large, and lofty buildings, with large windows, originally filled with rich painted glass, which has been preserved in a few instances, as at Gouda; but in general all ornament has been so ruthlessly destroyed by the iconoclastic zeal of the presbyterians, that one is rather surprised they did not destroy these fine churches of the fifteenth century altogether, and retain the large barns of the same period, which would have been more convenient for their purposes, and more consistent with their ideas of what a place of worship ought to be, as opposite as possible from that of Solomon's Temple.

The church of Roda-Rolduc in LIMBURG, near Aix-la-Chapelle, is now in Holland, but it is properly a German church, and it is valuable to us as a well-dated example of the twelfth century, and as shewing the sense in which the Lombard style was then understood in Germany. It bears a close resemblance to our own Norman style of the early part of the twelfth century, with some peculiarities. The chronicle of the abbey has been preserved and printed, and it proves that the church was begun in the Lombard style in 1108 and not finally consecrated until 1209, but the choir, with the crypt undor it, was completed in 1138. This crypt, or underground chapol, is the richest and the best-preserved part of the edifice, and bears a close resemblance to the crypt of Canterbury, with the same shafts ornamented with spiral and zig-zag fluting in the same manner, the capitals and bases rather more rich. A very similar crypt occurs in a church near Munich of about the same period, and others occasionally in other parts of Germany. The windows of the upper church in the outer walls of the aisles and transopts aro chiefly small singlo lights, round-hendod, but in tho ends of the transepts are large quatrofoil windows; those are datod A.D. 1143, an carlior date than has been observed for a quatrefoil window in England or France, and this seems to be one of the early steps towards window tracery ".

See the Gentleman's Magazine for 1865, pp. 409-411, with the engravings from Dr. Bock's work there given and the authorities cited. The chronicle is printed in the seventh volume of the History of Limburg, Liège, 1852.

GERMANY.

The different kingdoms and provinces of Germany have each a style of their own, just as in France and Italy. There may be said to be a German Gothic style, just as there is said to be an Italian Gothic style and a French Gothic style; but as we have seen that the northern and southern states of those countries differ widely from each other in their architecture as in their history-for the one is inseparable from the otherso it is in Germany: the architecture of the Rhino provinces, which is the most familiar to English travellers in general, is no type of that of the rest of Germany; it bears more resemblance to that of Pisa, and it has been assumed that both are derived from a common origin of the time of Charlemagne,— which is so far true that the style of that period was a debased Roman, and both these are developments from the Roman; but as the existing buildings in both districts belong almost entirely to the olovonth, twolfth, and thirteenth conturios, thoro doos not appear to bo much connection betwoon thom and the buildings of Charlemagne.

At Aix-la-Chapelle one of the towers of the palace of Charlemagne remains, now forming the watch-tower attached to the town-hall, the rest of which has been rebuilt. This was probably always a watch-tower. The walls and plan of the cathedral are also of his time, with great additions and alterations: the design is evidently copied from the church of S. Vitale at Ravenna; the construction is debased Roman.

The campaniles or belfry-towers of Germany have quite a distinct character of their own, which seems to be a development of the Anglo-Saxon towers of England, originally carried to Germany by the English missionaries, but never fully developed in England because the Normans preferred their own towers, which are of a different type. The earlier belfry-towers in Germany approach the nearest to the Anglo-Saxon type; long-and-short work is frequently used, and most of the other characteristic features of that style are found. This type of tower spreads over nearly the whole of the north of Germany, and into the German part of Switzerland, where we also find at Roman-Motier a church, with other parts besides the tower, of Anglo-Saxon character".

• See Archæologia, vol. xxxvii. p. 253, 1857.

Remembering that a great part of Germany was converted to Christianity by English or Anglo-Saxon missionaries, it seems

189. Portion of the Tower of the Palace of Charlemagne, at Aix-laChapelle, shewing the Original Masonry.

probable that they brought their own style of church building with them. It may be, however, that both copied their earliest