private residences and a few portals have Renaissance forms and bear dates running from 1521 to 1534 ; this last date is found on a remarkable tomb in the church of St. Elizabeth; the monument (Figure 41) bespeaks an already well advanced art. The pilaster-like projections above the columns and the peculiar arrangement of the arches between them are features that occur also in great edifices and are characteristic of the architecture of North Germany.
These reliefs, the object of which is to secure room to carry forward the bases of the columns sufficiently, are generally obtained in South Germany by means of consoles under the socle of the balustrade, a disposition which admits of the complete development of the archivolts; it may be seen in the courts of the Mint at Munich and of the old Castle of Stuttgart.
Silesia boasts of several monumental structures built by its princes, among others, the chateau of Liegnitz (1533) and the Piastenschloss at Brieg (1547), one of the most beautiful of German castles, with a rich fa(jade adorned with a profusion of statues, medallions and inscriptions, all of fine style and workmanship. The castle of Oels, of the second-half of the sixteenth century is also worthy of note. The city of Gorlitz abounds in Renaissance architecture ; the town-hall has a very handsome court, and the staircase, with a balcony from which to proclaim edicts, is a composition of marked originality; this portion was constructed in 1537 (Figure 42). Several interesting houses with Renaissance forms, erected between 1526 and 1540, are to be seen in the city.
Saxony, a duchy of advanced civilization and governed by an enlightened family favorable to the arts, early embraced the cause of the
explosion. The same prince erected the funerary chapel of the house of Saxony at Freiberg. An Italian artist named Nosseni directed the major part of the work.
Saxony at this period exercised a powerful influence over neighboring countries. Dresden still possesses a few interesting fragments of private architecture in several entrances, all presenting the same disposition of angles cut off and occupied by two niches forming seats. A circular oriel-window with a very rich frieze ornamented with figures of dancing children is likewise found here; oriels of this kind are also to he seen in the castles of Dresden and Torgau and in a private residence at Leipsic. This last city, as well as Altenburg, has preserved some remnants of its sixteenth-century dwellings : the picturesque town-hall is in a good style and is not devoid of interest.
Halle bears the stamp of the reign of the powerful bishop of Mayence and Magdeburg, Albert of Brandenburg (1513-1545), the one who erected the fountain at Mayence of which we have already spoken (Figure 26). He completely transformed the physiognomy of the ancient and wealthy city of Halle. lie tore
Fig. 43. Cemetery at Halle.
Reformation and took a leading part in the intellectual movement in Germany in the sixteenth century. The Renaissance appeared in 1530 in certain portions of the castle of Dresden. The castle of Torgau, built between 1532 and 1544, is likewise in the Renaissance style; it is one of the largest ducal palaces in Germany and the architecture is rich and elegant; a grand openwork staircase suggests French motives of the same period. There are also some beautiful portals and fine dormer-windows here.
Certain parts of the castle of Dresden, which exhibit a very pure style, were constructed in 1550. Architecture attained its highest development in Saxony between 1553 and 1586, under the reign of Duke Augustus ; it was he who completed the Dresden palace. He also built a pleasure castle in Dresden, which must have been one of the gems of Renaissance art; but unfortunately it was destroyed in 1747 by an
down churches and replaced them with others in the style of the times, that is, Gothic in construction and Renaissance in decoration. He was the originator of the market-place, one of the grandest squares in Germany, and was a most energetic and efficient patron of the arts.
In 1558 a two-story colonnade, forming a porch below and a loggia above, was added to the Gothic town-hall of Halle. The old town-halls of Bremen, Cologne, Lemgo, Halberstadt and many others were enriched by a similar addition during the Renaissance. In some cases this consisted of rows of arcaded galleries carried along the facade, as at Bremen, in others it was a monumental porch with two stories of arcades, as at Cologne, and in still others it was a less pretentious construction, as at Lemgo and Halberstadt. The loggia of the townhall of Halle was designed by Nicolas Hofmann, the architect of various other works there. We are indebted to him for the
These reliefs, the object of which is to secure room to carry forward the bases of the columns sufficiently, are generally obtained in South Germany by means of consoles under the socle of the balustrade, a disposition which admits of the complete development of the archivolts; it may be seen in the courts of the Mint at Munich and of the old Castle of Stuttgart.
Silesia boasts of several monumental structures built by its princes, among others, the chateau of Liegnitz (1533) and the Piastenschloss at Brieg (1547), one of the most beautiful of German castles, with a rich fa(jade adorned with a profusion of statues, medallions and inscriptions, all of fine style and workmanship. The castle of Oels, of the second-half of the sixteenth century is also worthy of note. The city of Gorlitz abounds in Renaissance architecture ; the town-hall has a very handsome court, and the staircase, with a balcony from which to proclaim edicts, is a composition of marked originality; this portion was constructed in 1537 (Figure 42). Several interesting houses with Renaissance forms, erected between 1526 and 1540, are to be seen in the city.
Saxony, a duchy of advanced civilization and governed by an enlightened family favorable to the arts, early embraced the cause of the
explosion. The same prince erected the funerary chapel of the house of Saxony at Freiberg. An Italian artist named Nosseni directed the major part of the work.
Saxony at this period exercised a powerful influence over neighboring countries. Dresden still possesses a few interesting fragments of private architecture in several entrances, all presenting the same disposition of angles cut off and occupied by two niches forming seats. A circular oriel-window with a very rich frieze ornamented with figures of dancing children is likewise found here; oriels of this kind are also to he seen in the castles of Dresden and Torgau and in a private residence at Leipsic. This last city, as well as Altenburg, has preserved some remnants of its sixteenth-century dwellings : the picturesque town-hall is in a good style and is not devoid of interest.
Halle bears the stamp of the reign of the powerful bishop of Mayence and Magdeburg, Albert of Brandenburg (1513-1545), the one who erected the fountain at Mayence of which we have already spoken (Figure 26). He completely transformed the physiognomy of the ancient and wealthy city of Halle. lie tore
Fig. 43. Cemetery at Halle.
Reformation and took a leading part in the intellectual movement in Germany in the sixteenth century. The Renaissance appeared in 1530 in certain portions of the castle of Dresden. The castle of Torgau, built between 1532 and 1544, is likewise in the Renaissance style; it is one of the largest ducal palaces in Germany and the architecture is rich and elegant; a grand openwork staircase suggests French motives of the same period. There are also some beautiful portals and fine dormer-windows here.
Certain parts of the castle of Dresden, which exhibit a very pure style, were constructed in 1550. Architecture attained its highest development in Saxony between 1553 and 1586, under the reign of Duke Augustus ; it was he who completed the Dresden palace. He also built a pleasure castle in Dresden, which must have been one of the gems of Renaissance art; but unfortunately it was destroyed in 1747 by an
down churches and replaced them with others in the style of the times, that is, Gothic in construction and Renaissance in decoration. He was the originator of the market-place, one of the grandest squares in Germany, and was a most energetic and efficient patron of the arts.
In 1558 a two-story colonnade, forming a porch below and a loggia above, was added to the Gothic town-hall of Halle. The old town-halls of Bremen, Cologne, Lemgo, Halberstadt and many others were enriched by a similar addition during the Renaissance. In some cases this consisted of rows of arcaded galleries carried along the facade, as at Bremen, in others it was a monumental porch with two stories of arcades, as at Cologne, and in still others it was a less pretentious construction, as at Lemgo and Halberstadt. The loggia of the townhall of Halle was designed by Nicolas Hofmann, the architect of various other works there. We are indebted to him for the