In general, the Gothic of this highly interesting church is of the best, though it dates from various periods. The primitive church,[{329}] 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.
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.[{330}]
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 church furnishings, a choir screen, some elaborate stalls, a little tapestry,—which looks well and is certainly old,—and a modern tiled floor which is not offensive.
As is frequently seen in Germany, the pillars and shafts have a series of statues superimposed upon them; always a daring thing to do, but in this case of far better execution and design than is frequently encountered. Before the church is a monument in honour of Cornelius de Pauw, the friend of the great Frederick, a canon of the church and a famous spiritual writer. He was born at Amsterdam in 1739 and died at Xanten in 1799.[{331}]
XXXII
ARNHEIM, UTRECHT, AND LEYDEN
Arnheim