Civic architecture took on the new style with a certain freedom, but religious architecture almost not at all. Possibly the[{54}] "Thirty Years' War" (1618-48) had somewhat to do with stunting its growth; certainly no church-building was undertaken in those years, and they were the very ones in which, elsewhere, the Renaissance was making its greatest headway.
Another very apparent reason is that, as the major part of the population became Protestant, the need of a beautiful church edifice itself, as a stimulus to the faith, had grown less and less. There was a steady growth, perhaps one may as well say a great development, in civil architecture throughout Germany at this time, but, to all intents and purposes, from the early seventeenth century onward, the founding and erecting of great churches was at an end.
If one would study the Renaissance in Germany he must observe the town halls of such cities as Cologne, Paderborn, or Nuremberg, or the great châteaux or castles, such as are best represented by ruined Heidelberg.
Of religious architecture Renaissance examples are practically lacking; the most convincing details along the Rhine being seen in the western tower of the cathedral at Mayence.[{55}]
At Hildesheim, at Nuremberg, and at Prague there are something more than mere "evidences" of the style, and throughout Germany, as elsewhere, there are many sixteenth and seventeenth century accessories, such as altars, baldaquins, tombs, and even entire chapels, which are nothing but Renaissance in motive and execution. But there are no great Renaissance ground-plans, façades, or clochers, which are in any way representative of the style which crept in to ring the death-knell of Gothic in France and England.
Perhaps it is for this reason alone that the great Gothic cathedral at Cologne was completed at a late day with no base Renaissance interpolation in its fabric.[{56}]
V
THE ACCESSORIES OF GERMAN CHURCHES
Up to the tenth century the German basilicas were but copies of the Roman variety. Even the great cathedral at Trèves, with its ground-plan a great square of forty metres in extent, was but a gross imitation of the Romanesque form of the sixth century.
Later, in the eighth century, came the modified Byzantine form which one sees at Aix-la-Chapelle.