ARCHITECTURE. 139 
and therefore had intentionally built this tower oblique. An inscription is 
said to have been found in the tower, running thus: Walhelmus, Ginipon- 
tanus, obliquus, obliqui vindex (Wilhelm, of Innsbruck, the deformed, vindi- 
cates deformity). Wiebeking, however, who has carefully surveyed the 
entire structure, is of opinion that its obliquity is owing to the ground’s 
having given way, and that a counterpoise had been attained by filling 
part of the interior with a mass of earth. 
We will now examine a few buildings of the Byzantine style in Germany, 
showing the changes it there underwent, and its gradual approximation to 
the German style. 
The cathedral of Bonn (pl. 30, jig. 9a, plan; jig. 96, perspective view 
from north-east) is a remarkable building of this class. It is said to have 
been originally built by order of Helena, mother of Constantine, and dedi- 
cated by her to the martyrs Cassius ‘and Florentius,in the year 319. The 
present structure, which bears traces of the old arrangement in several 
parts, especially on the south side of the choir, was commenced in the 
eleventh century, and the central spire was finished in 1177 by Gerhard 
von Sayn. The ground plan forms a long quadrangle divided into three 
unequal naves. The eastern extremity is beeapicd by a long choir, a semi- 
circular sanctuary, and two attached spires. The transept below the choir 
is short, and terminates in polygons at both ends. The octagon at the point 
of meceeeLion of nave and transept designates the position of the principal 
spire, which contains the belfry. The principal entrance, at the western 
end of the church, is flanked by two small round spires. The interior of 
this cathedral exhibits uncommon boldness. Its outlines are of unparalleled 
purity; the arrangement of tiers upon tiers of columns and arches is 
exceedingly graceful. The spires are perfectly proportioned and governed 
by the bold centre spire. These combined merits make the cathedral of 
Bonn an object of universal admiration. The semicircular wall of the 
sanctuary has under its cornice, which rests on consoles, a beautiful gallery 
formed by arches. Under it are the large windows through which the choir 
is lighted. Under the choir is acrypt. The sides of the naves have pointed 
arches, whilst the spires and the polygonal walls of the transept exhibit the 
true By zantine round arches, surmounted by cornices between the tiers ae 
columns. 
The effect of the interior is not less striking. The naves have round- 
arched ceilings resting on thick pillars and on the side walls. The thick- 
ness of the pillars is disguised by two tiers of columns placed in front of 
them. Those of the lower tier are connected by round arches, the upper 
ones by pointed and divided arches. The imposing effect of the church is 
owing to the coldness of the stonework rather than to decoration, in which 
the cathedral is much less rich than the Italian buildings of the same 
period. Its principal features are pertectly Byzantine, especially the 
arrangements of columns over one another. The mixed application of 
round and pointed arches, though attempted with surprising skill, and 
pleasing in effect, shows a want of unity in the construction which would 
seriously disturb the excellence of the building, were it not counterbalanced 
139 
