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white freestone. It was built at the suggestion and expense of the citizens 
of Munich, and has an inscription in the interior to that effect. 
5. Taz Werper Cuvrce inv Beri. As Leo v. Klenze and Fr. vy. 
Gartner were the animating principles of architectural progress in Munich, 
so was Frederick Schinkel its genius in Berlin; and as they ornamenied 
Bavaria, so did he Prussia, with buildings that indicate a pure sense of art, 
and the fruitful and earnest study of the architecture of all times and 
people. Schinkel’s designs are diffused thoughout Germany, although Ber- 
lin is considered richest in them, and his school of architecture has sent 
forth a number of pupils who zealously strive to imitate his noble example. 
The design for the Werder Church, of which jig. 3 gives a perspective view 
from the south-west, was made in 1895, and was soon executed. The means 
appropriated for the building allowed wale very simple forms in the exterior. 
Yet it lacks not ornament from the sculptures in burnt clay and moulded 
cornice-stones. Over the portal stands, after a design of Schinkel’s, the 
archangel Michael, modelled by Wichmann, and the capes also are finely 
executed in burnt dee The interior of the church has a single aisle with 
five cross-vaults up to the high choir, which has a star-shaped vault of 
remarkable breadth and height, and vials a lofty and pleasing impression. 
It is beautifully decorated with oil paintings by Begas, Schadow, and Wach. 
The entire building is exclusively of brick, and not plastered. 
6. Tae Garrison Cuurca at Porspam. This was also designed by 
Schinkel. It was originally intended to be only a substructure of square 
ground plan (pl. 48, jig. 7), with a portico and a semicircular apsis support- 
ing a drum surrounded by a peristyle, and having a double dome. The 
bells were to hang in the belfries forming the front corners of the ground plan 
with a fore hall between them, which were not to be higher than the sub- 
structure. The four corners were to be adorned with sculptures, statues of 
angels, and candelabra; but as it was found that the bells did not sound 
loud enough, the two small corner towers were made higher, and thus the build- 
ing received the facade which jig. 8 represents. There are no columns in 
the interior of the church, except in the three cross-arms arising from the 
jnclosure of the two corner towers, and the corresponding sacristy and con- 
fessional in the rear corners, where galleries are supported by light columns. 
The square of the church has a side of 135 feet, and the whole height to the 
wings of the angel upon the lantern is 232 feet, to the vertex of the dome 
only 200 feet. 

ARCHITECTURE, 
D. England. 
When the English deserted the pointed-arch style and returned to the 
antique, Palladio became their model, and they have many buildings erected 
entirely according to his rules. We have selected for representation the 
most interesting edifice of this period, second in the whole world only to 
St. Peter’s in Rome. 
Sr. Pavi’s Cuvrcn 1x Lonnon. Sir Christopher Wren (born 1632, died 
1728) is justly reckoned among the most famous architects. He devoted 
himself with such zeal to mathematics, that in his 25th year he lectured 
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