[Illustration: 708. Apse of the Apostles’ Church at Cologne. (From Boisserée.)] Of these, Sta. Maria in Capitolio (Woodcut No. 707) is apparently the oldest. It was originally erected by Plectrudis, wife of Pepin Heristall, in the year 700, but of that church nothing now remains. The nave was rebuilt apparently in the 11th century, and the choir, with its three noble apses, in the 12th, and perhaps even as late as the 13th century. In plan these apses are more spacious than those of the Apostles’ Church or of that of St. Martin (Woodcuts 708 and 709), this church alone having a broad aisle running round each, a feature which gives great breadth and variety to the perspective, but the apse of the Church of the Apostles (erected A.D. 1035) is far more beautiful externally. This latter building is perhaps, taken altogether, the most pleasing example of its class, externally at least. The whole design of the east end is quite complete, as we now see it, and is perfectly well balanced in all its parts. St. Martin’s, on the other hand (Woodcut No. 709), has more of the aspiring tendencies of the pointed style, and, though very elegant, its apsidal gallery is too small, and the whole design somewhat wire-drawn, while there is a solidity and repose about the design of the Apostles’ Church, and a perfect harmony among the parts, which we miss in the more modern example. These three churches, taken together, suffice probably to illustrate sufficiently the nature and capabilities of the style which we are describing. The triapsal arrangement possesses in a remarkable degree the architectural propriety of terminating nobly the interior to which it is applied. As the worshipper advances up the nave, the three apses open gradually upon him, and form a noble and appropriate climax without the effect being destroyed by something less magnificent beyond. But their most pleasing effect is external, where the three simple circular lines combine gracefully together, and form an elegant basement for any central dome or tower. Compared with the confused buttresses and pinnacles of the apses of the French pointed churches, it must certainly be admitted that the German designs are far nobler, as possessing more architectural propriety and more of the elements of true and simple beauty. The churches which possess this feature are small, it is true, and therefore it is hardly fair to compare them with such imposing edifices as the great and overpoweringly magnificent cathedral of the same town; but among buildings on their own scale they are as yet unrivalled. As these churches now stand, their effect is to some extent marred by the circumstance of their naves neither being sufficient in extent nor so ornamental as to support effectually the varied outline and rich decoration of the apse. Generally these are of a different age and of a less ornate style, so that the complete effect of a well-balanced