In Saxony there are many beautiful though no very extensive examples of the German style. Among these the two ruined abbeys of Paulinzelle and Bürgelin, neither of them vaulted churches, are remarkable for the simple elegance of their forms and details, showing how graceful the style was becoming before the pointed arch was introduced. The church at Wechselburg is also interesting, though somewhat gloomy, and retains a rood-screen of the 12th century (Woodcut No. 714), which is a rare and pleasing example of its class. The church at Hechlingen also deserves mention, and the fragment of the abbey at Göllingen is a pleasing instance of the pure Italian class of design sometimes found in Germany at this age. Its crypt, too (Woodcut No. 715), affords an example of vaulting of great elegance and lightness, obtained by introducing the horse-shoe arch, or an arch more than half a circle in extent, which takes off the appearance of great pressure upon the capital of the pillar, and gives the vault that height and lightness which were afterwards sought for and obtained by the introduction of the pointed arch. It is still a question whether this was not the more pleasing expedient of the two. There was one objection to the use of this horse-shoe shape, that considerable difficulty arose in using arches of different spans in the same roof, which with pointed arches became perfectly easy. [Illustration: 716. Façade of the Church at Rosheim. (From Chapuy.)] Another example, of more Lombardic design however, is found in the church of Rosheim in Alsace, the façade of which (Woodcut No. 716) belongs as much to Verona as to this side of the Alps. Its interior is of pleasing design, though bolder and more massive than the exterior would lead us to expect. The façade of the church of Marmoutier in the same province, and of the cathedral of Gebweiler, are two examples—very similar to one another—of a compromise between the purely German and purely Italian styles of design. The small openings in the former look almost like those of a southern clime, but in its present locality give to the church an appearance of gloom by no means usual. Still it has the merit of vigorous and purpose-like character. [Illustration: 717. Church at Marmoutier (Maarmünster). (From Chapuy.)] At Bamberg the church of St. Jacob is well worthy of attention, and the Scotch church at Ratisbon is one of the best specimens in Germany of a simple basilica without transepts or towers. Its principal entrance is a bold and elegant piece of design, covered with grotesque figures whose meaning it is difficult to understand. Had it been placed at the end of the church, it might have formed the basis of a magnificent façade; but stuck unsymmetrically on one side—as is so usual in Germany—it loses half its effect, and can only be considered as a detached piece of ornamentation, which is here—as it generally is—fatal to its effect as an architectural composition.