One of the doorways of the cathedral of Basle (Woodcut No. 723) is in the same style, and perhaps even more elegant than that of Zurich. Both in the simplicity of its form and in the appropriateness of its details it is quite equal to anything to be found in Italy of the 11th or 12th century. Its one defect, as compared with Northern examples, is the want of richness in the archivolts that surmount the doorway. But, on the other hand, nothing can exceed the elegance of the shafts on either side, the niches of the buttresses, or of the cornice which surmounts the whole composition. These details of the Swiss buildings are well worthy of the most attentive consideration, inasmuch as they equal those of Provence or the North of Italy in elegance of feeling and design, while they are free from the classical trammels which so frequently mar their appropriateness in those provinces. In Switzerland they are as original as in Northern Germany, and as picturesque, while they are free from the grotesqueness that so frequently mars the beauty of even the best examples in that country. CHAPTER III. CIRCULAR CHURCHES. CONTENTS. Aix-la-Chapelle—Nymwegen—Fulda—Bonn—Cobern. IF we are fortunate in having the St. Gall plan and Reichenau cathedral with which to begin our history of the basilican-formed churches in Germany, we are equally lucky in having in the Dom at Aix-la-Chapelle an authentic example of a circular church of the same age. As Emperor of the Romans, Charlemagne seems to have felt it necessary that he should have a tomb which should rival that of Augustus or Hadrian, while, as he was a Christian, it should follow the form of that of Constantine, or the most approved model of the circular church, which was that which had been elaborated not very long before at Ravenna. Though its design may have been influenced by Romano-Byzantine examples to some extent, the general arrangement of the building, and its details exhibit an originality which is very remarkable. The mode in which the internal octagon is converted into a polygon of sixteen sides, the arrangement of the vaults in both storeys, and the whole design, are so purely Romanesque in form, that it must be far from being the first example of its style. It is, however, the oldest we possess, as well as the most interesting. It was built by the greatest man of his age, and more emperors have been crowned and more important events have happened beneath its venerable vaults than have been witnessed within the walls of any existing church in Christendom. Notwithstanding the doubts that have been thrown lately on the fact, I feel convinced that we now possess the church of Charlemagne in all essential respects as he left it.[70] The great difficulty in fixing its age appears to arise from the circumstance that most of its architectural ornaments have been painted