A still better example is the cathedral at Bamberg, which, judging from its date, ought to be in the complete pointed style. Though its east end dates from 1220, and the west 1257, it is still so completely transitional, and the pointed form so timidly used, that in France it would certainly be said that there was a mistake of at least a century in these dates. It is nevertheless a very fine church; and its four elegant towers flanking the two apses give it a local and at the same time a dignified character which we often miss in the imitations of French churches, too common at this age. At Naumburg unfortunately only three towers exist, the fourth never having been erected, which considerably mars the effect when comparing it with the more complete edifice at Bamberg. Augsburg is another example of this class; although of good age, the rebuilding having commenced in 1366, it is one of the ugliest and worst-designed buildings in Germany, with nothing but its size to redeem it. It is peculiar in having a chevet at one end and an apse at the other. The principles of the French schools of art seem to have prevailed to a much greater extent in the North of Germany, and we have in consequence several churches of more pleasing design than those last mentioned. Among these is the cathedral at Halberstadt, a simple but beautiful church, not remarkable for any very striking peculiarities, but extremely satisfactory in general effect. The great church, too, at Xanten may be quoted as another very favourable specimen, though far more essentially German in its arrangement. The western front is older than the rest, and is German, wholly without French influence. It has no central entrance, but has two bold massive towers. The church behind these is of the latter part of the 13th and the 14th centuries. It is generally good in detail and proportion, but is arranged, as seen in the plan, in a manner wholly different from the French method, though in a form common in all parts of Germany. The polygonal form is retained both for the apse and for the chapels, but without adopting the chevet with its surrounding aisle, nor the absolute seclusion of the choir as a priestly island round which the laity might circulate, but within whose sacred precincts they were not permitted to enter. It is observable that in those districts where chevets are most frequent, generally speaking, the Catholic religion has had the firmest hold. On the other hand, where the people had declined to adopt that arrangement, it was a sign that they were ripe for the Reformation, which accordingly they embraced as soon as the standard of rebellion was raised. [Illustration: 757. Plan of Church of St. Victor at Xanten. Scale 100 ft. to 1 in.]