[Illustration: 783. Plan of Church at Roeskilde. (From Steen Friis.) Scale 100 ft. to 1 in.] [Illustration: 784. Frue Kirche, Aarhuus. (From Marryat’s ‘Jutland and the Danish Isles.’)] Its general dimensions, as shown in the plan (Woodcut No. 783), are 265 ft. long by 75 in breadth internally. The whole area is only about 24,000 sq. ft., and consequently not more than half that of most English cathedrals. From the elevation (Woodcut No. 784), it appears simple and elegant in its design, and contains the germ of much that is found afterwards in the churches of the neighbourhood, especially in the range of small gables along the side of the aisles, marking externally each bay of the nave.[87] This arrangement is almost universal in the North of Germany, but seldom, if ever, found in France or England. [Illustration: 785. Church of Kallundborg. (From Marryat’s ‘Jutland and the Danish Isles.’)] At Aarus is a somewhat similar church, commenced about the year 1200, but rather larger, being 300 ft. in length by 80 in breadth. In its present state, however, it is only a very ugly and uninteresting brick building in an indifferent state of repair.[88] The Frue Kirke, in the same town, is a far more pleasing specimen of art, and is a fine example of the style prevalent on the southern shores of the Baltic, from which province the design is evidently borrowed. Like every specimen of honest art, it is pleasing; but neither its form nor arrangement will bear any very close analysis. The cathedral at Ribe, on the northern limits of Schleswig, with an apse something like that of Lund Cathedral, but of slightly more modern date, and wanting the gallery under the roof, and the Cathedral of Viborg, rebuilt between 1130 and 1170, and said to be one of the finest specimens of Continental Norman, also deserve mention. Sometimes, we get a touch of originality even in this province, as in the church of Kallundborg (Woodcut No. 785), built in the form of a cross, with one square tower in the centre, and four octagonal towers, one at the end of each of the arms of the cross transept. Was it a caprice? or is it borrowed from any other form? Except in the Kremlin at Moscow, I do not know where to look for any such type, and even then the likeness is very remote. A larger octagon in the centre, with four square towers around it, must have been a happier arrangement, and, if properly subordinated, have formed a picturesque group. In this example the church itself is lost sight of, and the towers are not remarkable for beauty. GOTHLAND.