still Gothic in design--are the +Otto Heinrichsbau+ (1554) and the +Friedrichsbau+ (1601). The first of these appears somewhat simpler in its lines than the second, by reason of having lost its original dormer-gables. The orders, freely treated, are superposed in three stories, and twin windows, niches, statues, _gaînes_, medallions and profuse carving produce an effect of great gayety and richness. The Friedrichsbau (Fig. 192), less quiet in its lines, and with high scroll-gabled and stepped dormers, is on the other hand more soberly decorated and more characteristically German. The Schloss Hämelschenburg (Fig. 191) is designed in somewhat the same spirit, but with even greater simplicity of detail. [Illustration: FIG. 192.--THE FRIEDRICHSBAU, HEIDELBERG.] +TOWN HALLS.+ These constitute the most interesting class of Renaissance buildings in Germany, presenting a considerable variety of types, but nearly all built in solid blocks without courts, and adorned with towers or spires. A high roof crowns the building, broken by one or more high gables or many-storied dormers. The majority of these town halls present façades much diversified by projecting wings, as at Lemgo and Paderborn, or by oriels and turrets, as at +Altenburg+ (1562-64); and the towers which dominate the whole terminate usually in bell-shaped cupolas, or in more capricious forms with successive swellings and contractions, as at Dantzic (1587). A few, however, are designed with monumental simplicity of mass; of these that at +Bremen+ (1612) is perhaps the finest, with its beautiful exterior arcade on strong Doric columns. The town hall of Nuremberg is one of the few with a court, and presents a façade of almost Roman simplicity (1613-19); that at +Augsburg+ (1615) is equally classic and more pleasing; while at Schweinfurt, Rothenburg (1572), Mülhausen, etc., are others worthy of mention. +CHURCHES.+ +St. Michael’s+, at Munich, is almost the only important church of the first period in Germany (1582), but it is worthy to rank with many of the most notable contemporary Italian churches. A wide nave covered by a majestic barrel vault, is flanked by side chapels, separated from each other by massive piers and forming a series of gallery bays above. There are short transepts and a choir, all in excellent proportion and treated with details which, if somewhat heavy, are appropriate and reasonably correct. The +Marienkirche+ at Wolfenbüttel (1608) is a fair sample of the parish churches of the second period. In the exterior of this church pointed arches and semi-Gothic tracery are curiously associated with heavy rococo carving. The simple rectangular mass, square tower, and portal with massive orders and carving are characteristic features. Many of the church-towers are well proportioned and graceful structures in spite of the fantastic outlines of their spires. One of the best and purest in style is that of the University Church at Würzburg (1587-1600).