I do not wish to lay too much stress on any one of these points of resemblance: it is not to be expected that two churches, built by the same architect, so unlike in size, in position, and in dignity, should show anything more than some general resemblance of character; but I cannot help thinking, that when I have pointed to such a general agreement in the proportions, the materials, the sculpture, and the details, as we find at Stone and Westminster, it would be almost enough to decide the question, even without the final and (as it appears to me) conclusive evidence afforded by the all but exact identity of the cusping and the general similarity of design in the wall-arcades in the two churches, which must either have been copied one from the other, or designed by the same architect. II CHURCHES IN NORTHERN GERMANY (_From the Ecclesiologist, 1854–1857_) I THE CHURCHES OF LÜBECK Three old cities far apart, across the whole breadth of a continent, enable us to form a fair judgement of what the whole of Europe may have been in the palmy days of the Middle Ages. They are Lübeck, Nuremberg, and Verona; each telling its own tale, each marked with the impress of national peculiarity, and each remarkable, among other things, the one as the city of brick work, the next as that of stone, and the last as that of marble. In Lübeck nothing but brick was ever seen; in Nuremberg, stone was used with an excellence seldom rivalled; whilst in Verona, though brick was most beautifully used, the great aim of its architects was ever to introduce the marbles in which the district around it is so rich. Each of these cities deserves a full and ample study, for each teaches its own lesson, and that a lesson scarcely to be learnt elsewhere; and if this evening I give you such notes as I was able to make in the course of a short sojourn last autumn in Lübeck, it is not because I do not value Nuremberg and Verona much more, but because it would seem that if one were to write of all three, this is the one with which one should commence, as nearest to and most connected with our own country and style of architecture, and because its features of interest are in some degree less remarkable than those of the others, and one would wish to reserve the best for the last.