I ought to have observed, in speaking of some examples of apses with aisles, that even in these, the treatment was essentially German. The two churches at Nuremberg are examples which, as the aisles are of the same height as the choir, and the whole roofed over with one immense roof, present the appearance on the exterior of immense apses without aisles. And certainly there is great grandeur of effect in such a termination, though less structural truth, and less internal variety and beauty. Still, they are admirable departures from ordinary rules. The churches at Münster, S. Stephen at Vienna, Munich cathedral, Landshut, and the Wiesen-Kirche at Soest, are examples of the same kind of design. They have a very fine effect of simple unbroken height, but the absence of the triforium and clerestory is not forgiven, whilst the plan helped to develop that German extravagance of proportion in the length of the window monials which we so often have to deplore. And here I must not forget to tell you of the cathedral at Aix-la-Chapelle, and the church of S. Gereon, at Cologne, in which the naves are circular and decagonal, of great size and grand effect, with long choirs running out to the east. In the earlier churches western transepts are also not uncommon, as at S. Cunibert, S. Andrew, and S. Pantaleon at Cologne, S. Paul at Worms, Mayence, and many other examples; whilst towers of small size were commonly placed in the re-entering angles, between the nave, and choir, and transepts, as well as over their intersections. Lastly, there is a plan of common occurrence, especially among smaller churches, in which the main building is a large and lofty parallelogram, with a small apse tacked on at the end, without any regard to proportion. There are two or three of these churches in Nuremberg, and many elsewhere. I have detained you for a long time on the subject of ground-plans, but it is one of importance to the right understanding of any style of church architecture, and it was not possible therefore to pass it over. I will now ask you to consider, a little in detail, the characteristics of the early German work. I do not intend to go thoroughly into the question of pure Romanesque work, for which I have no time. I am dealing with pointed architecture, and must confine myself as much as possible to it only. We may take the early churches at Cologne, and along the banks of the Rhine, as examples of the kind of work which is perhaps the most interesting, and very thoroughly German in all its characteristics. It was derived, as I have no doubt, from the churches in Lombardy, with which it has very many features absolutely identical. The churches at Pavia are beyond all question the prototypes of those at Cologne; but it is to be observed that their scale is smaller, and, their effect certainly not so fine.