"The famous Cathedral of Cologne, one of the masterpieces of the German School, is a direct emanation from French tradition. The choir is a replica of that of Amiens; it was dedicated in 1322, after which the work of nave and transepts was carried on continuously; the nave measures 43 feet in width, and 140 in height; the total length of the church is 503 feet. The two towers of the west front have been completed in our own times--from the original designs, it is said. The general effect, whether of interior or exterior, is certainly not equal to that of the finest French cathedrals, but the style is rich and pure, and touches perfection in the treatment of details."[15] [15] W. Lübke, _Essai d'Histoire de l'Art_. In Scandinavian countries French art, which had already manifested itself at Ripen in Jutland during the so-called Romanesque period, gives us a fresh instance of its expansive power in an important Swedish building which dates from the end of the thirteenth century. The Cathedral of Upsala has this peculiarity, that it was designed and even begun by a French architect, one Estienne de Bonneuil, who, on 30th August 1287, received the royal authority to betake himself to Upsala to construct the cathedral.[16] [16] Charles Lucas, _Les Architectes français à l'Étranger_ (from the journal, _L'Architecture_). In Spain the chief monuments of thirteenth-century Gothic architecture which betray the influence of France are the great five-aisled Church of Toledo, the cathedral at Badajoz, and the front of St. Mark's at Seville. French influence again is manifest in the cathedrals of Léon, of Palencia, of Oviedo, of Pampeluna, of Valencia, and of Barcelona, founded at the end of the thirteenth century and continued in the fourteenth, as well as in the churches of Torquemado, Bilbao, Bellaguer, Monresa, and Guadalupe, all dating partly from the fourteenth century. The Cathedral of Burgos, begun in the first half of the thirteenth century, shows a striking analogy with French buildings of about the same period in the plan and construction of its flying buttresses and windows as well as in the decorative sculpture of its portals. The lower stories of the west front seem to date from the fourteenth century, but the openwork spires which crown it were not finished until the fifteenth. In this curious building we find elements taken from France, mingled with decorative passages of pure Italian, and with others characteristically Spanish in their use of motives only to be explained by the vitality of the Saracenic traditions. [Illustration: 66. BURGOS CATHEDRAL. WEST FRONT]