The slope or pitch of the roof is in harmony with the pointed arches and lancet windows, and also the pyramidal towers or spires. The greatest possible difference is thus exhibited between the Norman Romanesque and the Early English Gothic. Although the ground plan is hardly altered in the latter style, the general lightness and soaring vertical character of almost every detail, and the multiplication of buttresses and pinnacles, give to the Gothic erections of this period a triumphal look of mastery over the material that in the science of building was hitherto unknown. The Early Pointed style in England is seen at its best in Lincoln, York, and Salisbury Cathedrals and in Westminster Abbey (Fig. 389). [Illustration: Fig. 389.—Westminster Abbey.] The Cathedral of Cologne founded by Conrad von Hochstaden—that wonderful and huge pile of Gothic architecture—belongs partly to the thirteenth but more properly to the fourteenth century, having its foundations laid in 1248 and consecrated in 1327. It has been added to considerably even until modern days. It presents a slightly wearisome repetition of parts, especially in the buttresses, pinnacles, and other vertical forms of the exterior, that in a measure robs it of some part of the grandeur and sublimity which we should naturally expect in an edifice of its size and proportions. It is based partly on the design of the great Cathedral of Amiens in France. The very rich canopies and windows of geometrical tracery (Fig. 390) are later than the thirteenth century, and correspond closely to the Decorated period in England (1270 to 1380). [Illustration: Fig. 390.—Window, Gable, and Parapet in Cologne Cathedral.] The interior of the Cologne Cathedral is strikingly illustrative of the real spirit of the Gothic style. The consistent unity and simplicity of its stupendous and upward-soaring nave, and its still simpler choir—which has only as its ornamental features the stringcourse below the triforium and the carved capitals of the shafts—combine to produce in the spectator that feeling of reverence and deep respect, not only for the sacred associations of the building, but for the great master-spirits who conceived the design, and who were able to work out to such a degree of perfection this great mathematical problem in stone. This triumphal achievement of “stylistic orthodoxy” on German soil is as much, if not more so than any other Gothic building in Germany, indebted to French inspiration and French models. There are also many other churches in Germany, in the country bordering on the Rhine—Strasburg Cathedral for instance—that have strongly marked features of the French ogival style. [Illustration: Fig. 391.—Porch of St. Lawrence, at Nüremberg.]