History of mediæval art . ion ofthe nave. The ends of thebuilding were thus renderedalmost entirely exception of the chapels,which in St. Yved are semicir-cular, the similarity of plan isfar greater than that betweenthe choirs of Magdeburg andSoissons. The copy is not soclose in the elevation {Fig. 344).The German architect followednative traditions in the intro-duction of Romanic portals, andshowed his wide acquaintancewith the cathedrals of Franceby the adoption of details fromRheims and Paris, which he com-bined with taste and understand-ing. The choice of a smallchurch in
History of mediæval art . ion ofthe nave. The ends of thebuilding were thus renderedalmost entirely exception of the chapels,which in St. Yved are semicir-cular, the similarity of plan isfar greater than that betweenthe choirs of Magdeburg andSoissons. The copy is not soclose in the elevation {Fig. 344).The German architect followednative traditions in the intro-duction of Romanic portals, andshowed his wide acquaintancewith the cathedrals of Franceby the adoption of details fromRheims and Paris, which he com-bined with taste and understand-ing. The choice of a smallchurch in a provincial town asa model, instead of one of thechief monuments of the FrenchGothic, is explicable by the factthat the architect of Treves was called upon to erect a churchof subordinate importance, not a cathedral; and furthermore, bythe consideration that the choir of St. Yved, exceptional amongthose of France, bore a certain resemblance to the terminationspreviously in use among the Germans. If, as is not improbable,. Fig. 342.—System of the Church of St. Georgeat Limburg on the Lahn. GERMANY. 545 the cloister of the Cathedral of Treves is a work of the same de-signer, it would appear that he did not always go so far in theadoption of Gothic details. Although the example of Treves was not without influence uponthe contemporary architecture of Germany,—as is proved by the
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