Architecture

Romanesque architects concentrated on building large churches with wide aisles to accommodate the masses. Identifiable features include rounded arches, thick walls, small windows, huge piers, tall towers, dual chancels, and blind arcades.

The best examples include Mainz's Dom, which looks more like a castle fortress than a church; Worms's Dom St. Peter, with a dual-chancel arrangement and two imposing facades; and Speyer's Kaiserdom, the largest cathedral in Germany, a four-towered Romanesque basilica with dwarf galleries and blind arcades.

Gothic (13th-16th C.)

Ceilings began to soar with Gothic architects; walls became thinner, and windows -- often stained glass -- proliferated. On the exterior, graceful buttresses and soaring spires rose over a town. Pointed arches, it was discovered, carried more weight than rounded ones. Other features included cross vaulting, a facade flanked by two towers, flying buttresses, spires, gargoyles, and delicate, lacy spider tracery.

The best examples of Gothic include Cologne Cathedral, Germany's finest, at once massive and graceful; Freiburg Cathedral, built almost entirely during the Middle Ages; and Ulm Münster, second in size only to Cologne's cathedral, Ulm's Münster sports the world's tallest spire -- though it did take 500 years to complete. The best-preserved town centers with Gothic-style houses and buildings include Rothenburg ob der Tauber, Goslar, Regensburg, and Tübingen.

Renaissance (Late 15th through mid-17Tth C.)

Germany was so busy with the Reformation that the country had little time for the Renaissance, which really only had an effect in southern Germany (transalpine influences from Italy) and a few isolated examples in the far north (influences from Flemish and Dutch neighbors). Other than a close eye to the Renaissance ideals of proportion, symmetry, and the Classical orders (distinguished by the use of three column capitals: Corinthian, Ionic, and Doric), little specifically identifies Italianate Renaissance buildings.

Weser Renaissance was a late-16th- and early-17th-century style prevalent in Lower Saxony, distinguishable on houses by pinnacled gables (the triangular upper portion of a wall at the end of a pitched roof), heavy scrollwork, elaborate dormers (an upright window projecting from a sloping roof), rounded pediments (a low-pitched feature above a window, door, or pavilion), and decorative stone bands.

Celle is the best preserved town center in the Weser Renaissance style, including its moated Herzogschloss. The Pied Pier town of Hameln has several fine Weser Renaissance houses, including the Rattenfängerhaus, Hochzeitshaus, and Dempterscheshaus. The only solidly Renaissance church in Germany is Michaelskirche in Munich, built 1583 to 1597 by Jesuits to resemble their church in Rome.

Baroque & Rococo (17th-18th C.)

With a seamless meshing of architecture and art, the German baroque flourished in the south and in Lower Saxony. Germany's brand of over-the-top, baroque chaos worked better perhaps than in any other country. Whereas rococo is usually used as a derogatory term for the baroque gone awry into the grotesque, in Germany the rococo actually succeeds (sometimes). Baroque lines follow a complex geometry and interplay of concave and convex surfaces. The overall effect is to lighten the appearance of structures and add movement of line and vibrancy to the static look of the Renaissance.

The best example of a baroque palace is the Residenz in Würzburg (1720-44), designed by Balthasar Neumann, including a monumental staircase under the world's largest ceiling fresco by the Italian master Tiepolo. Frederik the Great's Sans Souci Palace at Potsdam (1744-1860) is one of Europe's best examples of the rococo.

Jean François de Cuvilliés (1698-1767), a French dwarf, was originally the elector of Bavaria's court jester until his talent for architecture was recognized. After schooling in France, he returned to Munich to craft its greatest rococo monuments, including the jewel box of the Residenz's Altes Residenztheater, which now bears his name, and the facade of the baroque Theatinerkirche. His masterpiece is Schloss Nymphenburg's Amalienburg hunting lodge, which became a model for palaces across Europe.

Neoclassicism & Romantic (mid-18th through 19th C.)

As a backlash against the excesses of the baroque and rococo, by the middle of the 18th century architects began turning to the austere simplicity and grandeur of the Classical Age and inaugurated the neoclassical style. Their work was inspired by the rediscovery of Pompeii and other ancient sites. However, many of their interiors continued to be rococo, though more muted than before. The sterility of German neoclassicism didn't last long, however, and the 19th century left the increasing nationalist German society looking into its own past for inspiration, kicking off the neo-Gothic Romantic Movement.

The Prussians remade Berlin in a neoclassical image, starting with the Brandenburger Tor and moving on to the buildings of Karl Friedrich Schinkel (1781-1841), among which Altes Museum, Schloss Charlottenhof, and Nikolaikirche are his best. There's a museum devoted to him called the Friedrichswerdersche Kirche-Schinkelmuseum. In Munich, Ludwig I had Leo von Klenze lay out neoclassical structures across his "new Athens," including those surrounding Königsplatz and the nearby Alte and Neue pinakotheks. Caught up in Wagner's dramatic operas set in the heroic Middle Ages, "Mad" King Ludwig II was the ultimate Romantic, building for himself a series of faux medieval fairy-tale castles, including Herrenchiemsee's Neues Schloss and the incomparable fantasy of Neuschwanstein Castle, a festival of banner-fluttering towers and battlements right out of a Brothers Grimm folk tale, its entire setting chosen solely for its picture-postcard perfection.

20th-Century German Architecture

Germany's take on the early-20th-century Art Nouveau movement was called Jugendstil. The Bauhaus was a 1920s avant-garde school of architecture led by Walter Gropius (1883-1969) that combined industrial-age architecture with art and craft to create functional buildings and furnishings. Among its chief designers and institute teachers were Marcel Breuer, Wassily Kandinsky, Oskar Schlemmer, and Paul Klee. The Nazis closed the school down in 1933, though it was reborn in Chicago. Jugendstil houses and hotels exist across Germany, but the movement took its name from Jugend magazine published in the Schwabing district of Munich, where many buildings in the style survive. Munich is also home to the Jugendstil Museum in the Stuck-Villa, a hybrid neoclassical/Jugendstil (Art Nouveau) structure. Bauhaus structures, too, pepper Germany in unobtrusive ways, often in city outskirts. One fine example includes Berlin's Die Siemensstadt, the first modern housing complex, built with long "slab" blocks by Walter Gropius (the founder of the Bauhaus movement). Berlin also has the Bauhaus-Archiv Museum für Gestaltung, devoted to Bauhaus drawings, photographs, and some design examples.