broken by dormer windows, contrasting with the rows of
pointed-headed lights in the walls beneath, and lofty central tower of
ornate design, these noble buildings, of which those at Ypres, Bruges,
Brussels, Ghent, and Tournai are the best, are the chief pride of the
cities to which they belong. They rival in the affections of the people
even the cathedrals of contemporary date, although those of Antwerp,
specially noteworthy for its seven aisles, Louvain, the nave and
transepts of which, as already stated, are Romanesque, whilst the choir
is a fine specimen of Early Gothic, Brussels, Ghent, Louvain, and Liege
are all noble structures, resembling those of France in general plan,
though most of them are shorter and of greater width.

In Spain, as in France, Gothic architecture passed through three phases:
the first, that prevailed in the second half of the 12th and the first
of the 13th century, to a great extent the outcome of the Romanesque;
the second that succeeded it and lasted until the beginning of the 15th
century, distinguished by great dignity of structure and appropriateness
of ornamentation; the last, that prevailed until nearly the middle of
the 16th century, corresponding to a great extent with French
Flamboyant, though it lasted longer and was considerably modified by
Moorish influence.

To the first period of Gothic architecture in Spain belong the
Cathedrals of Santiago de Compostella, of cruciform plan with a vaulted
roof, semicircular headed arcades and windows, and an ornate western
facade recalling that of Chartres; Zamora, Taragona, and the older of
the two at Salamanca, the three last retaining the characteristic
cimborio, or low dome, already referred to in connection with Romanesque
work in Spain, rising from the intersection of nave and transepts, but
of more complex structure than in earlier examples, the ribs of the
vaulting being upheld by pendentives and the whole surmounted by a
secondary dome of considerable height pierced with windows, and at
Salamanca flanked by four circular towers. Unfortunately, in later
Spanish ecclesiastical architecture this beautiful feature was
abandoned, and the Cathedrals of Toledo, Leon, and Burgos are of the
French type, with chevets, double aisles, clustered pillars upholding
pointed arches, vaulted roofs, ornate decorative arcading, fine open
triforia, and lofty clerestories. The exterior of that of Burgos is
especially ornate, with three pinnacled towers,