Now, as it cannot be denied that there is in the whole mass a fine proportion of height to breadth, so also in the details it maintains a somewhat uniform lightness by means of these pillars and the narrow compartments between them.

But if we adhere to our abstraction, and imagine to ourselves this immense wall without ornaments, with firm buttresses, with the necessary openings in it, but only so far as necessity requires them, we even then must allow that these chief divisions are in good proportion:  thus the whole will appear solemn and noble indeed, but always heavily unpleasant, and, being without ornament, unartistical.  For a work of art, the whole of which is conceived in great, simple, harmonious parts, makes indeed a noble and dignified impression; but the peculiar enjoyment which the pleasing produces can only find place in the consonance of all developed details.

And it is precisely here that the building we are examining satisfies us in the highest degree, for we see all the ornaments fully suited to every part which they adorn:  they are subordinate to it, they seem to have grown out of it.  Such a manifoldness always gives great pleasure, since it flows of its own accord from the suitable, and therefore at the same time awakens the feeling of unity.  It is only in such cases that the execution is prized as the summit of art.

By such means, now, was a solid piece of masonry, an impenetrable wall, which had moreover to announce itself as the base of two heaven-high towers, made to appear to the eye as if resting on itself, consisting in itself, but at the same time light and adorned, and, though pierced through in a thousand places, to give the idea of indestructible firmness.

This riddle is solved in the happiest manner.  The openings in the wall, its solid parts, the pillars, every thing has its peculiar character, which proceeds from its particular destination:  this communicates itself by degrees to the subdivisions; hence every thing is adorned in proportionate taste, the great as well as the small is in the right place, and can be easily comprehended, and thus the pleasing presents itself in the vast.  I would refer only to the doors sinking in perspective into the thickness of the wall, and adorned without end in their columns and pointed arches; to the window with its rose springing out of the round form; to the outline of its framework, as well as to the slender reed-like pillars of the perpendicular compartments.  Let one represent to himself the pillars retreating step by step, accompanied by little, slender, light-pillared, pointed structures, likewise striving upwards, and furnished with canopies to shelter the images of the saints, and how at last every rib, every boss, seems like a flower-head and row of leaves, or some other natural object transformed into stone.  One may compare, if not the building itself, yet representations of the whole and of its parts, for the purpose of reviewing and giving life to what I have said.  It may seem exaggerated to many; for I myself, though transported into love for this work at first sight, required a long time to make myself intimately acquainted with its value.