The rows of columns in a Greek temple, the clusters of vertical lines in a Gothic cathedral interior, are instances of the sublimity and power they possess.  The necessary play that makes for vitality—­the “dither” as we called this quality in a former chapter—­is given in the case of the Greek temple by the subtle curving of the lines of columns and steps, and by the rich variety of the sculpture, and in the case of the Gothic cathedral by a rougher cutting of the stone blocks and the variety in the colour of the stone.  But generally speaking, in Gothic architecture this particular quality of “dither” or the play of life in all the parts is conspicuous, the balance being on the side of variety rather than unity.  The individual workman was given a large amount of freedom and allowed to exercise his personal fancy.  The capitals of columns, the cusping of windows, and the ornaments were seldom repeated, but varied according to the taste of the craftsman.  Very high finish was seldom attempted, the marks of the chisel often being left showing in the stonework.  All this gave a warmth and exuberance of life to a fine Gothic building that makes a classical building look cold by comparison.  The freedom with which new parts were built on to a Gothic building is another proof of the fact that it is not in the conception of the unity of the whole that their chief charm consists.

On the other hand, a fine classic building is the result of one large conception to which every part has rigorously to conform.  Any addition to this in after years is usually disastrous.  A high finish is always attempted, no tool marks nor any individuality of the craftsman is allowed to mar the perfect symmetry of the whole.  It may be colder, but how perfect in sublimity!  The balance here is on the side of unity rather than variety.

The strength and sublimity of Norman architecture is due to the use of circular curves in the arches, combined with straight lines and the use of square forms in the ornaments—­lines possessed of least variety.

All objects with which one associates the look of strength will be found to have straight lines in their composition.  The look of strength in a strong man is due to the square lines of the contours, so different from the rounded forms of a fat man.  And everyone knows the look of mental power a square forehead gives to a head and the look of physical power expressed by a square jaw.  The look of power in a rocky landscape or range of hills is due to the same cause.

[Illustration:  Plate XXXII.

When the Almighty was yet with me, when my children were about me. (Plate II, Blake’s Job)

With dreams upon my bed Thou scarest me, and affrightest me with visions. (Plate XI, Blake’s Job)

     Printed the wrong way up in order to show that the look of horror
     is not solely dependent on the things represented but belongs to
     the rhythm, the pattern of the composition.