Thomas’s Church as it is of Amiens Cathedral.  The method was the same for both, and the result was an art marked by singular unity, which endured and served its purpose until man changed his attitude toward the universe.  The trouble was not in the art or the method or the structure, but in the universe itself which presented different aspects as man moved.  Granted a Church, Saint Thomas’s Church was the most expressive that man has made, and the great Gothic cathedrals were its most complete expression.

Perhaps the best proof of it is their apparent instability.  Of all the elaborate symbolism which has been suggested for the Gothic cathedral, the most vital and most perfect may be that the slender nervure, the springing motion of the broken arch, the leap downwards of the flying buttress,—­the visible effort to throw off a visible strain,—­never let us forget that Faith alone supports it, and that, if Faith fails, Heaven is lost.  The equilibrium is visibly delicate beyond the line of safety; danger lurks in every stone.  The peril of the heavy tower, of the restless vault, of the vagrant buttress; the uncertainty of logic, the inequalities of the syllogism, the irregularities of the mental mirror,—­all these haunting nightmares of the Church are expressed as strongly by the Gothic cathedral as though it had been the cry of human suffering, and as no emotion had ever been expressed before or is likely to find expression again.  The delight of its aspirations is flung up to the sky.  The pathos of its self-distrust and anguish of doubt is buried in the earth as its last secret.  You can read out of it whatever else pleases your youth and confidence; to me, this is all.

THE END

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