much in its vicinity. The openings of this monstrous surface point to internal necessities, and according to these we can at once divide it into nine compartments. The great middle door, which opens into the nave of the church, first meets the eye. On both sides of it lie two smaller ones, belonging to the cross-ways. Over the chief door our glance falls upon the wheel-shaped window, which is to spread an awe-inspiring light within the church and its vaulted arches. At its sides appear two large, perpendicular, oblong openings, which form a striking contrast with the middle one, and indicate that they belong to the base of the rising towers. In the third story are three openings in a row, which are designed for belfries and other church necessities. Above them one sees the whole horizontally closed by the balustrade of the gallery, instead of a cornice. These nine spaces described are supported, enclosed, and separated into three great perpendicular divisions by four pillars rising up from the ground.
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.
