Notwithstanding all these defects, it is a glorious temple; but so mathematically perfect, that not one little corner is left for poetry, and it is consequently felt to be infinitely less interesting than many buildings of far less pretensions. Externally the proportions are as mistaken, if not more so than those of the interior; the mass and enormous height of the western towers (actually greater than the whole length of the building), now that they are completed, have given to the whole cathedral a look of shortness which nothing can redeem. With such a ground-plan a true architect would have reduced their mass one-half, and their height by one-third at least.[76] Besides its great size, the cathedral of Cologne has the advantage of having been designed at exactly the best age; while, as before remarked, the cathedrals of Rheims and Paris were a little too early, St. Ouen’s too late. The choir of Cologne, which we have seen to be of almost identical dimensions with that of Amiens, excels its French rival internally by its glazed triforium, the exquisite tracery of the windows, the general beauty of the details, and a slightly better proportion between the height of the aisles and clerestory. But this advantage is lost externally by the forest of exaggerated pinnacles which crowd round the upper part of the building, not only in singular discord with the plainness of the lower storey, but hiding and confusing the perspective of the clerestory, in a manner as objectionable in a constructive point of view as it is to the eye of an artist. Decorated construction is, no doubt, the great secret of true architecture; but like other good things, this may be overdone. One-half of the abutting means here employed might have been dispensed with, and the other half disposed so simply as to do the work without the confusion produced. When we turn to the interior to see what the vault is, which this mass of abutments is provided to support, we find it with all the defects of French vaulting—the ribs few and weak, the ridge undulating, the surfaces twisted, and the general effect poor and feeble as compared with the gorgeous walls that support it. Very judicious painting might remedy this to some extent; but as it now stands the effect is most unpleasing. [Illustration: 747. Western Façade of Cathedral of Cologne. (From Boisserée.)]