Notwithstanding the beauty of the result, it may still be considered as open to discussion whether the English architects were always correct in adhering to length in preference to height as the modulus of their designs. When, however, we reflect how immensely the difficulties of constructing a stone roof are increased by every addition to the width or height of the vault, we cannot but acknowledge their wisdom in stopping at that point where sufficient spaciousness was attained, without increasing constructive difficulties. Nowhere in English cathedrals are we offended by mechanical _tours de force_. Everywhere there is sufficient solidity for security, and a consequent feeling of repose most conducive to true architectural effect. It may also be remarked that the strain of turning the head upwards detracts considerably from the pleasure of contemplating tall interiors, while the eye likes to dwell on long-drawn vistas which can be explored in a natural position. But, perhaps, the greatest advantage of moderate dimensions in section is that they do not dwarf either the worshippers or the furniture of the church. Everything in an English cathedral is in just proportion, which is certainly not the case in many Continental examples; and there is variety and a play of light and shade in the long aisles of our churches which is wholly wanting in French and German examples. Another point on which a difference of opinion may fairly exist, is whether the square termination of our cathedrals is or is not more beautiful than the apsidal arrangements so universal abroad. When, as at Salisbury, or Wells, or Exeter, there is a screen of open arches below the east window, it may safely be asserted that a polygonal termination would have been more pleasing; but when, as at York, or Gloucester, or Carlisle, the whole eastern wall is a screen of painted glass, divided by mullions and tracery of most exquisite design, judgment will probably go the other way. Such a window as that at York, 33 ft. in width by 80 ft. in height, is a marvellous creation, which few architectural developments in any part of the world can rival or even approach. On the whole, perhaps, the true answer to the question, is that, where a number of smaller chapels are wanted, the chevet form is the best and most artistic termination for a church; where these are not required, the square form is the most beautiful, because it is the most appropriate, and, like everything appropriate, capable of being made beautiful in the hands of a true artist. VAULTS. Whatever opinion may be formed as to the proportions of English cathedrals, or the arrangement of their plans, there can be no dispute as to the superiority of their vaults over those of all their Continental rivals. The reasons for this are various, and not very recondite. The most obvious is the facility of construction which arose from the moderation just pointed out in the section of our churches.