True, it has been mooted whether the bulging is not an incidental consequence of a peculiar method of building, but this idea is not commonly accepted, nor does it seem to satisfy the conditions of the problem. Sometimes, as in the Lincolnshire spires of Caythorpe and Welbourn, and of Glinton (Northants), the limit just given is greatly exceeded, with results not at all pleasing to the eye[593]. Caythorpe spire, once grotesque with its “sugar loaf” protuberance, exhibits the familiar curve even after being shortened and rebuilt[594]. That there appears to be an artistic necessity for the convex treatment, or for some equivalent device, is exemplified once more in the steeple at Louth. There, the impression of concavity is prevented by increasing the projection of the crockets about one-third of the way up the spire[595]. Again, there is the artistic disposition and gradation of ornament, the delicate, enriched carvings being reserved for the parts of the building near the eye, while a “greater effective quantity” is provided in the upper parts, as on pinnacles and parapets. Perhaps the reader will admit that there is no need to press further the plea of aesthetic artifices on the part of the early builders. It is, at least, conceivable that our English masons understood the value and charm of subtle suggestions of spaciousness and mystery. To elaborate their art, and to conceal it, and to keep “This modest charm of not too much, Part seen, imagined part,” may well have been one of the golden rules of the Gothic architect. For the trained eyes of the sympathetic beholder admire “both what they half create, and half perceive,” and they will find privileged pleasures in sublimities of form and colour. Nevertheless, in the absence of positive testimony that our early builders were actuated by artistic principles such as those just described, there is no justification for putting the case a whit more strongly. Is there, indeed, any evidence at all for the intentional designing of deflected churches? St Charles Borromeo (A.D. 1538-1584) has been cited as recommending deflection towards the South, if deflection be necessary[596]. The reference is probably the result of misunderstanding St Charles’s meaning, and, in that case, the claim is vitiated. What the writer actually required was, that the High Chapel (cappella) should look directly East, equinoctial East. Should dwellings exist which obscured the view, that fact did not relieve the builder of his responsibility. If the axis of the building must be turned, it should be towards the South, and not towards the North. The passage seems to allude to the church as a whole, not to the High Chapel, but I admit that there is some little ambiguity[597].