The Gothic church plainly originated in a rude adaptation of the forest trees, with all their boughs, to a festal or solemn arcade; as the bands about the cleft pillars still indicate the green withes that tied them. No one can walk in a road cut through pine woods, without being struck with the architectural appearance of the grove, especially in winter, when the barrenness of all other trees shows the low arch of the Saxons. In the woods in a winter afternoon one will see as readily the origin of the stained glass window, with which the Gothic cathedrals are adorned, in the colors of the western sky seen through the bare and crossing branches of the forest. Nor can any lover of nature enter the old piles of Oxford and the English cathedrals, without feeling that the forest overpowered the mind of the builder, and that his chisel, his saw and plane still reproduced its ferns, its spikes of flowers, its locust, elm, oak, pine, fir and spruce. The Gothic cathedral is a blossoming in stone subdued by the insatiable demand of harmony in man. The mountain of granite blooms into an eternal flower, with the lightness and delicate finish as well as the aerial proportions and perspective of vegetable beauty. In like manner all public facts are to be individualized, all private facts are to be generalized. Then at once History becomes fluid and true, and Biography deep and sublime. As the Persian imitated in the slender shafts and capitals of his architecture the stem and flower of the lotus and palm, so the Persian court in its magnificent era never gave over the nomadism of its barbarous tribes, but travelled from Ecbatana, where the spring was spent, to Susa in summer and to Babylon for the winter.