The Gothic cathedral, thus contemplated in its native character and principles--established in unmoved security by the very agency of those forces which tend most directly to destruction, displays an evidence of science, perhaps, when the times are considered, the most wonderful in the whole history of intelligence. Never have the stereometric precepts of building--one of the most difficult branches of the art, been better exhibited than in these piles. Mass counteracts mass,--the very confliction of downward efforts upholds the reed-like column, and hangs on high the ponderous vault. Self-balanced, the entire system contains within itself the essence of its own existence in the chain of means and end, of minute contrivance, and of one purpose. Yet amid all this no effort is apparent, even while the mind starts at the power of its own ingenuity over the properties of matter, and the laws of nature--the artist seems to sport with his subject, to tempt the prostration of his airy fabrics. Here come into aid the principles of Gothic ornament, than which nothing pertaining to the style more merits admiration, whether as enabling the architect to extend the fantasy of his plans, or still more as essentially producing those effects which these plans contemplate. In no system of architecture, the Grecian not even excepted, do the ornamental, so completely integrate and harmonize with the necessary modes. Ornament could not here be removed without destruction both of beauty and stability; it strengthens, yet conceals the necessity of support; and, like the garniture of herbage, and flower, and twining plant, upon the rugged face of earth, it spreads to the delighted eye its mazy error, where would else be only a frightful and unformed mass of nodding masonry. Such are the merits of Gothic architecture, examined in itself, and in reference to the times which gave it birth. Apart from these considerations, viewed as the object of refined perception or cultivated taste, the entire system is defective. In architecture, pleasurable emotion arises from a two-fold cause--the modes, and the associations of the art. In regard to the former, it may be laid down as an universal precept of taste, that in architecture, of all the arts, according to the exhibition of principle, and to the facility with which the mind conceives design, and traces intention, will be the mental pleasure produced by the work. This constitutes the very essence of exalted feeling in Greek art, which, grounded upon obvious principle, consonant with natural appearances, and pursuing beauty as a final aim, fills the mind with delight and admiration. In Gothic architecture, all this is reversed: its first principle is, to conceal all principle; to dazzle and to surprise by effects seemingly at variance with all the usual harmonies of things. Hence, on entering a Gothic edifice, though the mind, at first, be strongly affected by the magnitude and daring arrangement of the forms, where