The leading principle of the style of the Gothic edifices was, not merely that the weights were supported, but that they were seen to be so; and that not only the mechanical relations of the larger masses, but of the smaller members also, were displayed. Hence we cannot admit, as an origin or anticipation of the Gothic, a style in which this principle is not manifested. I do not see, in any of the representations of the early Arabic buildings, that distribution of weights to supports, and that mechanical consistency of parts, which would elevate them above the character of barbarous architecture. Their masses are broken into innumerable members, without subordination or meaning, in a manner suggested apparently by caprice and the love of the marvellous. "In the construction of their mosques, it was a favorite artifice of the Arabs to sustain immense and ponderous masses of stone by the support of pillars so slender, that the incumbent weight seemed, as it were, suspended in the air by an invisible hand."[95\4] This pleasure in the contemplation of apparent impossibilities is a very general disposition among mankind; but it appears to belong to the infancy, rather than the maturity of intellect. On the other hand, the pleasure in the contemplation of what is clear, the craving for a thorough insight into the reasons of things, which marks the European mind, is the temper which leads to science. [Note 95\4: _Mahometanism Unveiled_, ii. 255.] 6. _Treatises on Architecture._--No one who has attended to the architecture which prevailed in England, France, and Germany, from the twelfth to the fifteenth century, so far as to comprehend its beauty, harmony, consistency, and uniformity, even in the minutest parts and most obscure relations, can look upon it otherwise than as a {249} remarkably connected and definite artificial system. Nor can we doubt that it was exercised by a class of artists who formed themselves by laborious study and practice, and by communication with each other. There must have been bodies of masters and of scholars, discipline, traditions, precepts of art. How these associated artists diffused themselves over Europe, and whether history enables us to trace them in a distinct form, I shall not here discuss. But the existence of a course of instruction, and of a body of rules of practice, is proved beyond dispute by the great series of European cathedrals and churches, so nearly identical in their general arrangements, and in their particular details. The question then occurs, have these rules and this system of instruction anywhere been committed to writing? Can we, by such evidence, trace the progress of the scientific idea, of which we see the working in these buildings?