There are, of course, in all styles of architecture decorations of a merely gratuitous kind, and when largeness of means leads to profusion, they are likely to be carried to excess; but in Gothic architecture of the best periods the beauty of a building (after good proportion, outline, etc., are secured) depends not on this deliberate ornamentation, but on the artistic treatment of the necessary features. Whatever parts were dictated by practical necessity were the chief objects on which decoration was expended, and to which the architect trusted for the beauty of his building. More especially was it, _par eminence_, a _window_ style. Of all the objects provided for, the _admission of light_ was the first and chiefest; accordingly, the window was made, both within and without, the leading source of beauty. It is by the design of the _windows_ that we define the gradations of style. It is chiefly by the _windows_ that we describe a building, and the first question asked about a Gothic building generally relates to its _windows_. On them, therefore, was expended a large portion of the architectural decoration. How marvellous, then, is the inconsistency which we meet with!--people with one breath objecting to Gothic architecture--the offspring of Northern climes--as not admitting light enough, and urging the use of Southern architecture to obviate the imagined defect; and then telling you of the beauties of a modern building,[61] the great characteristic of which is, that its principal façade has no windows at all! Next to the windows, the _doorways_ claim the most careful attention. Indeed, in some respects, they had the precedence, inasmuch as of all parts of a building the doorway is that which challenges the closest inspection. The decorations, consequently, of doorways are those which contain the greatest amount of actual sculptured art. It is a great principle to place sculpture where it will be best seen; and as every one who enters a building must of necessity obtain a close view of the doorways, they were naturally made the great vehicles for sculpture. In France especially, every part of the doorway frequently is sculptured. Take, for example, the western portals of Amiens: the pedestal or basement of the jambs is decorated with medallions, illustrating Bible history by bas-reliefs; the jambs contain colossal statues of saints; the central pillar of the great double doorway contains the chief statue; the tympanum is filled with subjects, and the orders of the arch with angelic figures; so that the entire doorways are alive with sculpture. The buttresses, again, those naturally uncouth projections--mere inert masses to resist the pressure from within--are rendered beautiful by their stately proportions and architectural details, the niches and statues which adorn their receding stages, and the aspiring pinnacles by which they are crowned.