The principle of rendering the useful features ornamental was fully developed; as an instance of it--the doorways, the only parts of the exterior which _must_ of necessity be seen from close at hand, were rendered magnificent beyond all former precedent, and became the vehicles of noble sculpture, and the great exponents of the objects of the building, whether religious or secular. The windows now became great characteristic objects, not only from their richly painted glass within, but as leading architectural features, both within and without. The bell towers became glorious structures, rendering the cities conspicuous throughout the whole surrounding district, and making every village a distinct and beautiful point in the landscape. The same principle obtained in all secular structures. The castles of the nobility became truly noble structures, glorious for the stern grandeur of their external aspect, and for the massive beauty of their internal architecture; the gates and defences of cities partook of the same severe grandeur; while the street fronts, the town halls, and other civic buildings, displayed architectural characteristics, modest or grand, as suited their several purposes. In Italy, where municipal institutions were more developed, noble street palaces were erected; and everywhere the architecture, whether viewed in the mass or in its details, was suited, as by an unerring instinct, to the objects on which it was exercised. The decorative system of the architecture had also been brought to great perfection. The mouldings were refined without losing boldness or strength--in fact, were strong or delicate, as suited their position; the foliated carving had arrived at very high perfection, and was of a kind perfectly new--the magnificent creation of the artistic mind; sculpture was often profusely used in connection with architecture, and if not of that perfectly studied symmetry which satisfies the academic critic, it evinces a boldness of conception, a quickness of invention, and an unaffected grandeur of sentiment, which our modern sculptors would do well to emulate, while it is eminently suited, by its rigid lines and severe force, to architectural purposes. It would be absurd to attempt, in a single lecture, to give any detailed description of the architecture of this great period; nor is it necessary, as no style is so familiar to those whose attention has been at all turned to such subjects; I will, however, take a few of its leading points, and call attention to some of their characteristics.