The internal arrangements were disclosed by the elevations and a guiding principle of Gothic design was thereby followed. The positions of lofty rooms, ways of access, staircases and different floor levels, were as much as possible made obvious on the outside of the buildings. This practice led to many happy results. Not fettered by artificial conventions or limited by unyielding laws, the designers were able to give scope to their invention. Utility and convenience set the theme for spontaneous fancy to adorn. These were the motive powers, the guiding impulses that lay behind the early work, and they continued to operate with more or less force for many generations. The series of houses in the "Balans" at Middelburg (page 35) furnishes a good example of a group that owed its inception to such influences. While there is harmony between part and part no two are alike. One house is higher than its fellow; one comes forward over the paved way while another recedes. Doorways and windows are conveniently, but not too evenly disposed. The brightly painted window-shutters give lively colour, and isolated features--such as the staircase turret seen on the right--show with telling effect. Gables of differing shape break the skyline. Utilitarian in lighting the rooms of the roofs, the dormers æsthetically serve to carry the eye up to the ridges. The whole impression, if irregular, is picturesque to a degree. Contemplating an effect such as this, so powerful in its human appeal to the eye and mind, it is difficult to appreciate those arguments which are advanced against principles capable of giving such satisfying results.