The Moresque style also owes its singular integrity of effect to a peculiar mode of regarding the idea of gravitation: if that can be called a mode of regarding it which consists in a most ingenious and fanciful ignoring of it, either as an oppressor, an ally, or a vanquished foe. The honeycombed domes of the Alhambra and the Mosque of Cordova hang apparently suspended in air upon “pendentives,” like sunny clouds in station; and the astonishing art by which innumerable details are made to concur in this effect would justify this style in ranking with the three foregoing, had this effect any symbolic meaning for the human race and its religions; but it has no meaning for men who have their feet upon the earth, and is only adapted for the palaces and temples of a race of sylphs or gnomes. Lastly, the Norman style, though no less consistent an exponent of one idea than are the other temple styles, is founded upon no reference to superincumbent weight, but depends almost wholly upon its boast of the mass and eternal stability of the wall. It well conveys the solemn expression of a calm eternity of time; but for religious purposes it will not bear the least comparison with the flamelike Gothic, expressing at once the peace and ardour of the “eternal moment.” In the following papers a short analysis will be given of the somewhat obscure means by which the well-recognised expressions of these five great architectures are obtained. II The symbolisation of material life and power by an elaborately artistic treatment of the mere fact of weight, which is the most universal and obvious attribute of matter, is the object of every general form and of almost every, so-called decorative, detail of Egyptian architecture; the few exceptions, such as the occasional intrusion of the lotus and palm into the capitals of the columns, being due to an obscure but probably intimately related symbolism of a different kind.