Weight--simple and irresistible in the Egyptian, adequately supported in the Greek--is, in the pointed Gothic, not abolished as in the Moresque, but totally vanquished and borne above, as by a superior spiritual power. Two happy accidents gave rise to this architectural development. As the Egyptian architecture was an artistic transfiguration of the necessities of an original cavern architecture, and as the Doric Temple in a similar way transmuted to undreamt-of significance the forms of the timber hut, so the Gothic architecture found in the Basilica--the main forms of which were transmitted through the Norman cathedral--the accidental key to what probably will for ever remain the supreme glory of the art of temple-building. The Basilica itself contained nothing but the discovery of the most convenient way of roofing-in and lighting a great oblong hall. It consisted of nave and aisles; the walls of the nave rising within and above those of the aisles, to form the clerestory, which gave the centre of the edifice externally the appearance of unsheathing itself from and soaring above the rest. The means of emphasising and multiplying this effect indefinitely--as the pyramidal effect was multiplied and emphasised in the Egyptian Temple--were provided by another fortunate accident, the development of the pointed arch from the mechanical necessities of cross-vaulting. No sooner did a row of pointed arches make its appearance in the clerestory windows than the power of Gothic expression, latent in the main body of the building, became obvious. The tower, with its spire, was the first and simplest sequence. It was to the clerestory what this was to the main body of the building. In the course of a few years every detail of construction and decoration became subordinated to the heavenward flight which the main masses of the building had thus taken.