Without the brightening light of the stained-glass windows, our churches would be sad. In Spain the gloom is funereal, but the genius of France has understood how to capture the caressing light through its windows. The productiveness of the Celtic spirit is also noticeable in the capitals. Gothic art abandoned Greek ornament, which had been reproduced so often that it lost all significance. It found its models in the woods and gardens. From the oak it took its crown of foliage, from the thistle and cabbage their gracefully drooping leaves, and from the bramble its intertwined thorns. They made wonderful capitals by reversing the acanthus, and copying the languid grace of falling blossoms. The cathedral of Bourges--the vastness of this church makes me tremble. One might say there are three churches in its three naves. Grandeur demands repetition. The superbness of this work of architecture enforces silence. People attribute their emotion here to religious sentiment alone, and do not realize that it is due also to the correct calculations of art. They do not realize that the impressive darkness of the vast church, its lighting, the wax tapers here, and the daylight with its brilliancy there, have all been planned beforehand. The stained-glass windows of Bourges are dazzling, almost terrible, in their beauty. There are flashes as red as blood, and dashes of blue, a flame--the wounds of Christ, the funeral pile of Jeanne d'Arc. When the sun sinks, the bright light will fade away; then we have before us only the charming effect of bowls of flowers. The legends which are told on the stained-glass are good enough to amuse children; but the glass itself, the splendor of its colors, the extent to which it harmonizes with the nave--all that is the actual result and object of profound thought. The Middle Ages put life into everything; they worshiped life. They drew extensively from nature, wisely realizing that its source is inexhaustible, while the day of man is fleeting. THE MOLDING The science of plans, balance of volumes, and proportion in the moldings govern the spirit of Gothic art. Of late I believe I have discovered how the masters struck upon the beautiful Gothic molding, that undulating molding which gives so much suppleness to the architecture. I have found something new in the well-known, and beauty in forms which I did not understand before. This change is due above all to my work. Having always studied more intensely, I can say that I have always loved more ardently.