“Space”—speaking now in the Faustian idiom—is a spiritual something, rigidly distinct from the momentary sense-present, which _could_ not be represented in an Apollinian language, whether Greek or Latin. But the created _expression-space_ of the Apollinian arts is equally alien to ours. The tiny cella of the early-Classical temple was a dumb dark nothingness, a structure (originally) of perishable material, an envelope of the moment in contrast to the eternal vaults of Magian cupolas and Gothic naves, and the closed ranks of columns were expressly meant to convey that for the eye at any rate this body possessed no _Inward_. In no other Culture is the firm footing, the socket, so emphasized. The Doric column bores into the ground, the vessels are always thought of from below upward (whereas those of the Renaissance float above their footing), and the sculpture-schools feel the stabilizing of their figures as their main problem. Hence in archaic works the legs are disproportionately emphasized, the foot is planted on the full sole, and if the drapery falls straight down, a part of the hem is removed to show that the foot is standing. The Classical relief is strictly stereometrically set on a plane, and there is an interspace between the figures but no depth. A landscape of Claude Lorrain, on the contrary, is _nothing but_ space, every detail being made to subserve its illustration. All bodies in it possess an atmospheric and perspective meaning purely as carriers of light and shade. The extreme of this disembodiment of the world in the service of space is Impressionism. Given this world-feeling, the Faustian soul in the springtime necessarily arrived at an architectural problem which had its centre of gravity in the spatial vaulting-over of vast, and from porch to choir dynamically deep, cathedrals. This last expressed _its_ depth- experience. But with it was associated, in opposition to the cavernous Magian expression-space,[190] the element of a soaring into the broad universe. Magian roofing, whether it be cupola or barrel-vault or even the horizontal baulk of a basilica, _covers in_. Strzygowski[191] has very aptly described the architectural idea of Hagia Sophia as an introverted Gothic striving under a closed outer casing. On the other hand, in the cathedral of Florence the cupola _crowns_ the long Gothic body of 1367, and the same tendency rose in Bramante’s scheme for St. Peter’s to a veritable towering-up, a magnificent “Excelsior,” that Michelangelo carried to completion with the dome that floats high and bright over the vast vaulting. To this sense of space the Classical opposes the symbol of the Doric peripteros, wholly corporeal and comprehensible in one glance.