The temple of Poseidon at Pæstum and the Minster of Ulm, works of the ripest Doric and the ripest Gothic, differ precisely as the Euclidean geometry of bodily bounding-surfaces differs from the analytical geometry of the position of points in space referred to spatial axes. All Classical building begins from the outside, all Western from the inside. The Arabian also begins with the inside, but it stays there. There is one and only one soul, the Faustian, that craves for a style which drives through walls into the limitless universe of space and makes both the exterior and the interior of the building complementary images of one and the same world-feeling. The exterior of the basilica and the domical building may be a _field for ornamentation_, but _architecture_ it is not. The impression that meets the beholder as he approaches is that of something shielding, something that hides a secret. The form-language in the cavern-twilight exists for the faithful only—that is the factor common to the highest examples of the style and to the simplest Mithræa and Catacombs, the prime powerful utterance of a new soul. Now, as soon as the Germanic spirit takes possession of the basilical type, there begins a wondrous mutation of all structural parts, as to both position and significance. Here in the Faustian North the outer form of the building, be it cathedral or mere dwelling-house, begins to be brought into relation with the meaning that governs the arrangement of the interior, a meaning undisclosed in the mosque and non-existent in the temple. The Faustian building has a _visage_ and not merely a façade (whereas the front of a peripteros is, after all, only one of four sides and the centre-domed building in principle has not even a front) and with this visage, this head, is associated an articulated trunk that draws itself out through the broad plain like the cathedral at Speyer, or erects itself to the heavens like the innumerable spires of the original design of Reims. The _motive of the façade_, which greets the beholder and tells him the inner meaning of the house, dominates not only individual major buildings but also the whole aspect of our streets, squares and towns with their characteristic wealth of windows.[276]