Out of all this wealth, the Faustian soul borrowed only some few church- forms and, moreover, in borrowing them, it instantly transformed them root and branch (10th Century, Hucbald, Guido d’Arezzo). Melodic accent and beat produced the “march,” and polyphony (like the rime of contemporary poetry) the image of endless space. To understand this, we have to distinguish between the imitative[288] and the ornamental sides of music, and although owing to the fleeting nature of all tone- creations[289] our knowledge is limited to the musical history of our own West, yet this is quite sufficient to reveal that duality of development which is one of the master-keys of all art-history. The one is soul, landscape, feeling, the other strict form, style, school. West Europe has an _ornamental music of the grand style_ (corresponding to the full plastic of the Classical) which is associated with the architectural history of the cathedral, which is closely akin to Scholasticism and Mysticism, and which finds its laws in the motherland of high Gothic between Seine and Scheldt. Counterpoint developed simultaneously with the flying-buttress system, and its source was the “Romanesque” style of the Fauxbourdon and the Discant with their simple parallel and contrary motion.[290] It is an architecture of human voices and, like the statuary-group and the glass-paintings, is only conceivable in the setting of these stone vaultings. With them it is a high art of space, of that space to which Nicolas of Oresme, Bishop of Lisieux, gave mathematical meaning by the introduction of co- ordinates.[291] _This_ is the genuine “rinascita” and “reformatio” as Joachim of Floris saw it at the end of the 12th Century[292]—the birth of a new soul mirrored in the form-language of a new art. Along with this there came into being in castle and village a secular _imitative_ music, that of troubadours, Minnesänger and minstrels. As “ars nova” this travelled from the courts of Provence to the palaces of Tuscan patricians about 1300, the time of Dante and Petrarch. It consisted of simple melodies that appealed to the heart with their major and minor, of canzoni, madrigals and caccias, and it included also a type of _galante_ operetta (Adam de la Hale’s “Robin and Marion”). After 1400, these forms give rise to forms of collective singing—the rondeau and the ballade. All this is “art” for a public.[293] Scenes are painted from life, scenes of love, hunting, chivalry. The point of it is in the melodic inventiveness, instead of in the symbolism of its linear progress.