The Gothic architects confounded the two. They clustered the shafts till they looked like a group of mouldings. They shod and capitaled the mouldings till they looked like a group of shafts. So that a pier became merely the side of a door or window rolled up, and the side of the window a pier unrolled (vide last Chapter, § XXX.), both being composed of a series of small shafts, each with base and capital. The architect seemed to have whole mats of shafts at his disposal, like the rush mats which one puts under cream cheese. If he wanted a great pier he rolled up the mat; if he wanted the side of a door he spread out the mat: and now the reader has to add to the other distinctions between the Egyptian and the Gothic shaft, already noted in § XXVI. of Chap. VIII., this one more--the most important of all--that while the Egyptian rush cluster has only one massive capital altogether, the Gothic rush mat has a separate tiny capital to every several rush. § XXX. The mats were gradually made of finer rushes, until it became troublesome to give each rush its capital. In fact, when the groups of shafts became excessively complicated, the expansion of their small abaci was of no use: it was dispensed with altogether, and the mouldings of pier and jamb ran up continuously into the arches. This condition, though in many respects faulty and false, is yet the eminently characteristic state of Gothic: it is the definite formation of it as a distinct style, owing no farther aid to classical models; and its lightness and complexity render it, when well treated, and enriched with Flamboyant decoration, a very glorious means of picturesque effect. It is, in fact, this form of Gothic which commends itself most easily to the general mind, and which has suggested the innumerable foolish theories about the derivation of Gothic from tree trunks and avenues, which have from time to time been brought forward by persons ignorant of the history of architecture.