It will be readily understood, how inevitably fragmentary must be our consideration of the Cathedrals, yet there is the consolation that they are the best known feature of Thirteenth {100} Century achievement and that consequently all that will be necessary will be to point out the significance of their construction as the basis of the great movement of education and uplift in the century. Perhaps first a word is needed with regard to the varieties of Gothic in the different countries of Europe and what they meant in the period. Probably, the most interesting feature of the history of Gothic architecture, at this period, is to be found in the circumstance that, while all of the countries erected Gothic structures along the general lines which had been laid down by its great inventors in the North and Center of France, none of the architects and builders of the century, in other countries, slavishly followed the French models. English Gothic is quite distinct from its French ancestor, and while it has defects it has beauties, that are all its own, and a simplicity and grandeur, well suited to the more rugged character of the people among whom it developed. Italian Gothic has less merits, perhaps, than any of the other forms of the art that developed in the different nations. In Italy, with its bright sunlight, there was less crying need for the window space, for the provision of which, in the darker northern countries, Gothic was invented, but, even here the possibilities of decorated architecture along certain lines were exhausted more fully than anywhere else, as might have been expected from the esthetic spirit of the Italians. German Gothic has less refinement than any of the other national forms, yet it is not lacking in a certain straightforward strength and simplicity of appearance, which recommends it. The Germans often violated the French canons of architecture, yet did not spoil the ultimate effect. St. Stephen's in Vienna has many defects, yet as a good architectural authority has declared it is the work of a poet, and looks it. A recent paragraph with regard to Spanish Gothic in an article on Spain, by Havelock Ellis, illustrates the national qualities of this style very well. As much less is generally known about the special development of Gothic architecture in the Spanish peninsula, it has seemed worth while to quote it at some length: