Reinach, in his Story of Art Throughout the Ages, [Footnote 10] has been so enthusiastic in this matter that a paragraph of his opinion must find a place here. Reinach, it may be said, is an excellent authority, a member of the Institute of France, who has made special studies in comparative architecture, and has written works that carry more weight than almost any others of our generation: [Footnote 10: Scribners, New York, 1905.] "If the aim of architecture, considered as an art, should be to free itself as much as possible from subjection to its materials, it may be said that no buildings have more successfully realized this ideal than the Gothic churches. And there is more to be said in this connection. Its light and airy system of construction, the freedom and slenderness of its supporting skeleton, afford, as it were, a presage of an art that began to develop in the Nineteenth Century, that of metallic architecture. With the help of metal, and of cement reinforced by metal bars, the moderns might equal the most daring feats of the Gothic architects. It would even be easy for them to surpass them, without endangering the solidity of the structure, as did the audacities of Gothic art. In the conflicts that obtain between the two elements of construction, solidity and open space, everything seems to show that the principle of free spaces will prevail, that the palaces and houses of the future will be flooded with air and light, that the formula popularized by Gothic architecture has a great future before it, and that following the revival of the Graeco-Roman style from {104} the Sixteenth Century, to our own day, we shall see a yet more enduring renaissance of the Gothic style applied to novel materials." It would be a mistake, however, to think that the Gothic Cathedrals were impressive only because of their grandeur and immense size. It would be still more a mistake to consider them only as examples of a great development in architecture. They are much more than this; they are the compendious expression of the art impulses of a glorious century. Every single detail of the Gothic Cathedrals is not only worthy of study but deserving of admiration, if not for itself, then always for the inadequate means by which it was secured, and most of these details have been found worthy of imitation by subsequent generations. It is only by considering the separate details of the art work of these Cathedrals that the full lesson of what these wonderful people accomplished can be learned. There have been many centuries since, in which they would be entirely unappreciated. Fortunately, our own time has come back to a recognition of the greatness of the art impulse that was at work, perfecting even what might be considered trivial portions of the cathedrals, and the brightest hope for the future of our own accomplishment is founded on this belated appreciation of old-time work.