(_α_) The definition I have already adduced as best describing the _interior_ of the church is that of a certain place set apart and enclosed in all its aspects, whether it be in opposition to the inclemency of the weather or the distractions of the outer world, for the community and its spiritual worship. The space of the interior is consequently an enclosure in the completest sense, whereas Greek temples, apart from the presence of open passages and halls in the environment, not unfrequently possessed open cells. Inasmuch as, moreover, Christian worship is an _exaltation_ of the soul above the limitations of natural existence and a reconciliation of the individual with God, we find in this fact a mediation of points of view which are separably _distinct_ in one and the same essentially concrete unity. At the same time romantic architecture receives the function in the form and co-ordination of its building to make the above content of spiritual life, to enclose which is the prime object of its construction, so far as this is architecturally feasible, shine through and determine the actual shape both of the exterior and the interior. The following points will assist our understanding of the nature of this problem. (_αα_) The space of the interior will have to be no abstractly undifferentiated and empty one, which possesses no essentially defined features or links that relate them respectively. It must have a concrete form, one, that is, which presents differences in respect to all the mutual relations of length, breadth, height, and the mode of such dimensions. The form of the circle, the square, the oblong, with the equality of enclosing walls and roofing which is necessary to these figures, will not be suitable here. The movement, severation, and mediation of soul-life in its exaltation from that which is of earth to that which is eternal, to the far-off and the more lofty, would fail to find apt expression in this bare equality of a square figure.