pier. This pier shows a remarkable contrast
in every way to B, yet it is a direct development from the latter. In
this late form of pier, it will be observed that the projection, E,
which carries the vaulting ribs of the nave, instead of springing from
the capital, as in the early example, Fig. 111, springs from the
floor, and runs right up past the capital; thus the plan of the
vaulting is brought, as it were, down on to the floor, and the
connection between the roofing of its building and its plan is as
complete as can well be. In Fig. 113 the vaulting shaft is supposed to
stop short of the capital and to spring from a corbel in the wall,
situated above the limit of the drawing. This was a common arrangement
in the "Early English" and "Early Decorated" periods of Gothic, but it
is not so logical and complete, or so satisfactory either to the eye
or to the judgment, as starting the vaulting shaft from the floor
line. The connection between the roofing and the plan may be further
seen by looking at the portion of a mediaeval plan given under Fig.
110, where the dotted lines represent the course of the groin ribs of
the roof above. It will be seen how completely these depend upon the
plan, so that it is necessary to determine how the roof in a vaulted
building is to be arranged before setting out the ground plan.

[Footnote 4: This was illustrated by diagrams on the wall at the
delivery of the lecture.]

Thus we see that the Gothic cathedral, entirely different in its form
from that of the Greek temple, illustrates, perhaps, even more
completely than the Greek style, the same principle of correct and
truthful expression of the construction of the building, and that all
the main features which give to the style its most striking and
picturesque effects are not arbitrarily adopted forms, but are the
result of a continuous architectural development based on the
development of the construction. The decorative details of the Gothic
style, though differing exceedingly from those of the Greek, are, like
the latter, conventional adaptations of suggestions from nature; and
in this respect again, as well as in the character of the mouldings,
we find both sides illustrating the same general principle in the
design of ornament, in its relation to position, climate, and
material; but this part of the subject will be more fully treated of
in the next lecture.

We have now arrived at a style of architectural construction and