expression which seems so different from that of Greek architecture,
which we considered in the last lecture, that it is difficult to
realize at first that the one is, in regard to some of its most
important features, a lineal descendant of the other. Yet this is
unquestionably the case. The long thin shaft of Gothic architecture is
descended, through a long series of modifications, from the single
cylindrical column of the Greek; and the carved mediaeval capital,
again, is to be traced back to the Greek Corinthian capital, through
examples in early French architecture, of which a tolerably complete
series of modifications could be collected, showing the gradual change
from the first deviations of the early Gothic capital from its
classical model, while it still retained the square abacus and the
scroll under the angle and the symmetrical disposition of the leaves,
down to the free and unconstrained treatment of the later Gothic
capital. Yet with these decided relations in derivation, what a
difference in the two manners of building! The Greek building is
comparatively small in scale, symmetrical and balanced in its main
design, highly finished in its details in accordance with a
preconceived theory. The Gothic building is much more extensive in
scale, is not necessarily symmetrical in its main design, and the
decorative details appear as if worked according to the individual
taste and pleasure of each carver, and not upon any preconceived
theory of form or proportion. In the Greek building all the
predominant lines are horizontal; in the mediaeval building they are
vertical. In the Greek building every opening is covered by a lintel;
in the Gothic building every opening is covered by an arch. No two
styles, it might be said, could be more strongly contrasted in their
general characteristics and appearance. Yet this very contrast only
serves to emphasize the more strongly the main point which I have been
wishing to keep prominent in these lectures--that architectural
design, rightly considered, is based on and is the expression of plan
and construction. In Greek columnar architecture the salient feature
of the style is the support of a cross lintel by a vertical pillar;
and the main effort of the architectural designer is concentrated on
developing the expression of the functions of these two essential
portions of the structure. The whole of the openings being bridged by
horizontal lintels, the whole of the main lines of