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   The peculiar and beautiful style of architecture at one time only known
as
Gothic, is now more commonly called the pointed, a term which is most appro-
priate, as being in some degree characteristic of the order.     The specimens
of the style in this country and on the continent are exceedingly numerous,
and when compared one with the other, are found to vary greatly in their
leading characters.   These characters, however, are common to buildings
erected about the same period, and a classification of pointed architecture
has consequently been founded on the differences.        The form   of the
arch
has generally been considered as a distinctive mark of the several styles
of
pointed architecture, in the same manner as the capitals and proportions
of
columns are of the Grecian and Roman.
  In comparing the classical and pointed styles, the student will not only
observe a general want of similarity, but also distinguish at once some
remarkable points of difference.   In the Greek and Roman architecture all
the main lines upon which the eye rests are horizontal; in the Gothic they
are perpendicular or vertical. In the former the column is never introduced
without an entablature, and in the latter never with one; which arises from
the fact that in the classical style arches are not a necessary part of a
composition, whereas in    the Gothic they form       a  striking and   essential
characteristic. In every design, whether of an external elevation, or interior
decoration, these distinctive features must be borne in mind, or a bastard
composition will be produced, as unsatisfactory, however striking, to the
uneducated eye, as ridiculous and unpleasant to the man of taste.       As
well
might we attempt to blend two substances in their nature contrary and
repulsive, as to unite the features of the Grecian and Gothic styles.   
   The
attempt has been often made, and is, from ignorance, made still; for instances
can be found in which noble and elegant works have been absolutely
destroyed in effect, by the introduction, even in their proximity, of a different
style, producing a sensation in the mind of an educated observer similar
to that
felt by a musician when his well-attuned ear is struck by a discord of tones.
                                       S