The final point of distinction between piers and columns consists in this, that the piers which are distinctively Gothic, and, where they are elaborated in their specific character, do not, as columns do, remain in the circular form, essentially secure in that, and one and the same cylinder, but to begin with at their base in a reed-like way constitute a convolute, a bundle of fibres, which break into varied distinction as the pier mounts and radiate forth on all sides under various modes of continuation. And, while we find already in classical architecture that the column represents an advance from that which is merely subject to laws of gravity, from the solid and simple to that which is more slender and more adorned, so, too, we find much the same change visible in the pier, which, in this more slender upgrowth, ever withdraws itself more from the mere service of support, and freely soars upward albeit shut in at its summit.
The same form of piers and pointed arches is repeated in windows and doors. More particularly the windows, not merely the lower ones of the side aisles, but also in a still higher degree, the upper ones of the transepts and choir, are of colossal size in order that the glance, which rests upon their lower portion, may not at once take in the upper part as well and may be uplifted as in the case of the vaultings. This adds to the restless motion of the upward flight which it is intended to communicate to the spectator. Add to this the window panes, as we have already remarked, are with their coloured glass only partially transparent. Sometimes they present sacred histories and sometimes they are merely panes of varied colour with the object of increasing the twilight effect and permitting the light of the wax candles to shine forth. For in these buildings it is another daylight than that of Nature which illumines.
(_γγ_) Finally, as regards the _entire articulation_ of the interior of Gothic churches we have already seen that it is imperative that the particular parts of such should be differentiated in their breadth, height, and length. The primary distinction to consider in this respect is that of _choir, transept_, and _nave_ from the _encircling aisles._ These latter are constructed on the sides external to the fabric by means of walls which enclose it, and from which piers and arches are carried, and in their separation from the interior by means of piers and pointed arches, which present openings toward the nave, having no partition walls between. They receive therefore the converse aspect to that of the colonnades in Greek temples, which are open on the outside and are enclosed towards the interior, whereas the aisles in Gothic churches permit free passage between the piers to the nave. In certain examples we find two such aisles in juxtaposition; in fact, Antwerp cathedral is an example which possesses three of them at either side of the nave.