ABSTRACT
Up to now the emphasis has mostly been on classical architecture. What
about Gothic cathedrals? Can we apply the same principles to, say, Lincoln
Cathedral (Figure 76)?
Even with such an enormous edifice as this, the mind automat-
ically seeks to simplify the situation by identifying the most logical
informational divide. In this case it is between the predominantly vertical
features, the towers, and the horizontal mass of the nave and transepts. By
comparison the towers are visually the weaker partner, but this is where
symbolism again comes into its own in the aesthetic story.
