cognizance
of Oeser. It was with predisposed sympathy, therefore, that he looked
for the first time on a specimen of Gothic architecture in its most
august form. His first impression was of "a wholly peculiar kind";
and, without seeking to analyse the impression, "he surrendered
himself to its silent working." Thenceforward, during his stay in
Strassburg, the cathedral exercised a fascination upon him that evoked
a new world of thought and feeling. It was his delight to ascend its
tower at sunset and gaze on the rich landscape of Alsace, whose beauty
made him bless the fate that had placed him for a time amid such
surroundings. He studied its structure with such minute care that he
correctly divined the additions to the great tower which the original
architect had contemplated, but which he had been unable to carry out.

Goethe has himself indicated how the impressions he received from the
cathedral influenced his first literary productions which bore the
stamp of his individuality. It formed a fitting background, he says,
for such poetical creations as _Goetz von Berlichingen_ and _Faust_. To
the cathedral and its suggestions, even more than to Herder, perhaps,
we should trace the inspiration that produced these works--the former
of which met with Herder's questioning approval. To the full force of
that inspiration Goethe gave direct expression in a composition which
is the most characteristic product of his Strassburg period--a short
essay, entitled _Of German Architecture_. Probably sketched in
Strassburg, it was not published till his return to Frankfort. Its
rhapsodical style, as well as the conceptions of art and nature which
it embodies, directly recall Young's _Conjectures on Original
Composition_. Like Young he proclaims that genius is a law to itself,
that all imitation and subservience to rule is disastrous to
imaginative production. "Principles," he declares, "are even more
injurious to genius than examples." The burden of the Essay is the
glorification of the genius of the architect of Strassburg cathedral,
and of Gothic architecture in general, which, Goethe maintained,
should be correctly designated "German" architecture, as having had
its origin on German soil. With this youthful sally of Goethe, time
was to deal with its unkindest irony. Later research has proved that
Gothic architecture is of French and not of German origin, and Goethe
himself did not remain faithful to his youthful enthusiasm. On his