 This case is rather different from the example of the Gothic church. Here, what we “see” in the building is not a spatio-temporal entity (the heavenly city) but an ideal of life. Of course, it is true that it was the monks’ leading of that life that accounts for the construction of the building; but Scruton is clear that the association here, between the way of life and the character of the building, is not just causal: when the cloister is viewed in the right way, that way of life enters into its appearance. In general terms, it seems clear enough how, on Scruton’s account, this is supposed to happen: what is required is that when we view the building, we hold in tension the “energy” and “abundant observation” of the columns, arcade and other features of the structure, on the one side, and the impression of “restfulness” and measure that is communicated by the overall design of the cloister, on the other. When we allow these two impressions of the building to coexist in our perception of it, then the building can image the relevant ideal of life. Here again, what is needed, presumably, is that we order the scene according to the appropriate pattern of salience. But this is, it seems, a relatively complex example of salient viewing, since it requires one set of qualities, identified in one instance of salient viewing, to be laid alongside another, identified in another instance of salient viewing, within a single, cohesive act of perception.