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That there is struggle and inequality even in beauty, and war for power and supremacy: that doth he here teach us the plainest parable.
How divinely do vault and arch here contrast in the struggle: how with light and shade they strive against each other, the divinely striving ones. —

This is a clear description of the Gothic cathedral where you really feel that life itself has become congealed-one could say it was congealed life. It is often compared to a wood or to the branches of a tree; all sorts of animals run up and down those columns and spires. It is wood that has become stone, or spirit that has become incorruptible matter, and the architecture symbolizes the struggle from which it arose. One sees the struggle itself represented in Norman art, in those manifold representations of the fight between man and monsters, particularly. In the Gothic cathedral this conflict is fully developed and fully represented in the enormous height and depth, in the light and the shadow, and in the extraordinary complication of all those architectural forms melting into each other, or fighting one another. It is also expressed in the peculiar arches built outside the church to support the walls inside; it gives one the idea of tremendous tension, of a thing that is almost bursting. When you look, for instance, in Notre Dame in Paris, at the tension of the walls inside supported by the arches, you realize how daring the whole enterprise was-to catch so much spirit in matterand what they had to do in order to secure it. There is no such thing in the Norman cathedrals; they are really made of stone, while in the Gothic cathedrals one begins to doubt the weight of the stone. And a little later one sees the same peculiarity in sculpture. In the cinquecento sculpture of Michelangelo and the later men, they seemed to deny the immobility of the stone; up to that time, stone had been practically immovable, even Greek sculpture, but with Michelangelo, the stone began to move with a surplus of life which is hardly believable. It seems as if it either were not stone or as if something wrong had happened. There is too much life, the stone seems to walk away. It begins to move till the whole thing falls asunder. You see, that is what Nietzsche is describing here. He calls them the divinely striving ones that are no longer striving; they have congealed, they have come to rest.

Jung, C. G.. Nietzsche's Zarathustra: Notes of the Seminar given in 1934-1939. Two Volumes: 1-2, unabridged (Jung Seminars) (p. 1109-1110) "

― C.G. Jung , Nietzsche's Zarathustra: Notes of the Seminar Given in 1934-1939 C.G. Jung