Most of the poems in George Herbert's TheChurch (1633) are one-of-a-kind irregularlyshaped anomalies. By employing the dimeter infifty of the one hundred and sixty poems, Herbertwas able to create a wide variety of outlinepatterns. The poems that contain lines of two-feetnot only include silhouettes of objects (e.g., Easter Wings and The Altar), but also shapes thatmirror physical movement and internal processesas well.After reviewing how the dimeter functions in non-dramatic English poetry published before 1633and what is given shape in Greek, neo-Latin, andEnglish figure poetry preceding The Church, Idiscuss in great detail how George Herbert walksoutside any practice before him by means of histwo-feet to radically fuse content and form. Asthe words become the flesh of forms, simultaneously each fresh incarnation looks,works and speaks the word that gives it life.