Fig. 302.—Notre-Dame la Grande of Poitiers (Twelfth Century).
elevated calm of hope and the humble gravity of faith. But lo! the ogive sprang up; not, indeed, as certain authors have thought they were right in affirming, from an outburst of spontaneous invention, for we find the principle and the application of it not only in many edifices of the Norman period, but even in the architectural contrivances of the most remote times. And it happened that this simple breaking up of the round arch, this “sharpness” of the arch, if we may use the expression, which the Norman builders had skilfully utilised, giving more of slenderness or graceful strength to vaults of great extent, became the fundamental element of a style which, in less than a century, was to shut the future to a tradition dating from six or eight centuries, and which could with justice pride itself on the most beautiful architectural conceptions. ([Fig. 305].)
Fig. 303.—Tympanum of the Portal of St. Trophimus, at Arles (Twelfth Century).
From the twelfth to the thirteenth century the transition took place. The Norman style, which is distinguished by its round arch, maintained the struggle with the Gothic style, of which the ogive is the original mark. In the churches of this period we find also, with regard to the ground-plan of edifices, the choir assuming larger dimensions, necessitated no doubt by increased ceremonials in the services. The Latin cross, which was the ground-plan whereon up to this time the greater number of sanctuaries were built, ceased to indicate as precisely as heretofore its outlines; the nave was raised considerably in height, the lateral chapels were multiplied, and often broke the perspective of the side-aisles; bell-towers assumed greater importance, and the placing of immense organs above the principal entrance gave rise to a new system of elevated galleries in this part of the building.
Fig. 304.—Details of the Portal of St. Trophimus, at Arles. (Twelfth Century.)
The churches of St. Remy, Rheims; of the Abbey of St. Denis; of St. Nicholas, Blois; the Abbey of Jumiéges; and the Cathedral of Châlons-sur-Marne, are the principal examples of the architecture of the mixed style.