We have examined but a few (though we have examined some of the most important) of the buildings of this remarkable epoch; but in nearly all the rest we should find substantially the same progress and the same leading characteristics. The movement was general throughout the region where it arose, though there was a promptness of development in some localities that was not shown in others. The spontaneous character of the movement is conspicuous also as well as its general prevalence. All the elements of the new style were products of the soil on which it grew, or of the immediately adjacent districts. Of imitation of foreign developments there was none; there was not anything elsewhere at this time to imitate. After the beginning of the twelfth century every traditional element of building was here subjected to a process of re-creation which was not superficial but radical.
It will be seen that the foregoing summary of the structural characteristics of French Gothic agrees with that which was given of Gothic construction in the preceding chapter. For, in fact, any correct definition of Gothic must be derived from analysis of the buildings of the Ile-de-France, as will, I think, plainly appear after we have examined the contemporaneous architecture of other countries.
A constant characteristic of this French Gothic is that structural and artistic principles go hand and hand in it. It does not appear that two independent processes were carried on in the minds of the designers—the one mechanical, and the other artistic. Artistic qualities are so wrought into the construction, have so little independent existence, that we feel the two principles to be inseparable in this art. The builders were artists; and they invariably wrought with a steady regard for and sense of proportion and harmony, not less than of mechanical propriety. I would especially emphasise this, lest from this somewhat lengthened examination of its structural growth it should be in any measure inferred that Gothic architecture was such a growth merely.
We have in this chapter followed with some fulness the development of French Gothic from its inception to its
published by the French Government, shows this district thickly studded with churches, while in the neighbouring provinces they were more or less sparsely scattered.
