maturity. We have found the first distinct indication of the formation of a new style in the apsidal vaults of Morienval, succeeded by vaults constructed on thoroughly Gothic principles in the Abbey Church of St. Denis. We have seen the development extended in the Cathedrals of Senlis and Noyon. We have found in the Cathedral of Paris every functional member complete, and the Gothic system therefore fully developed, though more or less that is unessential, preventing the perfect expression of the Gothic spirit, still clings to it. We have next seen these lingering remains of Romanesque art—chiefly the extensive and massive wall enclosures—gradually eliminated, and the Gothic spirit more thoroughly pervading every part of the building in the early portions of Reims, in the remodelled portions of Paris, and finally in the nave of Amiens, where the transformation from the old style to the new is for the first time wholly accomplished.
In France, then, the Gothic style is found germinating by the beginning of the twelfth century in Morienval, has accomplished its structural transition by 1163 in the design for the choir of Paris, and has reached its fullest distinctive perfection by 1220 in the design for the nave of Amiens. [1]
In the next succeeding chapters we shall see how far and how early a similar novel system of building existed elsewhere in Europe.
- ↑ I take the dates of the beginnings of Paris and Amiens as marking the steps of progress indicated in the text, because the architects had unquestionably matured their schemes, as to their general characteristics, before the works were begun.
