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. [Illustration: 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. [Illustration: Fig. 305.--Cloister of the Abbey of Moissac, Guyenne. (Twelfth Century.)] It should be remarked that for a long while, in the north of France, the pointed arch had prevailed almost entirely over the round arch, at the time when, in the south, Norman tradition, blended with the Byzantine, still continued to inspire the builders. Nevertheless, the demarcation cannot be rigorously established, for, at the time when edifices of the purest Norman style showed themselves in our (French) northern counties (as, for example, the Church of St. Germain-des-Prés, and the apse of [Illustration: DECORATION OF LA SAINTE CHAPELLE, PARIS. Thirteenth Century.] St. Martin-des-Champs, Paris), we find, at Toulouse, at Carcassonne, at Montpellier, the most remarkable specimens of the Gothic style. At last Gothic architecture gained the day. “Its principle,” says M. Vitet, “is in emancipation, in liberty, in the spirit of association and commerce, in sentiments quite indigenous and quite national: it is homely, and more than that, it is French, English, Teutonic, &c. Norman architecture, on the contrary, is sacerdotal.” And M. Vaudoyer adds: “The rounded arch is the determinate and invariable form; the pointed arch is the free and indefinite form which lends itself to unlimited modifications. If, then, the Pointed style has no longer the austerity of the Norman, it is because it belongs to that second phase of all civilisation, in which elegance and richness replace the strength and the severity of primordial types.”