History of mediæval art . ore apparent in the West,—as, for instance, inthe Gothic parts of St. Andre in Bordeaux, and especially in the Ca-thedral of Limoges, begun in 1270; but at the same time manynational peculiarities are manifest, notably in those districts wherethey had been determined by the lack of building-stone and theconsequent employment of brick. Thus, in Aquitania, one-aisled churches continued to be built at a laterperiod than in the Provence, the West-ern countries having imitated in thisrespect the domed structures of theRomanic period. It became custom-ary to place the heavy
History of mediæval art . ore apparent in the West,—as, for instance, inthe Gothic parts of St. Andre in Bordeaux, and especially in the Ca-thedral of Limoges, begun in 1270; but at the same time manynational peculiarities are manifest, notably in those districts wherethey had been determined by the lack of building-stone and theconsequent employment of brick. Thus, in Aquitania, one-aisled churches continued to be built at a laterperiod than in the Provence, the West-ern countries having imitated in thisrespect the domed structures of theRomanic period. It became custom-ary to place the heavy buttress-pierswithin the building instead of without,thus forming a number of chapels uponthe sides. In the Cathedral of Alby{Fig. 307) an imposing gallery wasbuilt above these chapels, the summitsof its cross-vaults reaching nearly tothe height of the nave, so as to allowthe edifice to be covered by a singleroof, like that of the Church of Poi-tiers. A massiveness of masonry, fullyequalling that of Alby, is noticeable. Fig. 307.—Plan of the Cathedral ofAlby. in several buildings in South-western France, the towers of the cathedrals ofNarbonne and Beziers, as well as thoseof a number of parochial and convent churches, having almost theappearance of fortifications. The walls naturally became eventhicker in those cases where they were built of flint rubble insteadof brick. None of these countries exercised great influence upon thegrowth of the style, and during the thirteenth century the northernprovinces of the interior alone were of importance in this there find a logical development of the principles which hadbeen adopted in the early Gothic of the twelfth century. The plan FRANCE. 503 was improved by a harmonious adjustment, rather than by any realtransformation. The choir retained its radial chapels, the semicircleof the termination being more and more frequently exchanged for apolygon. In imitation of the plan of Notre-Dame of Paris, a dupli-cation of the s
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