In the French Gothic there is no moulding along the ridges of the vault, except, and that rarely, in some of the latest edifices. This moulding, in drawings of English buildings, is generally represented as a straight line, but does, in fact, usually form a crooked one, descending to the direct arch, and rising to the intersection of the groins. In the French buildings this mode of construction is much more evident than with us, the intersection of the groins being always considerably higher than the point of the direct arch, and sometimes so much so, for instance, in the church of St. Germain des Près, in Paris, as to form almost a portion of a dome. In some of the late Gothic examples I think I have seen exactly the reverse take place, and the point of the direct arch made the highest in the vaulting.
It is totally impossible that any style of building should be peculiarly calculated for a particular set of opinions. Some Protestant writers attribute to Gothic architecture a mysterious connexion with the Roman Catholic religion, and, indeed, seem to think that all magnificent churches have a tendency to support that system. Such an opinion does not deserve consideration, but it is certainly true, that some buildings are calculated to excite emotions favourable to religious impressions, to produce a serious frame of mind, and one in which we are more inclined to acknowledge the present existence of superior power, and more ready to submit to the influence of this conviction. Such means of excitement are liable to abuse, and no person can remain long in these edifices, and observe what passes before him, without being made sensible of the power they possess by the degree to which it is abused. But as this abuse is by no means a necessary attendant on the use, it is not a fair argument against it. Mankind in general, at least in France and England, are dull and sluggish in the affairs of religion; they find it difficult to detach their thoughts sufficiently from worldly affairs. It is desirable, therefore, that every help should be given them, for in this, as in every other good object, human means are to be used, when they are put within our reach. A place of worship should, therefore, in the first place, possess in its style and decoration, a decidedly different appearance from a common dwelling-house: this tends to break the associations with the every day employments of life, and gradually to form new associations with the objects of religion, which become of considerable importance in the government of the attention. A merchant, on entering his counting-house, is more strongly led to think of ships and commerce, than on coming into a dining-room. Secondly, a place of worship should possess a decided character of power and sublimity: if from the conditions of our nature any style of building is calculated to induce serious feelings, that style is fitted for a church. In the third place, if any style be already connected in our imagination with the duties of religion, it is fitter for the purpose than one, which having equally the two former qualifications, is deficient in the latter. These considerations point out the Gothic architecture as preferable to every other, for the churches of our own country; but it would not be at all necessary, in the erection of new structures, to retain the awkward arrangement usually found in a parish church.