Oftentimes a greater arch encompassed several smaller ones, supported by pillars which intersected each other in various ways. Their openings were quite elongated and often coupled; the circular window, or rose, was also very frequent in their frontispieces. Semicircular, elongated, flat, horseshoe, and foiled arches are to be found, ornamented and simple, and either served as a decoration, crowned their walls, or supported horizontal bands, dividing into panels their walls, which were likewise panelled off by long pilasters or flat buttresses. The angles of their churches (generally in plan in the form of the cross) were often surmounted by a sort of pinnacle. Ribs are also found in their vaulted ceilings. Towers first accompanied the churches; later they formed a part of the same edifice, flanking or decorating the middle of the facade. The earlier examples were square; later they were round, and later still of a polygonal form. The roof, assuming a more and more pointed shape, approached the form of the spire, as it was introduced in countries where the climate was more severe. The monasteries and convents generally contained an interior court surrounded by porticos, about which were placed the cells of the inmates.

The lower stories of the royal palaces and town halls presented a similar disposition. External porticos, or lodges, also existed. During this period it is supposed that the construction of houses in stories became general. The habitations of the mass of the people were poor and irregularly planted about the town hall in the cities, or clustered about the massive feudal castles. These edifices consisted of a main tower, or keep, the walls of which were from six to twelve feet thick, with windows, consisting of holes one or two feet wide, placed at irregular intervals. The several floors were constructed on arches; the roof was flat, or had battlements, and possessed a notched parapet for the purposes of defence. The main tower was surrounded by a courtyard protected by a high wall, and the arched entrance was strongly secured by a falling gate or portcullis. Around the whole was a deep ditch, or fosse, which could be filled with water. Many of the castle fortresses were on a plan of great magnitude, consisting of two or more towers and divers inner buildings, including chapels. - While the whole of Europe was convulsed with the international and social strife and invasions of barbarians which resulted in its complete reorganization, the study of the arts, sciences, and literature took refuge in the monasteries.

The influence of the clergy declined, however, as free institutions arose, and the pointed Gothic must be regarded as the work rather of secular than of clerical architects. This change was doubtless made more complete by the increasing importance of the fraternity of freemasons. In Italy during the 10th century we find the corporation of magistri comacini exercising great influence, and giving to Grecian artists shelter from the political troubles of the East, and from the persecutions of the iconoclasts. These artists promulgated among the Lombards the Byzantine elements of design, whose influence, as we have seen, was more or less felt throughout the architectural schools of Europe. Under Erwin von Steinbach of Germany, during the 13th century, the Hutten, or lodges, were organized, one object of which was the study of architecture, over which they exercised a powerful influence. In Strasburg existed the Haupt-Hutte, or main lodge. Under Jost Dotzinger of Worms (who in 1444 succeeded the architect J. Hult), the various sects of the German freemasons were incorporated into one body, and, in virtue of an act passed at Ratisbon the same year, the architect of the cathedral of Strasburg was elected the sole grand master of the fraternity.

These magistri lapidum were likewise sole directors or supervisors of all the religious structures. Protected by the church, architecture in their hands passed from the old Gothic through various phases of the pointed style. The spirit of the age seems embodied in the Gothic cathedral, the work of minds inspired with solemn and devotional feelings. The cathedrals in the pointed style most justly deserve admiration. The pointed style is customarily divided into three periods: the first, or primary, dating from the latter end of the 12th century; the second, or decorated, orrayonnant, from the commencement of the 14th century; and the third, or perpendicular, or flamboyant, from the end of the 14th to the 16th century. The essential element of this style is the pointed arch. Were it not for this feature, it would be often difficult to distinguish between the earlier works of the first period of the pointed and the later works of the old Gothic. It is during the first period that the spire surmounting the tower becomes of so great importance, forming one of the striking characteristics of this style. In the finer examples it is octagonal and very pointed, either plain or ribbed, sometimes pierced, sometimes crocketed, and invariably bearing a finial.

Buttresses and flying buttresses also form a striking feature; these latter being somewhat massive and heavy at first, but gradually becoming more and more elegant as they approached the second period. The setoffs are formed by inclined slabs, or by a pediment with finial, the face of the buttresses being ornamented at times with panels and niches; in some cases also the space between the arches of the flying buttresses is occupied by radiating columns. The parapet is uninterrupted, and is either decorated or plain. Turrets were either square or octagonal, their pinnacles being mostly of the latter form, either crocketed or not. The rose windows of this period are quite simple: small columns radiating from the centre receiving foiled arches tangent to the circumference. The lancet arch predominates. The windows are very long and narrow, and are either simple or coupled, in which latter case a slender column forms, as it were, the mullion. The ribs of the groined ceilings are decorated with bosses at their intersections, and rest either upon corbels, or upon the shafts of slender columns which descend to the pavement. The piers are either simple in plan, or present several shafts clustered around a core of a circular, elliptical, or cruciform shape.