[Plate III.], Fig. 2, the cushion capital, is the simplest kind of Norman capital. It is cubical, with its square faces rounded down to the shaft.
[Note.—The shafts of all English Gothic columns are cylindrical—i.e., without any diminution towards the top, in contrast with Greek and Roman shafts, which are always diminished.]
[Plate III.], Fig. 3, is the capital of a respond—a half-column attached to a wall and carrying an arch or part of a roof.
[Plate III.], Fig. 4, the corbel-table, or cornice underneath the eaves of a roof (corbel—a bracket).
[Plate III.], Fig. 5, the base of a pier with spur ornaments.
[Plate III.], Fig. 6, fragment of a Norman arch of four orders, each order being a separate arch, three of which are enriched with the Norman chevron. The dripstone or hood-moulding (d.s.) encloses the arch as in [Plate III.], Fig. 8, though its original function—to protect the moulding under it from weather—is not needed here, but it is generally introduced to give effective finish to the arch. The capitals in this group are scallop capitals. A small portion of a similar capital is shown at the right hand of [Plate III.], Fig. 3.
[Plate III.], Fig. 7, is a Norman font of the simple bowl form enriched with carved Norman heads connected by Byzantine ornament and surrounded with a Norman arcade of intersecting arches—a feature often introduced in the walls of churches and cathedrals.
[Plate III.], Fig. 8, is a double-recessed window with an arch of three orders. The columns in the positions shown are called jamb-shafts or nook-shafts; those on the right are detached and may be removed, leaving the bases and capitals remaining. On the left the shafts are engaged—i.e., form part of the masonry of the wall. These two varieties are never found together as here, but are thus shown for convenience. The capitals are a variety of the cushion capital.
[Plate III.], Fig. 9, is a cushion capital with the triquetra symbol of the Trinity ([Plate I.], Fig. 8).
Byzantine influence is evident in the ornament of the capitals ([Plate III]., Figs. 1, 3, and 9), in the chevron ([Plate III.], Fig. 6), and the decoration of the font ([Plate III.], Fig. 7).