So early as the erection of the crypt under the Trinity Chapel at Canterbury, by William the Englishman, about 1180, we find the round moulded capital; and in the altar recesses in the eastern transept we find the round abacus on foliated capitals; though, I confess, I doubt its belonging, in this last-mentioned instance, to the original work.
Much difference of opinion now exists as to the comparative merits of these two forms. By some the square abacus is assumed to be the great symbol of force and vigour; while by others it is said to be inconsistent with the true principles of Gothic architecture. Perhaps the question might be solved by deciding that both are beautiful, both vigorous, and both consistent with Gothic architecture, and, therefore, that both should be admitted on equal terms as portions of our general matériel.
Fig. 97.—St. Quentin, Aisne.
The advantages of the angular abacus are, that it allows of the capitals indicating the direction of the arch-ribs, and assuming irregular forms suggested by them ([Fig. 97]), which the round form forbids; that it allows of the use of square orders, and, consequently, of simpler and more effective arch mouldings than can be placed in the round abacus, on which the mouldings have to be somewhat crushed in their section, and their parts multiplied, to bring them nicely on to the round support; and that the angles indicate the direction towards which the main stalks of the foliage should tend. There can be no doubt, on the whole, that it produces the most vigorous effect; and I must plead guilty to an un-English preference for it, though I also greatly admire its competitor, whose advantages are the beautiful form which the round moulding takes as seen in perspective from below, and its less disturbance of the continuity of line.
Fig. 98.—Capitals from Crypt under Trinity Chapel, Canterbury.