Lectures on the rise and development of medieval architecture; vol. 1

by Sir George Gilbert Scott

Fig. 99.—Capital. Salisbury.

Fig. 100. Sections of moulded Capitals, St. Albans.

Another great characteristic of English architecture is the moulded (unfoliated) capital. This is almost wanting in French architecture; and I strongly contend that the invention of this capital, which we may almost claim for our own country, is one of extreme value, and supplies what would be otherwise a great hiatus in the style. Among its earlier instances is that I have already mentioned in the crypt at Canterbury ([Fig. 98]). It is there in rather a plain and normal form, nearly resembling a capital denuded of its foliage, but with the space below the abacus and the bell somewhat increased, for the sake of strength. The fully-developed moulded capital differs from this in having a considerable overhanging moulding, which is the substitute for, and the representative of, the foliage of the richer capital ([Figs. 99], [100]). Though this overhanging moulding is uniform in type, the varieties it assumes in detail are endless, and the groups of mouldings in these capitals are among the most beautiful in the whole range of Gothic architecture; and the addition of this beautiful feature to our rich treasury of forms of capital is of infinite value.

Figs. 101, 102.—Capitals, Westminster Abbey.

The abacus of the moulded capitals is not necessarily round. There are many instances of its being square, and still more of its being octagonal—a form which is continued through the later periods of English architecture.

I ought to have mentioned that in its normal condition the abacus is in a separate stone from the rest of the capital, though convenience frequently suggests its being in one.

When marble shafts, however, are used, it is far better that the same material be used also for the abacus.

Next in importance to the column as a characteristic of the style, we must place the Window. Indeed, it has generally been made to take the precedence of it, and is no doubt that by which the date of a building is most readily ascertained and its style defined.