The Byzantine capital differs from those of the Greeks and Romans in its marked symbolism of detail and the prevalence of the cushion form. Functionally, this type of capital is admirable, yet it lacks the vigorous upward growth of the Egyptian and early Gothic capitals. The Byzantine capitals have a wonderful complexity and variety of detail, such as interlacing circles and crosses with their mystic symbolism, basket work, chequered details, and the traditional sharp acanthus foliage of the Greeks. [Illustration: BYZANTINE. S^T MARKS VENICE.] These features are seen in the greatest profusion at S. Sophia at Constantinople; S. Apollinare and S. Vitale at Ravenna, and S. Marco at Venice. These splendid capitals of a splendid period are exceedingly beautiful in fertile inventiveness of enrichment, and show the assimilative power of the Byzantine craftsmen. The abundant use of chequer work, wreaths of chain work, and of lily work in Byzantine capitals, many of which are figured in Ruskin’s “Stones of Venice,” show the continuity of style and tradition in architecture. [Illustration: BYZANTINE S^T MARKS VENICE.] The Byzantine capitals have the square abacus, usually consisting of a simple fillet and chamfer enriched with the billet, dentil or star pattern. The Dosseret, a singular adjunct to the capital was introduced during this period; it was a cushion-shaped or cubicle stone placed upon the abacus of the capital to give additional height (plate 11). [Illustration: BYZANTINE CAPITAL S^T MARK’S VENICE.] The Byzantine influence is seen upon the Norman capitals with their square abacus of fillet and chamfer, and the cushion profile of capital. Some remarkable Siculo-Norman capitals are in the cloisters of the Benedictine Monastery of Monreale in Sicily, A.D. 1174-1184. The great fertility of inventiveness in the 200 capitals, their storiation, the intermingling of figures, birds and animals with the classic and Byzantine foliage makes this cloister one of the most remarkable in the history of the world. The Arabian capital, which frequently shows the traditional volute, differs from the typical bell-shaped form in its marked squareness of profile with flat or low reliefs enriched with colour. [Illustration: FRENCH ROMANESQUE CAPITAL.]