The Early Gothic capital is one of the most vigorous and beautiful. The perfect adaptability of its foliage to stone carving, the significance of its detail as emblematic of the Trinity, the spiral growth of its foliage and the vigorous contrast of light and shade are the chief characteristics of this period. Lacking, perhaps, the delicacy or variety of detail of the Byzantine period or the later Gothic work, it excelled them in the appropriateness of its enrichment, which is more beautiful in the Early English examples with their circular abacus than in contemporary French capitals where the square abacus was prevalent. The transition from the circular column to the square abacus was always felt to be a difficulty, and was rarely overcome, but in the circular abacus of the Early English capitals we have a break in the continuity of the style of the capital. [Illustration: CAPITALS FROM THE CLOISTERS MONTREALE.] [Illustration: CAPITALS FROM THE CLOISTERS OF MONTREALE.] The English foliage of this period differs from the French in the use of a deep mid-rib and simple trefoil leaf. The French examples have a less pronounced mid-rib, and the leaf is convex in form and divided into three lobes, and the foliage adheres more closely to the bell, consequently the brilliant play of light and shade which is so characteristic of Early English work, is generally absent from French examples (fig. 12, plate 16). [Illustration: EARLY ENGLISH CAPITAL ELY CATHEDRAL.] [Illustration: ARABIAN CAPITAL FROM THE ALHAMORA] [Illustration: SOUTH-WESTMINSTER DECORATED CAPITALS] The Decorated Gothic capitals differ essentially from those of the Early Gothic period, a more natural type of foliage being used, consisting of the briony, maple, mallow and oak. This foliage was carved with singular delicacy of touch and grace of profile, and is beautiful in its modelling and play of light and shade, yet frequently the capitals are trivial in conception and arrangement, lacking that architectonic character which is so essential to all architectural constructive features. [Illustration: RENASCENCE CAPITAL VENICE.] The perpendicular or late Gothic capital was usually octagonal in form with square conventional foliage of the vine, showing a marked decadence in tradition and craftsmanship (fig. 9, plate 17). The Renascence capital was frequently marked by a fine feeling for profile, splendid craftsmanship, diversity of enrichment, and vitality of conception, more especially in Italy, where the tradition of architecture culminated in the works of such remarkable men as Leon Battista Alberti, Bramante, Baldassare Peruzzi, San Micheli, Serlio, Palladio, and Sansovenio. The tradition was worthily carried on in France by Pierre Lescot, Jean Bullant, Philipert de Lorme, and De Brosse, and in England by Inigo Jones, Wren, and Chambers. [Illustration: ROMAN SCROLL.] TERMS USED IN ORNAMENTAL ART.