“The capitals in early work are either plain, cubical masses with the lower angles rounded off, forming a sort of rude cushion shape, as at Winchester, or they have a sort of rude volute, apparently in imitation of the Ionic, cut upon the angles; and in the centre of each face a plain square block in the form of the Tau cross is left projecting, as if to be afterwards carved. The scalloped capital belongs to rather a later period than the plain cushion or the rude Ionic, and does not occur before the time of Henry I. This form of capital was perhaps the most common of all in the first half of the Twelfth Century, and continued in use to the end of the Norman style. The capitals were frequently carved at a period subsequent to their erection, as in the crypt at Canterbury, where some of the capitals are finished, others half-finished, with two sides blank and others not carved at all. In later Norman work the capitals are frequently ornamented with foliage, animals, groups of figures, etc., in endless variety. The abacus throughout the style is the most characteristic member, and will frequently distinguish a Norman capital when other parts are doubtful. “Norman ornaments are of endless variety; the most common is the chevron, or zigzag, and this is used more and more abundantly as the work gets later; it is found at all periods even in Roman work of the Third Century and probably earlier, but in all early work it is used sparingly, and the profusion with which it is used in late work is one of the most ready marks by which to distinguish that the work is late. The sunk star is a very favourite ornament throughout the style; it occurs on the abacus of the capitals in the chapel of the White Tower, London, and it seems to have been the forerunner of the tooth-ornament. The billet is used in the early part of Peterborough, but discontinued in the later work, and does not often occur in late work. It is sometimes square, more frequently rounded. The beak-head, the cat’s-head, the small medallions with figures and the signs of the zodiac, all belong to the later Norman period. In the later Norman mouldings a mixture of Byzantine character is seen on the ornaments as at Durham. It has also been observed that in the sculpture of the period of the late Norman style there is frequently a certain mixture of the Byzantine Greek character brought home from the East by the Crusaders, who had returned. This is also one of the characteristics of the period of the Transition.”--(J. H. P.)