It would be hopeless in such a lecture as this to attempt to go through, even in the most cursory manner, the endless varieties of capitals--from the stupendous masses of noble foliage which crown the apsidal columns at Rheims, whose single shafts are nearly six feet in diameter, to those of the delicate colonettes which decorate the mullions of windows. This one feature alone would form an ample subject for an entire lecture, or almost for a series of lectures. I will confine my present remarks to the great characteristic differences which distinguish French from English capitals during the thirteenth century. This great distinction lies in the plan of the abacus; for while in France the square form of the preceding style continued, the English architects very soon substituted the circular plan. It is a curious question how and when this arose. In both countries the round abacus was, in some instances, used from an early period; but this was chiefly on great cylindrical columns, with low capitals, such as those in the nave of Gloucester Cathedral, though even in France the round form occasionally occurs to subordinate shafts, as at St. Omer; but, as a general rule, both countries used the square or the angular form till late in the transition, when the English commenced the free adoption of the round, first alongside of the other, and afterwards to its almost entire exclusion. 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_. [Illustration: Fig. 97.--St. Quentin, Aisne.]