Pillars and Columns, with which the massive circular arch-piers, or piers with nook-shafts, are not to be confounded, exhibit great diversity of character, both as to proportions and decoration, from the rudest and plainest forms to either the lightest or the most enriched. Neither are the two terms precisely synonymous, it being as well to observe the distinction made between them by Whewell, and to restrict the latter term to such pillars as approach to the general proportions and character of classic columns. Pillars, on the contrary, have very great variety of proportions, either much below or greatly above such standard, being generally adapted to the load they have to sustain, without any regard to classic or any other metrical proportional. The shafts are for the most part plain, though instances occur of their being carved (as was oftener than not the case with the columns of Lombardic porches) ; and in the undercroft at Canterbury Cathedral there are pillars whose shafts are fluted spirally. ,Raised mouldings, intersecting each other spirally so as to form a diamond-pattern on the surface, are by no means unfrequent ; and some of the circular arch-piers in Durham cathedral are so ornamented : zigzag or chevron lines were also employed for decorating the surfaces of piers and columns, and were disposed either annularly, in horizontal rings, or spirally. Of these and some other varieties specimens are here shown.
With respect to Capitals, tho diversity is so great as to render it Impossible, at least here, to attempt to classify them, or particularise even the leading varieties. While some are both rude and plain, others are remarkable for the delicacy of workmanship and the taste shown in their enrichments : some, though they do not lack ornament, aro either too poor and Insignificant, while others again, though quite plain, have something pleasing in their mass and contour, and In the proportion they bear to the height of the shafts. Of the plainer sort of capitals, the most common shape of those occurring in Angle Norman buildings is what Mr. Whewell designates the Cashion and which Is formed by an inverted cone, of convex contour, spreading up towards the abacus, but intersected by four planes, producing as many flat surfaces or aides answering to those of the abacus. This will be rendered moro intelligible by the annexed examples from Rochester cathedral, although they instance varieties of the cushion capital, the stem or circular part of each being cleft, whereby the planes or faces forming the sides become scalloped: the cushion capital will also be recognised in some of the succeeding examples.
Of the variety of sculptured and enriched capitals, the specimens here annexed do not go far towards conveying an adequate idea, tier are they the very best that are to be met with ; nevertheless they may suffice. The first two, which we have selected for the sake of com parison, are foreign, namely, from Jumieges and Saloon stir Rille ; the next are from St Peters, Northampton (a church which affords a wonderful variety of enriched Norman capitals), and Stoetly church, Derbyshire : the last of these is as remarkable for tho Grecian cha racter of the intertwining volutes carved upon it, as the first is for its striking general resemblance to the Corinthian capitaL The final ex amples, from Oxford cathedral, are very chaste in design.
.3 [adding: are of great variety, in some instances very elaborately carved, and always ornamental features in Norman buildings. One of the most favourite and characteristic is the chevron, or zigzag mould ing, which is used alike for archivolts and other decorative features. Hardly less characteristic is the billet, or alternate billet moulding, which occurs in all classes of churches. Other kinds of frequent occur rence are classed as the pellet, the lozenge, the indented, nail-head, cable, beak-head, medallion, star, &c.; but there are a great variety of others, and among them the more complex descriptions, which fall under none of those classes. The following are a few of the almost numberless varieties which exist : others will be recognised in the cuts of windows, doorways, Ste, later buildings they were, however, often adorned with a profusion of arcades, and sometimes enriched with carving. Occasionally octagonal As already indicated the Toircrs in this style were usually low, and inasaise ; square in plan, with small narrow windows, and in the early examples plain, or but little ornamented. In the more important and or polygonal towers are seen, as at Ely cathedral. Round towers am not unusual in the chnrches of the eastern counties, especially Norfolk and Suffolk. Norman towers were originally capped with a steep pyra midal roof of stone, or tiled ; a form which was elongated into the stunted pyramidal spire, and afterwards probably led to the ordinary spire, in like manner as its ornaments of animals' heads and figures may have suggested the first idea of erockets. Examples of this kind of roof are not often met with in this country, they having usually been replaced by a spire of later date, or removed to make way for an embattled parapet. We therefore subjoin (col. 973) a sketch of one of contemporary date, on the tower of Than church in Normandy.
The course of Norman architecture was unquestionably on the whole towards richness and refinement. Yet it was always distinguished by masa and majesty. In the earlier examples, rude and stern, it gradually put off something of its austerity, but always retained a cer tain severe nobility of aspect. As it passed into the First Pointed style it dropped one after another of its earlier characteristics, and assumed a lighter and more elegant appearance; but it is note worthy that as pointed arches began to mingle with semicircular, tho ornamental details of the building became less florid and fewer, but chaster and more correct in design, and more finished in execution. This Transition or Semi-Norman etylo is briefly noticed under GOTUIC ATICIIITECTCHE : but in a general sketch, like the present, it ie unnecessary to dwell on a style that is essentially without individu ality; its character being a compound of the styles between which it stands. A good example of this style is that portion of Canterbury Cathedral called Becket's Crown, erected in 1184.
As the best way perhaps of impressing on the memory the leading characteristics of Norman architecture, we shall conclude by briefly contrasting them with those of the Pointed Gothic style.