ornament forms no part of the real profile; every characteristic of a functionally expressive capital is wanting. The
FIG. 160. cylindrical form of the shaft above the astragal, in place of a well-shaped bell, is not always so visible as it is in this instance, but it nearly always exists, though it may be more completely covered by the foliage, which sometimes gives the aspect of a better formed capital. The base profile (Fig. 160, from one of the main piers) conforms more nearly with the base profiles of the French Gothic.
The pier archivolts (Fig. 161) have much the character of those of the later Anglo-Norman architecture—the salient members having fillets, and being separated by excessively deep hollows,—giving a linear effect like that of the corresponding mouldings of the Presbytery of Lincoln. As at Lincoln, too, these mouldings are so arranged as to give a round or polygonal section. In the nave of the same building the archivolt is furnished with a richly crocketed hood moulding. In fact, in arch mouldings, and perhaps in other details, the architecture of England seems at this time to have influenced the art of Germany.
FIG. 161.The profiling of cornices and other external strings is largely of French origin, but it is considerably modified by the German taste, and shows a peculiarly hard character unlike that which any other style exhibits.
The profiles of the pointed architecture of Italy are very diverse in character. No generally recognised principles seem to have governed the designer in their production. In many cases, especially in capitals and bases,the profiles of the French Gothic are closely approached, while often they are as widely departed from. In his more independent productions in this field the Italian designer displays little
