564 FRENCH ARCHITECTURE. Part II. ively but artistically is one of the most beautiful combinations which the square forms are capable of, combining great strength with great lightness of appearance, and variety of light and shade. These four forms may be said to be typical in the South, where the style was derived so directly from the Roman square pier combined with an attached circular pillar. In the North the Normans, and, generally speaking, all the Frankish tribes used the circular pillar in preference to the square pier, and consequently the variations Avere as shown in Figs. 5, G, 7, and 8 ; which, though forming beautiful combinations, wanted the accentua- tion produced by the contrast between the square and round forms. 10 f^ii^^-Mj- -ji x^^ 12 414. Diagram of Plans of Pillars. The architects after a time seem to have felt this, and tried to remedy it by introducing ogee forms and sharp edges, with deep undercut shadows, thus applying to the pillars those forms which had been invented for the mouldings of the ribs of the vaults, and for the tracery of the windows. The expedient was perfectly successful at first, and, so long as it was practised in moderation, gave rise to some of the most beautiful forms of pillars to be found in any style. It proved, however, too tempting an opportunity for the indulgence of every sort of quirk and quibble ; and after passing through the shapes shown in Figs. 9 and 10, where the meaning of all the parts is still sufficiently manifest, it became as complicated as Fig. 11, and sometimes even more cut up, so that all nieaning and beauty was lost. It became moreover very expensive and difficult to execute, so that in later times the architects reverted either to circular pillars, or to such a form as that shown in Fig. 12, which was introduced in the 16th century. The change may have been partly introduced from motives of economy, and also to some extent from a desire to imitate the flutings of classical pillars : but from whatever motive it arose, it is singularly unmeaning and inartistic ; and as the capital was at the same time omitted, the
