ed, the expansion of their small
abaci was of no use: it was dispensed with altogether, and the mouldings
of pier and jamb ran up continuously into the arches.

This condition, though in many respects faulty and false, is yet the
eminently characteristic state of Gothic: it is the definite formation
of it as a distinct style, owing no farther aid to classical models; and
its lightness and complexity render it, when well treated, and enriched
with Flamboyant decoration, a very glorious means of picturesque effect.
It is, in fact, this form of Gothic which commends itself most easily to
the general mind, and which has suggested the innumerable foolish
theories about the derivation of Gothic from tree trunks and avenues,
which have from time to time been brought forward by persons ignorant of
the history of architecture.

Sec. XXXI. When the sense of picturesqueness, as well as that of justness
and dignity, had been lost, the spring of the continuous mouldings was
replaced by what Professor Willis calls the Discontinuous impost; which,
being a barbarism of the basest and most painful kind, and being to
architecture what the setting of a saw is to music, I shall not trouble
the reader to examine. For it is not in my plan to note for him all the
various conditions of error, but only to guide him to the appreciation
of the right; and I only note even the true Continuous or Flamboyant
Gothic because this is redeemed by its beautiful decoration, afterwards
to be considered. For, as far as structure is concerned, the moment the
capital vanishes from the shaft, that moment we are in error: all good
Gothic has true capitals to the shafts of its jambs and traceries, and
all Gothic is debased the instant the shaft vanishes. It matters not how
slender, or how small, or how low, the shaft may be: wherever there is
indication of concentrated vertical support, then the capital is a
necessary termination. I know how much Gothic, otherwise beautiful, this
sweeping principle condemns; but it condemns not altogether. We may
still take delight in its lovely proportions, its rich decoration, or
its elastic and reedy moulding; but be assured, wherever shafts, or any
approximations to the forms of shafts, are employed, for whatever
office, or on whatever scale, be it in jambs or piers, or balustrades,
or traceries, without capitals, there is a defiance of the natural laws
of construction; and that, wherever such examples are found in ancient
b