This latest form, the "applied" mitred moulding, hardly came into general use so early as the time of Elizabeth or James--indeed, the date of its earliest occurrence is a question of considerable interest. But mouldings mitred on the solid had almost entirely replaced the older form of stopped mouldings by the end of the sixteenth century. By returning to the illustration of the screen at Haddon (Fig. 135), an example may be seen alongside the heavier Gothic work; and another example, with a much deeper and broader moulding, may be seen in an upper room at the same place (Plate XLI.). It is a provoking characteristic of work of this time that its method of treatment does not give an infallible clue to its chronological sequence. In earlier times the mouldings gave this clue: when once a form was superseded by another, it did not occur again; but in the period now under consideration fashion was not so accommodating, and though on the whole the mitred moulding is later than the stopped moulding and finally superseded it, yet there are early examples of mitring, as in the panelling at the Vyne, which must have been put up before Wolsey's death in 1530, and there are late examples of stopped mouldings in such things as chests, which maybe as late as James I. The pewing and pulpit at Haddon (Plate XLI.) have them, and they are late Elizabethan, if not Jacobean, while the panelling in the dining-room, which is dated 1545, is mitred. [Illustration: 140.--DOOR AT BECKINGTON ABBEY, SOMERSET.] The panels themselves, which in early days were decorated with the linen pattern, and subsequently with Italian foliage and heads within circles, became plainer and simpler. In the dining-room at Haddon all the lower panels are plain, while a kind of frieze of ornament is carried round in those next to the cornice. The ornament consists for the most part of coats of arms from the Vernon pedigree, but there are also heads in circles, linen panels, initials with true lovers' knots, and other devices. All these are carved in relief, but in later times carving gave way to patterns formed by sinking the groundwork and leaving the design on a level with the face of the panel. There was little or no modelling in the design, and the work could be done by a less skilful hand than actual carving would require. An example is to be seen in a door at Beckington Abbey (Fig. 140): the same kind of work was often applied to the rails of panelling, the face of pilasters, and other plain surfaces. Another specimen, with a little more modelling in it, is at Nailsea Court (Fig. 141). The services of the carver were, however, by no means dispensed with, and there is a vast amount of richly ornamented panelling up and down the country, both in houses and churches. The monotony of the constantly repeated oblongs was broken by the introduction of pilasters, which were themselves fluted or decorated with patterns. [Illustration: 141.--DOOR AT NAILSEA COURT, SOMERSET.]