At Burton Agnes the grouping of a circular bay in the gable with an octagonal one just round the corner (Fig. 95) is very effective pictorially, and makes an interesting plan. The circular bays at Lilford, in Northamptonshire, set within the curved gables, produce a pleasing combination (Plate XXXIV.); but of all circular bays the palm must be assigned to the great twin bays at Kirby (Plate XXXIII.). It was not only in important houses that these striking features were introduced; they are to be found in all kinds of dwellings, and frequently impart interest to small and insignificant cottages, whether of stone, as at Bourton-on-the-Water (Fig. 96), or of wood and stucco, as at Steventon, in Berkshire (Fig. 97). In both these examples much of the pleasant effect is derived from the small size of the windows and the proportionately large space of plain wall between them; but the same effect can hardly be obtained in the present day, because the rooms have to be higher, and toleration is seldom accorded, either by private taste or public regulations, to windows which start a long way from the floor and end a long way from the ceiling. [Illustration: PLATE XXXIII. ASTLEY HALL, LANCASHIRE. KIRBY HALL, NORTHAMPTONSHIRE. THE BAY WINDOWS.] [Illustration: PLATE XXXIV. LILFORD HALL, NORTHAMPTONSHIRE (1635). CURVED GABLES.] [Illustration: 97.--COTTAGE AT STEVENTON, BERKSHIRE.] There was no great variety in the mouldings of the stonework. Several sections of jambs and mullions are shown on Fig. 98, of which No. 1 was most frequently used in Elizabethan and Jacobean work. The jambs and principal mullions had an outer member, slightly splayed, which formed a frame within which the subsidiary mullions and the transoms were enclosed, as may be seen by referring to Figs. 71, 96, and 103. Sometimes this outer member was moulded instead of splayed, as shown in No. 2 (Fig. 98), and occasionally an extra member was introduced close to the glazing line, as shown in No. 3. These three examples are all varieties of the same type. No. 4 shows a type with a hollow moulding, which was prevalent in Tudor work, as it had been previously in Gothic; and it remained in use, along with the plain splayed mullion, up to the time of the sash-window. Although it preceded the type No. 1, and might therefore be considered to indicate an earlier date, it is not by any means a safe guide, inasmuch as both forms were in use at the same time. No. 1, however, was not used before the middle of the sixteenth century, and may be taken as a fairly safe indication of a date subsequent to that time. No. 5 shows a sunk splay, and was occasionally used, but it is not frequently met with. The label shown on No. 4 was used in late Gothic work, and survived in some instances as long as the mullioned windows themselves; but in the more ambitious designs its place was taken by the lower member of a cornice founded on classic models. No.