Arch-mouldings (Plate VIII., Fig. 12) generally included the large hollow also common in the window jambs. The plane of the arch-mouldings was inclined to the vertical 45° (Plate VIII., Fig. 12). The usual dripstone (d.s.) and some of their _corbels_ are shown in Plate VIII., Figs. 1 and 3. Piers (Plate VIII., Fig. 11) were of the simple form shown with columns at the angles, single, or in groups, as Plate VIII., Fig. 13, the general contour of the pier being a rhombus or lozenge in plan. The _ogee_ arch with crockets and finial was continued from the Decorated period. The _Tudor_ or _four-centred_ arch (Plate IX., Figs. 1 and 6) belongs to the late Perpendicular period. Plate VIII., Fig. 4, shows a common form of Tudor door-head with the _label_ or _square dripstone_ and carved _spandril_ (a triangular space). Columns were circular, with octagonal bases and capitals, the latter moulded or carved with oak-leaf foliage or conventional ornament, resembling that in Plate VIII., Fig. 9. Corbels with shields (Plate VIII., Fig. 9), armorial bearings, and the Tudor rose (Plate VIII., Fig. 2), frequently occur. Many Perpendicular churches are rich in ornamental woodwork: choir stalls with lifting seats (misereres), under which are grotesque carvings; poppy-heads (Fr. _poupée_, a doll), the bench-end ornaments which sometimes carried a small carved figure among foliage; panelled screens crowned with brattishing (Plate VIII., Fig. 5), and other ornaments. The term _brattishing_ is also applied to the open tracery of some battlements of the Perpendicular period. The Perpendicular is the longest of the English Gothic periods. In it Gothic construction attained its climax; ornamentation declined from a refined realism to coarse conventionalism, coinciding with the decline of spiritual life in the Church. Cathedrals and churches increased in all dimensions, and everything showed the tendency towards the renaissance of classic art which was flourishing on the Continent. Classic mouldings were imitated, and carved ornament of pure Italian design was applied to decorate Gothic forms--notable instances being the tomb of Henry VII. in Westminster Abbey, and the Salisbury Chantry in Christchurch Priory near Bournemouth. Both were the work of Torregiano, a contemporary of Michael Angelo.