“Arches are not so acute as in the earlier periods; capitals and bases of columns are distinguished by the shallowness of the mouldings; mullions are carried straight through the arch of the windows; doorways consist of a depressed arch within a square frame with a label above; the label moulding is frequently filled with foliage and the space round the arch parallel; towers are often extremely rich and elaborately ornamented with four or five stories of windows, canopies, pinnacles and tabernacles; porches are also fine, highly enriched with panel-work, buttresses and pinnacles, and often with a richly-groined vault in the interior; and mouldings are generally more shallow than the earlier ones. “There is an ornament which was introduced in this style and which is very characteristic. This is called the ‘Tudor-flower,’ not because it was introduced in the time of the Tudors, but because it was so much used at that period. It generally consists of some modification of the fleur-de-lis alternately with a small trefoil or ball, and is much used as a crest for screens on fonts, niches, capitals and in almost all places where such ornament can be used. The foliage of this style is frequently very beautifully executed, almost as faithful to nature as in the Decorated style, in which the fidelity to nature is one of the characteristic features. There is comparatively a squareness about the Perpendicular foliage, which takes from the freshness and beauty which distinguished that of the Decorated style. Indeed, the use of square and angular forms is one of the characteristics of the style; we have square panels, square foliage, square crockets and finials, square forms in the windows--caused by the introduction of so many transoms--and an approach to squareness in the depressed and low pitch of the roofs in late examples.”--(J. H. P.) The woodwork of the Perpendicular period is very beautiful: open timber roofs (met with in the eastern counties), screens and lofts across the chancel-arch and richly carved bench ends exist in considerable numbers. “The frequent use of figures, simply as corbels between the windows of the clerestory to carry the roof, is a good characteristic of the late Perpendicular style; they are generally of the time of Henry the Seventh or Eighth. The figure used is generally that of an angel, and each angel is sometimes represented as carrying a different musical instrument so as to make up a heavenly choir.”--(J. H. P.) Among the best examples of late Perpendicular are Henry VII.’s Chapel, Westminster Abbey; St. George’s Chapel, Windsor; King’s College Chapel, Cambridge; and Bath Abbey Church. In writing of the latter W. D. Howells so beautifully describes this style that no excuse is needed for bringing his definition into this place. He says: