III. The Decorated style commenced in the fourteenth century, or a few years earlier, reached its zenith before the middle of the century, and ended with the reign of the third Edward. The period of transition between this style and the last is perhaps the era of the greatest beauty of English art. The characteristics of the style are, more elaborateness of detail and ornament, much larger windows with beautiful and complex tracery, heavier buttresses, piers with closely-joined shafts, not detached as before, sculpture closely imitating natural foliage, mouldings less deeply cut, the ball-flower ornament. Decorated work is very plentiful, and may be seen in the chapter-houses of Wells, Norwich, Winchester, Canterbury, also at York, Lichfield, Exeter, Carlisle, Lincoln, Southwell, and elsewhere. A period of transition again followed during the last half of the fourteenth century, during which the style developed into the Perpendicular. IV. The Perpendicular style prevailed during the fifteenth century and continued until the reign of Henry VIII., when the mediæval period ceased. This style is, as we have said, peculiar to England. In Scotland, where French influence was great, there are many examples of the Flamboyant style, which prevailed in France, and was scarcely known in England. This style is characterised by more elaborate and richer work, increased use of ornament and panelled decoration, peculiar window tracery (the mullions being carried straight up through the head of the window, while smaller mullions spring from the heads of the principal lights), much larger windows, depressed arches (Tudor arch), much heavier buttresses, mouldings carried up the piers and arches without any break or capital, cavetto (a wide and rather shallow variety), ogee, bowtell mouldings, the rose ornament, Tudor flower. The extensive use of panelling is always the hall-mark of the Perpendicular period. The choir of Gloucester is the earliest known example of this style, and King's College, Cambridge, St. George's Chapel, Windsor, and Henry VII.'s Chapel at Westminster, are the most perfect specimens of Perpendicular art. Then followed the Renaissance period, when classical and Roman features were mingled with the latest English style. There was an attempt to revive the Gothic style in the time of James I., but the foreign influence was too strong, and not till the close of the eighteenth century did this revival take place. The love of Gothic art had never been quite extinguished in this country, and to the English people belongs the honour of restoring to its rightful place that style which has created so many superb and magnificent buildings instinctive of the faith and reverence which first called them into being.