The decorated or middle pointed period in Scotland extends till about 1460. Up to that time the architecture is comparatively pure in style, and is chiefly based on the decorated work of England; but after that date it degenerates and becomes of a debased and mixed character, and contains indications of late importations from abroad. The first building which illustrates the Scottish decorated period is the Abbey of Sweetheart in Dumfriesshire. This edifice was probably begun about the time when hostilities broke out between England and Scotland, and is intimately associated with the name of Baliol. What length the works may have gone when stopped by the war cannot now be ascertained, but the original design in the early decorated style has to all appearance been carried out when building was resumed. The large traceried windows and the details of the nave arcade and clerestory all point to the decorated period. Possibly, owing to the English connection of the Baliols, the design may have been brought from the South in the latter part of the thirteenth century, and carried out with modifications at a later time. Amongst the principal structures of the Scottish decorated period, Melrose Abbey holds a prominent place. This building, which had been partly restored through Bruce’s influence, was destroyed by Edward II. in 1322. The restoration was again proceeded with, and the structure was again partly demolished by Richard II. in 1385. The works had to be once more restored, and the structure was not completed till the beginning of the sixteenth century. A considerable mixture of styles, as would in the circumstances be expected, is therefore found in the different parts of Melrose Abbey; but there can be little doubt, from the nature of the work, that some parts of the building belong to the Scottish decorated period, while other parts have a stronger leaning to the perpendicular style than any other Scottish church. A comparison of the details of this structure with those of York Minster, to which they bear a close resemblance, is convincing evidence of the decorated character of much of the work at Melrose. Whether we look at the beautiful windows and tracery, or at the buttresses, with their simple, but elegant, outlines and panelled surfaces; or at the elaborate and beautiful niches which adorn them, with their fine tabernacle work and spirited sculptures and figures; or at the pinnacles, with their carved crockets and foliaged finials, the style of the whole of the details will be found to correspond very completely in the decorated portions of these two buildings at York and Melrose. Other portions of the work have likewise considerable similarity to the later perpendicular work at York.