A great portion of the Minster is in the Decorated style; not, however, conceived in the inspired vein of the west window. The nave and chapter-house cover the period of the sixty years during which Decorated Gothic flourished, and making the round of the exterior we find its characteristic mouldings and traceries repeated in a long range of seven bays, interrupted by the beautiful compositions of north and south transepts, entirely dissimilar from one another, but individually perfect, and the most entirely satisfactory features of the exterior. The architects of that period were more fully endowed with the artistic sense than those who went before, or those who succeeded them, and their works, and the more daring and ambitious, but something braggart, designs of their successors, remain to prove the contention. Eastward, beyond the transepts, extends the long, nine-bayed choir, the view of it obscured from the north by the protruding octagonal chapter-house, but well seen on the south, where the soaring ambition of its designers may advantageously be compared with the more modest but better ordered art of the unknown architect who built the south transept. The architects of the choir would seem to have dared their utmost to produce the largest windows with the smallest proportion of wall-space, and to have at the same time been emulative of height. With these obvious ambitions, they have succeeded to wonderment in rearing a building that is nearly all windows, with an apparently dangerously small proportion of walling to hold them together, but a building which has already survived the storms of five hundred years structurally and essentially sturdy and unimpaired. A great engineering feat for that time, rather than a masterpiece of artistry, as those who stand by and compare south transept and choir, visible in one glance, can see. That the perceptions of those who built the choir were blunted is proved by the almost flat roof their ambition for lofty walling has necessitated. With their side walls carried up to such a height, abutting against the central tower, they could not obtain the steep pitch of roof which is seen on the transepts, for a higher pitch would have committed the architectural solecism of cutting above the sills of the great tower windows, into the windows themselves. Thus their lofty choir is robbed of half its effect and looks square-shouldered and ungraceful by comparison.