A. Besides the plain embattled parapet, which is not always easy to be distinguished from other styles, a horizontal blocking course, pierced with foliated or wavy, flowing tracery, which has a rich effect, is common. Of this description specimens occur at St. Mary Magdalen Church, Oxford, and Brailes Church, Warwickshire. Q. What is observable in the niches of this style? A. They are very beautiful, and are generally surmounted by triangular or ogee-shaped canopies, enriched with crockets and finials, while the interior of the canopies are groined with numerous small rib mouldings. The crockets and finials of this style, as decorative embellishments, are peculiarly graceful, chaste, and pleasing in contour. Q. Was the transition from this style to the next gradual? A. Both the transition from the Early English to the Decorated style, and from the Decorated to the Florid or Perpendicular, was so gradual, that though many individual details and ornaments were extremely dissimilar, and peculiar to each particular style, we are only able to judge from examples when a change was generally established. Q. From what cotemporary writers of the fourteenth century can we collect any architectural notices, either general or of detail? [Illustration: Part of the Altar Screen, Winchester Cathedral.] A. In Chaucer we find allusions made to _imageries_, _pinnacles_, _tabernacles_, (canopied niches for statuary,) and _corbelles_. Lydgate, in _The Siege of Troy_, in his description of the buildings, adverts to those of his own age, and uses several architectural terms now obsolete or little understood, and some which are not so, as _gargoiles_. In Pierce Ploughman’s Creed we have a concise but faithful description of a large monastic edifice of the fourteenth century, comprising the church or minster, cloister, chapter house, and other offices. Q. What edifices maybe noticed as constructed in this style?