rectangular compartments, the spandrels of which are filled with sunk quatrefoils and foliated panels; these arches spring from piers disposed lozengewise with semicylindrical shafts at the angles; there are no clerestory windows, and the windows of the aisles and chancel have obtusely-pointed four-centred arches. The wooden roof is a good example of the kind. Q. What district is noted for the number of rich churches in this style? [Illustration: St. Stephen’s Church, Bristol.] A. Somersetshire contains a number of fine churches, erected apparently towards the close of the fifteenth or very early in the sixteenth century; and many of these churches have much of carved woodwork in screens, rood-lofts, pulpits, and in pewing. The towers are, in particular, remarkable for their general style of design, and are often divided into stages by bands of quatrefoils; the sides are more or less ornamented with projecting canopied niches for statuary, and in many of these niches the statues have been preserved from the iconoclastic zeal which has elsewhere prevailed. The belfry windows are partly pierced, sometimes in quatrefoils, and partly filled with sunk panel-work. The parapets, whether embattled or straight-sided, are pierced with open work; and at each angle of the tower, at which buttresses are disposed rectangular-wise, is finished with a crocketed pinnacle, which is also often to be met with rising from the middle of the parapet. Towers similar in general design to those which may be said to prevail in Somersetshire are not unfrequently met with in other counties, but do not exhibit that provincialism which is the case in that particular county. [Illustration: King Henry VII.’s Chapel, Westminster Abbey.] FOOTNOTES: [121-*] Mr. Rickman, from whom this appellation is derived, has been since generally followed in his nomenclature.