anelled or sunk quatrefoil much used in decorative detail?

A. In rich buildings of this style the base, the parapet, and other
intermediate portions were decorated with rows or bands of sunk
quatrefoils, sometimes inclosed in circles, sometimes in squares, and
sometimes in lozenge-shaped compartments.

[Illustration: Rose and Foliage, Henry VII.'s Chapel, Westminster Abbey.]

Q. What other ornamental detail is peculiar to this style?

A. The rose, which, differing only in colour, was the badge both of the
houses of York and Lancaster, and as such is often to be met with. Rows of
a trefoil or lozenge-shaped leaf, somewhat like an oak or strawberry leaf,
with a smaller trefoil more simple in design intervening between two
larger, was frequently used as a finish to the cornice of rich
screen-work, and is known under the designation of _the Tudor Flower_. It
is also common to find the tendrils, leaves, and fruit of the vine carved
or sculptured in great profusion in the hollow of rich cornice mouldings,
especially on screen-work in the interior of a church.

[Illustration: Vine Leaves and Fruit, Whitchurch Church, Somersetshire.]

Q. In what respect do the mouldings of this style differ from those of
earlier styles?

A. In a greater prevalence of angular forms, which may be observed in
noticing the section of a series of mouldings, and in the bases and
capitals of cylindrical shafts. A large and bold but shallow hollow
moulding or cavetto, in which, when forming part of a horizontal fascia or
cornice, flowers, leaves, and other sculptured details are often inserted
at intervals, is a common feature; and such moulding, without any
insertion, is frequent in doorway and window jambs. A kind of double ogee
moulding with little projection, is, in conjunction with other mouldings,
also of common occurrence.

[Illustration: Window, St. Peter's Church, Oxford.]

Q. Of what particular description of work do we find the existing remains
to be almost entirely designed and executed in this style of
ecclesiastical art?

A. Of the numerous specimens of rich wooden screens, composed as to the
lower part of sunk panelling, with open work above, which we often find
separating the chancel from the body of the church, supporting the
rood-loft, and inclosing chantry chapels in side aisles, comparatively few
now remaining are of an earlier date than the fifteenth century[137-*].

Q. What do we find in large buildings erected late in