371 
This leads me to offer a few remarks upon the principles 
apparently reo^ulating the mouldings of the pointed style, 
which, however varied, are all reducible to elementary forms. 
In referring to the transition style, w e find that the circular 
arch was not suddenly abolished, nor were its analagous 
mouldings and details. In the work of Bishop Remigius, 
in Lincoln Cathedral, the ornaments are all strictly geome- 
trical. The distinctive character of Norman mouldings on 
the plan is this, that the lines are at right angles to each 
other, with chamfers at an angle of 45°, the circular columns 
or mouldings being attached. 
The Early English mouldings (in transitu) present much 
of this character, but when the style had become perfected, 
we find the mouldings, however complicated, forming grace- 
fully undulating lines. The columns or roll mouldings, when 
attached, consist of portions of two intersecting circles ; and 
when straight faces occur, they have small hollows, with 
chamfered angles, to afibrd relief and keep up the charac- 
teristic lightness of the style. But a continuity of flowing 
lines would produce sameness, and " pall on the senses like a 
twice-told tale." The architects of this period, therefore, 
introduced occasionally, on the face of the column, a square 
fillet slightly projecting, but giving decision to the chiar- 
oscuro. 
The Decorated mouldings are not unlike those of the Early 
English style, but straight portions and bold quadrant hollows 
are frequently met with, (especially in door jambs.) Small 
reeded mouldings also occur, and the fillet on the face of the 
column, and the doubling of the roll moulding, is retained. 
In Perpendicular mouldings the most prominent and dis- 
tinguishing marks are bold hollows, sometimes circular, but 
more frequently elliptical ; double reverse ogees are also 
very common. 
In painting, the eye is charmed by appropriate colour, no 
