With regard to paneling generally, there were, during the last fifty years of the period now under review, three styles of design followed by most European carvers, each of which attained great notoriety. Firstly, a developed form of small Panelling. tracery which was very common in France and the Netherlands. A square-headed panel would be filled in with small detail of flamboyant character, the perpendicular line or mullion being always subordinate, as in the German chasse (Muse Cluny), and in some cases absent, as the screen work of Évreux cathedral shows us. Secondly, the linenfold design. The great majority of examples are of a very conventional form, but at Bere Regis, Dorsetshire, the designs with tassels, and at St Sauvur, Caen, those with fringe work, readily justify the universal title applied to this very decorative treatment of large surfaces. At the beginning of the 16th century yet another pattern became the fashion. The main lines of the design consisted of flat hollow mouldings sometimes in the form of interlacing circles (Gatton, Surrey), at other times chiefly straight (Rochester cathedral), and the intervening spaces would be filled in with cusps or sprigs of foliage. It marks the last struggle of this great school of design to withstand the oncoming flood of the new art, the great Renaissance. From this time onward Gothic work, in spite of various attempts, has never again taken a place in domestic decoration. The lines of the tracery style, the pinnacle, and the crocket unequaled as they have always been in devotional expression are universally considered unsuited for decoration in the ordinary house.