This form occurs in Northern France, notably at Laon Cathedral, Italy and England. This style of window is popular in Gothic Revival architecture for the similarity that it has to a flower and is also utilised with specific reference to Our Lady of the Rosary. Rayonnant Gothic: The rose windows are divided by mullions radiating from a central roundel, overlapping in a complex design, each light terminating in a pointed arch and often interspersed with quatrefoils and other such shapes. Many of the largest rose windows in France are of this type, notably those at Paris and in the transepts of St Denis. An example in England is that in the north transept of Westminster Abbey. This style occurs widely in Gothic churches and is also widely imitated in Gothic Revival buildings. Flamboyant Gothic: The style is marked by S-curves in the tracery causing each light to take on a flamelike or "flamboyant" shape. Many windows are composed of fairly regularly shaped lights the richness of design dependent on the multiplicity of parts. Good examples are at Beauvais Cathedral and Sainte-Chapelle, Paris. Some Late Gothic rose windows are of immense complexity of design, often using elements of the Gothic style in unexpected ways. A magnificent example is that of the façade of Amiens Cathedral. Although the design usually radiates from a central point, it may not be symmetrical about each axis. This may be seen in the Flamboyant Decorated Gothic window called the "Bishop's Eye" at Lincoln Cathedral in which the design takes the form of two ears of wheat. Renaissance: The Renaissance made a break with the Gothic style, and a return to the Classical. Plain untraceried oculi were sometimes employed, either in Classical pediments or around domes as at the Pazzi Chapel, Florence. Baroque: The Baroque style saw much greater use of ocular windows, which were not always circular, but frequently oval or of a more complex shape. They were untraceried or crossed by mullions of very simple form but were often surrounded by ornate carving. The purpose of such windows was the subtle illumination of interior spaces, without resorting to large windows offering external visibility. They rarely form a dominant visual element to either the façade or the interior as do the great Gothic windows. However, there are some notable exceptions, in particular the glorious burst of light which pours through the oval alabaster window depicting the