from the windows of the latter in a continuous moulding running from the top of the windows down through the blind tracery of the triforium to the string course at the top of the arcading. In England, the Rayonnant or Decorated period was characterised by windows of great width and height, divided by mullions into subdivisions, and further elaborated with tracery. Early characteristics were a trefoil or quadrifoil design. Later windows often used an S-shaped curve, called an ogee, giving a flame-like design that heralded the Flamboyant style. Notable examples include the windows in the cloister of Westminster Abbey (1245–69), the Angel Choir of Lincoln Cathedral (1256), and the nave and west front of York Minster (1260–1320). Rose windows The great rose window was among the most distinctive elements of the Rayonnant. The transepts of Notre-Dame de Paris were rebuilt to make a place for two enormous rose windows, made by Jean de Chelles and Pierre de Montreuil, and paid for by King Louis IX. Similar great roses were added to the nave of the Basilica of Saint-Denis and Amiens Cathedral. With the use of stone mullions separating the pieces of glass, and those glass pieces supported by lead ribs, windows became stronger and larger, able to resist strong winds. Rayonnant rose windows reached a diameter of ten meters. Blind tracery The tracery within windows inspired another form of Rayonnant decoration; the use of blind tracery, or meshes of thin ribs that could be used to cover blank walls in decorative designs, matching the designs within the windows. Sculpture Sculpture was an important feature of the decoration of the facades of cathedrals, a practice dating back to the Romanesque period. Stone figures of saints and the Holy family were featured on the facade and tympanum. In the Rayonnant period, the sculptures became more naturalistic and three-dimensional, standing out in their own niches across the facade. They had individual facial characteristics, natural gestures and postures, and finely-sculpted costumes. The other decorative sculpture, such as the leaves and plants that decorated the capitals of columns, also became more realistic. The sculptural decoration of Italian Gothic churches, such as the facade Orvieto Cathedral, designed by Lorenzo Maitani (1310) was extremely fine, and was part of a combination of bronze and marble figures, mosaics, and polychrome reliefs. It was a forecast of the Renaissance that was about to begin. Decorative elements One distinctive element