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which is the condition fundamental to the generation of an acceptable convergence. Scott counts not less than fourteen assortments of Caricature Drawing vaults and focuses out that examples of thirteen are to be found at Westminster. Without such moment subtle element we may choose some understood assortments:- – (1) The plain wagon-head vault, as at the Chapel of the Tower; (2) in cutting edge Norman works, cross-vaults framed by two meeting crescent vaults, the corner to corner line being known as a crotch. (3) The most punctual transitional and E. E. vaults, pointed and with transverse and inclining ribs, and managers at the crossing point of Caricature Artists, _e.g._, in the paths and the early part of the houses at Westminster. (4) In the propelled part of the E. E. period, the expansion of a rib at the edge, as found in the presbytery and transepts at Westminster. (5) At the season of the move to Dec. extra ribs started to be presented between the corner to corner and the transverse ribs. (6) As the Dec. period progressed different ribs, called _liernes_, were presented, running in different bearings over the surface of the vault, making star-like figures on the vault. (7) The vault of the early Perp., which is like the last, however more entangled and drawing nearer No. 8, _e.g._, Abbot Islip’s church. (8) Lastly, the particular vault of the progressed or Tudor Perp., is Caricature Picture vault of which Henry VII’s. Chapel rooftop is the peak. The vaulting surfaces in these are parts of empty Caricature Cartoon, and are secured by a net-work of fine ribs, associated together by groups of cusping .In Scott’s specification the vaults of octagons and sporadic compartments, and such assortments as the one called sexpartite, discover a spot; here they have been deliberately prohibited.