FLAMBOYANT STYLE, in architecture, the last phase of the Gothic in France, characterized by the dominance in tracery of the line of double curvature, known as the "ogee curve," which generates the flame-like forms that give the name flamboyant to the style. Flamboyant forms begin to appear in the late 14th century, as in one of the chapels of Amiens cathedral (i.) ; by the middle of the 15th century they were almost universal. Bor rowing from the English the idea of the reversed curve and of flowing tracery (see DECORATED PERIOD and GOTHIC ARCHITEC TURE), the French developed them with greater freedom. The best flamboyant tracery is often simpler and more direct than the English curvilinear work; grace of form and attenuation of line, a restrained use of cusps and generally slim proportions, are the aims sought. In the 16th century, tracery returned to lower and more stumpy proportions with a great use of round and elliptical arches and circular curves, with frequent barrenness and lack of invention. All work of the flamboyant period is char acterized by lavishness of detail, multiplication of miniature niches, fantastic and elaborate crockets, pierced, traceried gables, curved-sided pinnacles and the practice of intersecting and inter penetrating mouldings of different profiles, as, for instance, a cornice and a raking gable mould. Double and triple bases are frequent, the upper bases being penetrated by projecting shafts which have their own bases below. Among the outstanding ex amples of the style are the church of St. Maclou at Rouen (begun 1432), the west front of Rouen cathedral (1481-92), the north ern spire of Chartres cathedral , St. Wulf ram at Abbeville (148o), the south transept of Beauvais cathedral (I 5oo-48) and the Palais de Justice at Rouen (c. 1500). (T. F. H.)