at the vaulting of the
roof springs from corbels which rest directly on the capitals of the
piers. As a result of this the roof looks low and heavy.

The triforium openings, which are divided by small shafts, similar in
character to those in the tower chamber, are 5 feet 6 inches high and
4 feet 10 inches wide. The passage is 26 inches wide and 6-1/2 to 7 feet
high.

The two western bays of the triforium are not alike. On the north the
openings correspond to those in the other bays, and are not contracted
to correspond with the narrowed arch below; whereas on the south side
they are so contracted. By this means the square angle of the western
pier was continued to the roof. On the north side the western pier
ends abruptly at the capital of the respond.

The clerestory windows are partly concealed by the vaulting. Of course
the original windows were much smaller, and were removed and the space
enlarged when the re-roofing was done in the fourteenth century.

=The Roof.=--Originally, no doubt, as at Peterborough, where it
remains, the inner roof was a flat panelled ceiling of wood, supported
by a moulded framing. Whether the wooden roof decayed or was destroyed
by fire, it was found necessary in the early part of the fourteenth
century to re-roof the nave, and the present vaulting was then
constructed. Beautiful though it is architecturally, it has the effect
of dwarfing the nave, as it springs directly from the tops of the
piers in the nave. In character it is a simple pointed vaulting, and
the ribs at their many points of intersection are lavishly decorated
with bosses.

Originally the vaulting was painted and gilded, but owing to the
idiosyncrasies of those who fancied they were having things done
"decently and in order," it was colour-washed in the early part of
this century. The present scheme of colour decoration was carried out
by Mr. T. Gambier Parry. Its chief merit is that it throws out the
bosses in very strong relief. The bosses can be studied with an
opera-glass, but it is less fatiguing to examine them with the help of
a pocket mirror. There is a tradition that the bosses were carved by a
monk who was not held in much esteem by his companions, and was a butt
for their gibes and witticisms. Whether this was so or not, he knew
how to carve rudely and effectively in stone, and long may his work
remain with us. They represent in a highly pictorial manner the life
of our Lord. Beginning at the west end, the