portion was noticed in the crypt,
while on the left is the doorway into the choir, and on the right
another square-headed doorway, opening into the vestry.

=The Vestry.=--Before the erection of the cross-wall the vaulting
evidently extended eastward continuously to the apse, which still
contains a fragment of it with two corbels, while further traces,
including another corbel, may be seen upon the south wall. Its removal
may have taken place either when the two Decorated buttresses were
introduced, or at the erection of the Lady-loft, or possibly much later;
but was doubtless contemporaneous with the building of the cross-wall,
which was evidently intended not only as a partition, but as a 'stop'
for the portion of the vaulting that was retained. The present ceiling
was put up by Sir Gilbert Scott, who, it is said, would have restored
the vaulting had funds allowed. Of the buttresses, that adjoining the
doorway has in its front, as well as in the side toward the lobby, a
small trefoiled and moulded recess. These two buttresses are built
against the piers of the arcading, part of the last arch of which is
visible behind the cupboard.

In the same cupboard may be observed, scarcely above the floor, a wide
stone ledge with a bold moulding worked along the front. If the floor
can ever have been lower than it is now, this ledge may have been used
as a bench. In itself, it is of course the set-off on which the piers of
the arcading stand. Now it will be remembered that the portion of
Archbishop Roger's wall-base visible from the graveyard (between the
choir and the apse) has at the top a wide set-off or slope. This ledge
in the vestry, then, seems to be level with the base of that slope,
where moreover there is a moulding similar to that found here; also the
front of the ledge here seems to be flush with Archbishop Roger's
masonry there.

If, then, the work there is his,[113] the above considerations afford
some reason surely for the belief that this set-off on which the piers
of the arcading stand, and perhaps also the uppermost courses of the
wall beneath it, are Archbishop Roger's work. Nor is it improbable that
this set-off once had a slope, of which that above-mentioned was the
continuation, and out of which the buttresses (_i.e._, the arcade piers)
rose after the manner of those on the other side of the choir--in fact,
that Archbishop Roger intended to make this wall the exterior of his
church by demolishing the cr