e elapsed
since the construction. In monastic times this gateway figured in the
important ceremony attending the installation of a new abbot. Before
entering the precincts of the monastery the destined prelate,
accompanied by his chaplains and personal following, halted in this
corner of the market-place, and after entering one of the adjoining
houses where his shoes were removed he proceeded barefoot into the
churchyard. The whole convent, duly accoutred, were in waiting, and as
soon as the new abbot appeared in the gate they emerged in ordered
procession from the north porch of the great church to meet him. After
various formalities he was solemnly escorted to the church, where
further important ceremonials were performed.

[Illustration: ABBOT REGINALD'S GATEWAY]

To the previous century may be assigned the bases of the substantial
piers which stood at the crossing of the nave and transept, and
supported the tower of the great church. These remains may be seen in
the excavated hollow a few steps from the southern side of bell tower.
The tower of the church was begun by Abbot Walter soon after the
Conquest, and there can be little doubt that these massive foundations
belong to his time. If we follow the line of wall to the south from
this point we come to an arch, bare on this side but elaborately
carved on the other with two rows of figures under canopies. This
archway was in the east walk of the cloisters, and gave entrance to a
vaulted passage connecting the cloisters with the chapter-house.
Though the figures have been considerably mutilated and weather-worn
it will be seen that the carving is of great beauty; the outer figures
are seated while the inner ones stand, and over both are placed
canopies of tabernacle work. We know this as the work of Abbot
Brokehampton, by whom it was erected early in the fourteenth century.
The bare face of the arch was originally hidden by the stone vault
forming the roof of the passage already referred to. The chapter-house
stood out in the field; but much farther, even to the edge of the bank
which slopes down to the monks' fish ponds, did the choir and Lady
chapel extend.

As we retrace our steps we follow the line of the transepts. When we
reach the exposed foundations, let us pause awhile and allow our
imagination full sway. We are standing in the midst of the choir, in
the "dim religious light" of a great mediaeval church. Above is the
"high embowed roof" of the central to