(From a drawing by Sir G. G. Scott, by permission of the Archaeological Inst.i.tute.)]

[Ill.u.s.tration: DECORATED CAPITAL IN CHOIR.]

Though the three eastern bays (still on the north side) are chiefly Decorated, portions of Archbishop Roger's work have been retained or used again. Thus the fourth column from the west is his, and perhaps the fifth up to the abacus, which is convex and of limestone. The respond against the east wall is of his pattern, but it has not the circular plinth, and the capital is of limestone, has the abacus moulded with rounds upon the edge, and is covered with delicate foliage in the Decorated manner. In these arches the lower order has exactly the same mouldings as in the western bays, and is of gritstone, while the upper order is of limestone, and has fillets upon the larger mouldings. It would seem, therefore, that the later builders have used the original archivolts again, and have merely added another order or orders over it.

The plane of the wall above, indeed, is brought forward to the face of Archbishop Roger's vaulting-shafts: yet without being really thickened, since it is set back from his wall on the exterior. At the junction of the old vaulting-shafts with the additional order of the first Decorated arch the later builders have carved a group of grotesque faces. In each bay of the Decorated triforium there is a round arch filled with tracery consisting of three round-headed and trefoil lights with two circles enclosing trefoils above them; and on either side of this arch (but on one three only, in the first of the side bays) is a sunk lancet panel enclosing a pointed arch impaling a trefoil. The clearstorey has a second plane of tracery, a feature not very common in England. The vaulting-shafts are in cl.u.s.ters of three and are filleted, and the string-course below the triforium is not carried round them. Each cl.u.s.ter springs from a semicircular corbel resting on a head, and has its capitals enriched with foliage. The last pendentive of the vaulting rests on a single shaft springing directly from a head-corbel. The string-courses are not of the same pattern with those on the older bays.

[Ill.u.s.tration: THE NORTH SIDE OF THE CHOIR.

(Junction of Transitional and Decorated work.)]

On the south side the westernmost Perpendicular bay, up to the triforium, is solid and covered with cinquefoil panelling. In the next two bays the mouldings of the arch, among which a broad hollow is conspicuous, are continued down the column, and there is no capital--a sign of decadence more common in the Flamboyant work of the Continent than here. There is, however, a debased half-capital on the east side of the last Perpendicular column, and on the west side of it are three small heads at the impost-level. These columns are lozenge-shaped in section, wider from north to south than from east to west, and though the mouldings end before they reach the bottom of the column, there is no proper base. Each column has a shaft at the front and another at the back, the former carrying the rim of the arch and having a stilted polygonal base but no capital, while the latter has capital as well as base (both polygonal), and helps to carry the aisle-vault. The spandrels of these arches are filled with panelling, in which are several shields (one bearing the arms of Pigott). The triforium again shows in each bay a round arch; indeed, no better example than this choir could be found of the truth that the form of the arch is not a safe guide to the date of a building, but was often dictated by convenience; for here in the triforium are round arches, of which some belong to the twelfth, others to the thirteenth, and others to the sixteenth century. The fact that the distance between the string-courses was already settled by the Transitional bays, compelled the later builders to make their arches round, as a pointed arch of the requisite width would have been too tall. Here the round arch, which is again flanked by two panels, comprises three cinquefoil lights, and the mullions are carried up through the head. The panels are pointed and divided each into two cinquefoil divisions. The Perpendicular clearstorey windows have their rims moulded, but are not splayed. The vaulting-shafts resemble those in the Decorated bays, but their corbels are polygonal and have the sides slightly hollowed, and the abacus of the capital is a half-lozenge. The string-courses have not been made to match either the Transitional or the Decorated. The whole of this Perpendicular work is of very late character, and justifies the belief that it was the last important alteration in the fabric before the dissolution. Moreover, where it meets the tower there seems to be a 'straight joint,' which indicates that these bays are at any rate later than the tower piers.

East of the Perpendicular pillars the next column is Archbishop Roger's, and perhaps the next also, with the exception of its capital, which has two rings upon the necking, with the rectangular top imposed directly upon them and chamfered beneath, while the abacus (which is of limestone) is convex.[93] The respond against the east wall is again of the old pattern, but without the circular plinth, and its capital resembles that just described. In the westernmost of these southern Decorated bays three styles meet. The lower order of the arch seems again to be Transitional work, while in the triforium and clearstorey Decorated arches have been filled with Perpendicular tracery. In the two remaining bays the main arches are entirely Decorated, the lower order being of limestone and the large moulding under the soffit having a fillet. Over the last two complete columns there is a little foliage, and of the corbels of the vaulting-shafts one is enriched with foliage while the other consists of a head between two embracing figures. There is foliage upon the capitals of these vaulting-shafts, and upon the capital and base of that which supports the last pendentive of the vaulting. With the exceptions mentioned, these bays resemble those opposite.

It has been remarked that the choir was probably as long in the twelfth century as it is now. The point is indeed proved if (as there seems no reason to doubt) the last complete column on either side is original and occupies its original position; but a further indication is to be found in the fact that the fragment of the original south wall, the end of which is visible on the exterior between the south aisle and the apse, extends well into the last bay of the present choir.[94]

The huge east window, which is not splayed, has a deep rear-vault bounded by a ma.s.sive rib, whose outer edge rests on slender engaged shafts with foliage on their capitals, while the inner edge ends in bunches of foliage. Between this rib and the tracery is another rib springing on the north side from a bunch of foliage and on the south from a grotesque corbel. The inner arch has slender shafts, and so has the moulding next to the tracery, but in the latter case the capitals are plain.[95] Few acts of vandalism are more to be regretted, probably, than the destruction in 1643 of the magnificent fourteenth century gla.s.s which once occupied this window. The present very poor gla.s.s, by Wailes of Newcastle, commemorates the revival of the see of Ripon in 1863.

[Ill.u.s.tration: A Bishop and a King.]

[Ill.u.s.tration: The Expulsion from Paradise.

BOSSES FROM THE CHOIR-VAULT.]

Over the window may be seen the mark of one of the earlier roofs. The choir is thought to have received a groined vault of oak after the rebuilding of the east end, but this vault was probably renewed more than once, especially after the accident to the tower about 1450, and the fall of the spire in 1660. Sir Gilbert Scott found a vault of lath and plaster (probably the work of Blore) for which he subst.i.tuted the present roof, a groined wooden vault, admirable in its lofty pitch and judicious colouring. Its chief feature, however, is the splendid bosses along the ridge, which are survivals from either the Decorated or a subsequent Perpendicular vault. In some of these bosses the figures are five feet long.

From west to east the subjects are as follows: (1) A head; (2) an angel, with foliage; (3) a head; (4) a man conducting a woman to a church door; (5) a bishop in benediction; (6) a king enthroned; (7) a bishop enthroned; (8) a king and a bishop enthroned together; (9) the Crucifixion (modern); (10) the Annunciation; (11) the expulsion from Paradise; (12)? the good Samaritan; (13) a head.

There are also good foliage bosses against the walls between the pendentives. The westernmost pendentive on either side rests on a Perpendicular corbel carved with delicate foliage.

The general arrangements of the presbytery have been much changed since the middle ages. The altar then stood against a screen one bay in advance of its present position, and the iron hooks upon the second complete column from the east end on either side held, it is supposed, the Lenten Veil. Before the last restoration the altar stood, as now, against the east wall (on a single step, however), but the Sanctuary still extended two bays westward and was three steps above the rest of the choir, which was all on one level. Since then the floor has been raised one step at the east end of the stalls, and the steps to the Sanctuary have been diminished by one, while there are now two steps to the altar, and the Sanctuary and the raised portion of the choir have received an inlaid marble pavement. The reredos, an arcading of slender arches each enclosing a trefoiled arch impaling a trefoil, is a restoration of the original Decorated work. The latter had been covered by a painted screen of wood--possibly of late mediaeval workmanship--and this again by a huge oil-painting of the time of Charles II. Both were removed to make way for a high reredos by Blore, which in its turn was taken down by Sir Gilbert Scott.[96] On the pavement south of the altar is a piscina, which (if this be its original position) must have belonged to a chapel or chantry behind the high altar--possibly the chantry of the Holy Trinity _subtus altare_.[97] From its position it would seem that in those days the floor here was considerably lower than it is now.

[Ill.u.s.tration: THE SEDILIA.]

=The Sedilia.=--The last bay on the south side is now occupied by three sedilia and a piscina, which form one block. As might be expected from the mediaeval position of the altar, they once stood in the second bay from the east, and they were not removed to their present position until the last restoration. Sir Gilbert Scott considered them late Decorated work, but they have rather the appearance of late Perpendicular. Over each seat is an ogee canopy, cinquefoil, crocketed, and surmounted by a huge finial. These canopies rest on square pillars, the sides of which are adorned with a sort of 'four-leaved flowers,' while the capitals are encircled with foliage in which are animals and monsters. Each pillar is surmounted by a pinnacle, and behind each canopy rises a crocketed gable, again crowned by a huge finial. The gables, the pinnacles, and the tops of the canopies are the work of Sir Gilbert Scott, who found the sedilia in a mutilated condition. Below the seats and the piscina runs a chamfer with 'four-leaved flowers' along it, and below this are panels enclosing trefoils containing faces. But the most curious feature of these sedilia is not perceived until a glance is given beneath the canopies. The carved ends of the cusps are in reality the heads of extraordinary grotesques whose bodies are curled up against the under surface of the arch. Some of these figures, in addition to their proper physiognomy, have faces carved on the crowns of their heads. The piscina, which has been converted into a credence table, has another ogee canopy, and is backed by a wall, along the top of which runs a band of foliage that is continued round the top of a square pillar at the end of the block.

The fine oak chairs in the Sanctuary are of modern construction but of old material, while the rails, lectern and pulpit are all modern.[98]

In the four easternmost bays the choir is separated from its aisles (except where the sedilia already block one arch) by elaborate oak screens of various designs, in the upper part of which the tracery is largely pendant--an arrangement characteristic of Yorkshire. These screens have been restored, but contain much of the old work, most of which is probably of the same date with the stalls.[99] Until the last restoration they were surmounted by seventeenth century galleries in the so-called Jacobean style.

[Ill.u.s.tration: CHOIR STALLS, FIFTEENTH CENTURY.]

=The Stalls=--thirteen on either side and eight returned against the Rood Screen--are exquisite specimens of fifteenth century woodwork. They are surmounted by lofty canopies of elaborate tabernacle-work supported on slender shafts and rising into a forest of crocketed spirelets and pinnacles. There are ribbed vaults under the canopies, and upon the pendants in front are hovering angels. The canopies on the south side were wrecked by the fall of the spire in 1660, and those over the eight easternmost stalls were then reconstructed in the 'Jacobean' style with a gallery above, while of the canopies now over the other nine, eight are said to have been brought across from the eastern end of the north range, where more Jacobean canopies were erected in their place. Sir Gilbert Scott removed all this seventeenth century work and set up reproductions of the fifteenth century design. Thus the eight easternmost canopies on either side are modern. The misereres and arms of the stalls are exquisitely carved.

[Ill.u.s.tration: Jonah emerging from the whale.

Pelican feeding her young.

MISERERES, FIFTEENTH CENTURY.]

The subjects upon the former are as follows, beginning from the archway in the screen:--

_North side_:--(1) (CANON IN RESIDENCE) lion attacked by dogs; (2) dragon attacked by dogs; (3) angel with shield; (4) dragon and birds; (5) hart's-tongue ferns; (6) conventional flowers; (7) ape attacked by lion; (8) vine; (9) birds pecking fruit; (10) antelopes; (11) fox preaching to goose and c.o.c.k; (12) fox running off with geese; (13) fox caught by dogs; (14) dragons fighting; (15) fruit and flowers issuing from inverted head; (16) man holding club with oak leaves and acorns; (17) (MAYOR'S STALL) griffin catching rabbit.

_South side_:--(1) (DEAN) angel with book; (2) angel with shield bearing date 1489; (3) lion _versus_ griffin; (4) griffin devouring human leg; (5) owl; (6) mermaid with mirror and hair-brush; (7) two pigs dancing to bagpipe played by a third; (8) Jonah thrown to the whale; (9) man wheeling another who holds a reed and a bag; (10) fox caught carrying off goose by dog and by woman with distaff; (11) winged animal; (12) hart, gorged and chained; (13) pelican feeding young; (14) Jonah emerging from the whale; (15) Samson carrying the gates; (16) head (modern)[100]; (17) (BISHOP'S THRONE) Caleb and Joshua carrying the grapes and watched by Anakim.

[Ill.u.s.tration: DESK-END OF MAYOR'S STALL.]

Most of these misereres have exquisite conventional flowers (especially roses) cut upon them in addition to the figure-subjects. The desks in front of the stalls have rich finials, and their panelled fronts form the backs of a lower tier of seats, the arms of which are supported each on a square shaft set diamondwise. In front of these lower seats the desks again have carved finials and panelled fronts, and on those parallel with the Rood Screen the tracery is distinctly Flamboyant. The finial before the stall of the Canon in Residence has a griffin attached to it, and that in front of the Dean's stall a lion. Before both these stalls the ends of the two tiers of desks are richly carved. The Bishop's throne and Mayor's stall have each a canopied niche on the exterior toward the east,[101] and two small apertures in the east side to enable the occupant to see the altar, and in front of these two stalls the ends of the two tiers of desks are again richly carved. The Mayor's stall, which is wider than the others, was probably that of the Wakeman, and attached to the finial in front is a grotesque ape, beneath which the supporting shaft is of open work. The end of this desk displays a shield charged with two keys in saltire, for the see of York.

[Ill.u.s.tration: FINIAL IN FRONT OF THE BISHOP'S THRONE.]

The Bishop's throne was originally occupied by the Archbishops of York.

The Jacobean canopy, which succeeded that of the fifteenth century, comprised the s.p.a.ce of two stalls, as did also the modern structure by which it was itself succeeded and which is now in the Consistory Court.

The present canopy resembles those of the other stalls but is higher and more elaborate. Upon the back of the throne inside is a small mitre. The finial in front consists of an elephant carrying a man in his trunk, and bearing on his back a castle filled with armed soldiery, and in front of the elephant is a centaur (renewed), the shaft under which is again of open-work. The end of this desk displays a large mitre above a shield charged with the three stars of St. Wilfrid and supported by two angels, between whom is a scroll with the date 1494.

[Ill.u.s.tration: THE WEST END OF THE CHOIR.]

=The Organ= occupied the top of the Rood Screen as early as 1408; but doubtless all traces of the mediaeval instrument disappeared at the Reformation or in the Civil War. During the ascendancy of the Puritans organ-building became a lost art, and at the Restoration it had to be revived by foreigners, one of whom, Gerard Schmidt, nephew of 'Father Schmidt,' built an organ for Ripon. This instrument was remodelled in 1833 by Booth of Leeds, and about 1878 the organ was rebuilt by T. C.

Lewis of Brixton, so that very little of Schmidt's work now remains. The present case was designed by Sir Gilbert Scott. Over the doorway in the screen is a projecting wooden gallery, in good imitation of the Perpendicular manner. This gallery, which dates probably from the time of Schmidt, was occupied until comparatively recently by the organist.

From the front of it projects a well-carved hand, which, worked by a pedal, could be made to beat time--a very interesting piece of mechanism, which again probably dates from the time of Schmidt.

[Ill.u.s.tration: THE NORTH CHOIR AISLE.]

=The North Choir Aisle.=--The floor of the choir is now a step above that of the aisles, and it may be further remarked that in both of them the first bay is somewhat dark, being walled up on three sides; that in the second bay the archway toward the choir is occupied by organ-pipes; that a bench table runs along the side wall and the east end, and that the latter portion is adorned with panelling of the same design with the reredos.

In the north aisle the first three bays and a portion of the fourth are Archbishop Roger's work, with the exception of the windows. The most notable feature, as usual, is the vaulting-shafts, which spring from above the string-course, and are in cl.u.s.ters of three. In each cl.u.s.ter the central shaft is even thicker than the others, and the capitals, which are carved with foliage of Norman character, share a common five-sided abacus, while the bases are circular and rest on radiating brackets smaller than themselves. These brackets, which are said to be unique, have square corners and are moulded, but only on the front, and their receding portion consists of a concave moulding containing a convex block. In the north-west corner there is but a single shaft, which rises from the bench-table, is banded at the string-course, and has a square-topped capital. The vaulting has wall-ribs, cross-springers, and groin-ribs, and is rather high-pitched. Upon the cross-springers the mouldings are a large keeled round having on either side a hollow between fillets, while the groin-ribs are moulded as in the Markenfield Chapel. In the westernmost bay the vault has shown signs of weakness (like so many other parts of the building adjacent to the ill-fated tower) and has been strengthened by a cross-arch with a half-arch ab.u.t.ting against it on the west side, both springing from corbels. The corbels are quite in Archbishop Roger's manner, and indicate that these strengthening arches, and therefore the blocking walls from which they spring, are of his period. Moreover, the abacus moulding of the first choir capital is continued as a string to the shaft (which it encircles) in the north-west corner. This string is interrupted by a rather inexplicable round arch in the west wall, and has also been broken by the obtrusion of the Perpendicular tower-pier, and by the blocked doorway which once opened from the Rood Screen. Below this doorway (adjoining which there is a recess in the obtruding masonry of the tower-pier) the wall shows traces of a gallery or staircase. On the north wall the string-course, which is rather undercut, is original as far as the end of the fourth bay, and marks the level to which the sills of the original windows descended in steps.[102] In the present windows, which descend to the old level, the mouldings of the arch are stopped upon a set-off and the jamb is left plain.

[Ill.u.s.tration: TRANSITIONAL VAULTING CORBEL. CHOIR AISLE.]

In the two easternmost bays the Decorated string-course is of a different pattern and at a slightly higher level; and here the jambs of the windows are moulded with a hollow continued from the arch; while the rim of the latter has upon it a large filleted round flanked by hollows and supported on shafts with polygonal plinths and circular bases and capitals, the latter enriched with foliage. The east window, however, is not splayed, and has a deep rear-vault and a flat sill, while its rim is more elaborately moulded and there are shafts to the inner as well as to the outer arch. Except in the two easternmost windows on the north side, the gla.s.s is very poor. The Decorated vaulting-shafts are again in cl.u.s.ters of three, but rise from the bench-table and break the string-course. They have polygonal plinths, and their capitals are adorned with rather ill-cut foliage. In the north-east corner there is a single shaft having a fillet, and adjoining it is a round-headed doorway, which once opened into the angle staircase. In this aisle the panelling is carried two bays westwards.

It should be noticed that toward the aisle the choir arches have one more order in the three Decorated bays than they have in the rest. In the Decorated vaulting several chamfers are introduced among the mouldings of the cross-springers, and both in these and in the groin-ribs the most prominent moulding has a fillet. Otherwise the roof roughly matches that of the older bays. The older and the later period meet in the fourth bay from the west, where two of the groin-ribs have the fillet, while the other two are without it. In the two easternmost bays there are fine bosses at the crown of the vault.

It is thought that the Shrine of St. Wilfrid was in the east end of this aisle.[103] Unfortunately Leland's words _S. Wilfridi reliquiae sub arcu prope magnum altare sepultae_ are too vague to decide its exact position.

=The South Choir Aisle.=--This aisle, in some respects, has been altered more than the other, but the south wall is Archbishop Roger's work as far as the end of the fourth bay, if not farther. About 14 feet from the west end occurs that 'straight joint' in the masonry which shows the separation of this aisle from the Mallory Chapel to have been an afterthought; and a little further east a round-headed doorway, moulded with the edge-roll and retaining a panelled door of some age, opens into the Chapter-house. There was evidently a second and similar doorway a few yards further on, but it has been blocked (doubtless when the cross-wall was built at the back of it between the Chapter-house and vestry), and a square-headed doorway has been made to open into the latter. To the right of this entrance is a square-headed lavatory with a projecting rectangular basin and a hole knocked through into the lobby behind. This lavatory is of course an insertion, probably of the fifteenth century; indeed the whole of this part of the wall has been much repaired with limestone. The aisle is somewhat darkened by the fact that its first four windows look into the Lady-loft. Fortunately the three westernmost are original. They are as usual round-headed and plainly splayed, and their sills descend to the string-course in steps.

Archbishop Roger's vaulting-shafts here are in better preservation than in the other aisle. The original vaulting itself must of course have been taken down when the three westernmost columns of the choir-arcade were rebuilt, but in the reconstruction the old ribs seem to have been used again. The groin-ribs have no room to descend upon the Perpendicular choir-capitals, and end prematurely upon corbels carved into faces.

The westernmost bay of the aisle has been divided into two storeys, the upper of which now contains part of the mechanism of the organ, but is thought to have been once a chantry chapel. This curious chamber is reached through a pointed doorway at the top of the Library staircase in the south transept. Its roof is of course formed by the aisle-vault, which originally extended, doubtless, as far westwards in this aisle as in the other. The s.p.a.ce, however, has been shortened by the great thickness of a Perpendicular cross-arch, which, though its southern respond obtrudes into the aisle below, is itself only visible from this chamber. When, therefore, the vaulting here was rebuilt, it had to be adapted to the shortened s.p.a.ce, and the groin-ribs, which are very much of Archbishop Roger's pattern, spring from Perpendicular corbels carved into faces. The wall which separates this bay of the aisle from the choir was said above, quite truly, to be Perpendicular, but on this its southern face the masonry is apparently Archbishop Roger's. It is of gritstone, and behind the organ-bellows there remains a corbel like those of the cross-arch that props the vaulting in the corresponding bay of the north aisle. The presumption therefore is that the original vaulting was similarly propped here, and that the wall on which this corbel remains was built to block or strengthen the first choir-arch, and has survived the arch itself. To the west of the door a small square window looks into the Mallory Chapel.

In its eastern portion this aisle resembles the other, but the bench-table here is only carried two bays westward, and the panelling only one bay. In the fifth bay from the west the window is shortened to about half the length of the others, and the string-course (which is of Archbishop Roger's pattern) is correspondingly raised, possibly because a longer window would have come below the springing of the vestry roof (in the period when there was no Lady-loft), or possibly (though this is less likely) to make room for the monument underneath, which, though placed here by Sir Gilbert Scott, who found it in pieces, may have occupied this position before. The monument is that of Moses Fowler, first Dean of Ripon (d. 1608), and the effigy is not a favourable example of English sculpture in the seventeenth century. Of the stained gla.s.s, that in the last window on the south side is of some merit. The capitals of the Decorated vaulting-shafts are better executed in this aisle than in the other. Here, as there, the Decorated vaulting begins in the middle of the fourth bay, where the fillet is again found upon the two eastern groins only. At the south-east corner of this aisle are the remains of a piscina--a fragment of a basin resting on a shaft--which probably belonged to one of the many chantries. The staircase at this corner affords the best access to the turret cell described in the last chapter, and to the attic over the choir, where the framing of the roof is a very remarkable specimen of modern joinery.

On account of the alterations that have taken place at different periods in the part of the Cathedral south of the choir, it will be well to examine the crypt under the Chapter-house before examining either the latter itself or the Library.

=The Norman Crypt.=--A round-headed doorway in the west wall of the Chapter-house admits to a staircase which, roofed with a sloping barrel-vault and descending southwards, turns eastwards, under another round arch, into the crypt. The age of this staircase is uncertain, but its west wall is of course the east wall of Archbishop Roger's transept, and its barrel-vault is under his b.u.t.tresses which will be seen in the Library. The crypt is divided by a cross-wall with a round arch in it into two portions, each having the vaulting supported on pillars along the middle; but half of the first and third bays of the western portion has been walled up in modern times for burial-vaults. The width of the crypt is about 18 feet and the total length about 68 feet.

[Ill.u.s.tration: THE NORMAN CRYPT.]

This part of the church was a.s.signed by Walbran to Thomas of Bayeux (1070-1100), and by Sir Gilbert Scott to Thurstan (1114-1141); but it is quite possible that both these Archbishops, if not Oda or Oswald before them, may have had a share in its construction. Much of the work at any rate belongs to a Norman church which preceded that of Archbishop Roger.

In the vaulting (which by-the-way has had to be propped at some period by two rude pointed limestone arches at the west end) the chamfered groin-ribs seem to have been added later for strength, probably when the storey above was remodelled; but the vaulting itself, with its square pillars, its plain round arches from pillar to pillar and from pillar to walls, and without ribs upon the groins (such having been its original condition, apparently), seems pure Norman work.[104] The traces of painted decoration remaining upon both pillars and vaulting are probably original. Along the walls the arches spring, not from corbels, but from short strings of the same pattern with the impost-moulding on the pillars--a pattern not of very early character. The north and south walls must, perhaps, be as old at least as the vaulting which rests against them; nor does the former wall seem quite on the same plane with the portion of Archbishop Roger's choir foundations visible outside (between the present choir and the apse), he having perhaps built his wall against this one. The large limestone b.u.t.tress against this wall, and another b.u.t.tress which rises from the east wall but is hidden by the vaulting, were added in the Decorated period, and can be followed up through the two storeys above. They terminate in the pinnacles of the flying b.u.t.tresses that span the choir-aisle. The south wall may perhaps be definitely placed somewhat early in the Norman period, since the windows are splayed both internally and externally.[105] Of equal age, probably, is the cross-wall (which, to judge from the ma.s.s of masonry that spans the present pa.s.sage of communication between the two parts of the crypt, is very thick) since allowance is made for its thickness in the s.p.a.cing of the windows.[106] It is at least as old as the vaulting, whose bays are arranged to suit it; and moreover the half-pillar against its eastern side has never been a whole pillar, as the capital plainly shows. This last remark applies also to the half-pillar against the extreme west wall, which therefore may perhaps be taken as marking the westward limit of the crypt at the time when the vaulting was constructed; while the east wall (excluding the apse) probably marks the contemporary eastward limit--if, that is to say, the eastern portion of the vaulting has not undergone alteration. That eastern portion is clearly planned for an apse or chancel of some kind. The arch that rises eastward from the last pillar is stopped half-way in its course by a cross-arch opening into the apse, and the two last groin-ribs are carried from the pillar to the abutments of the cross-arch, being obliged by this contraction of span to form the only pointed arches in the whole vaulting. Such an arrangement--a 'nave' terminating in an apse, and at the same time divided by a row of pillars along the middle--is somewhat unusual. The present apse is of uncertain date. Part of it may be Norman. Its window indeed is of early Norman type: yet its wall seems of softer stone than the rest of the crypt,[107] and the string which runs along the east wall of the latter and round the responds of the cross-arch is there broken off: moreover, the cross-arch itself is clearly not of the same date or construction with the two ribs of the apse-roof, which ribs may possibly be of the same date as the groin-ribs; and lastly, it will be remembered that the shafts on the exterior had something of the appearance of Archbishop Roger's work. The floor of the apse is raised on two steps, but there is no trace of an altar.