Beneath the choir is a subterraneous chapel dedicated to St. Maimertus, otherwise called St. Manvieu. Its character is so similar to that of the crypt at the abbey of the Holy Trinity at Caen, that there would be little risk in pronouncing it to be part of Odo's church. It is supported on twelve pillars, disposed in two rows, the last pillar of each row being imbedded in the wall. The capitals of the pillars are carved, each with a different design from the rest. Their sculpture bears a strong resemblance to some of what is seen in similar situations in the Egyptian temples; indeed, so strong, that a very able judge tells me he has been led to suspect that the model might have been introduced by an anchorite from the desert. Take the following as a specimen. [Illustration: Capital of pillar] The walls of the crypt are covered with paintings, probably of the fifteenth century; but those upon the springing of the arches above the pillars, appear considerably older. Each spandril contains an angel, holding a trumpet or other musical instrument. The outlines of these figures are strongly drawn in black.--Upon the right-hand side, on entering the chapel, is the altar-tomb of John de Boissy, who was bishop at the beginning of the fifteenth century; and, on the opposite side, stands that of his immediate predecessor, Nicolas de Bosc. Their monuments were originally ornamented with bas-reliefs and paintings, all which were mutilated and effaced during the religious wars. De Boissy's effigy, however, remains, though greatly injured; and the following epitaph to his memory is preserved in a perfect state, over the only window that gives light to this crypt. The inscription is curious, as recording the discovery of the chapel, which had been forgotten and unknown for centuries. "En l'an mil quatre cens et douze Tiers jour d'Avril que pluye arrouse Les biens de la terre, la journée Que la Pasques fut célébrée Noble homme et révérend père Jehan de Boissy, de la mère Eglise de Bayeux Pasteur Rendi l'âme à Son Créateur Et lors en foillant la place Devant le grant autel de grâce Trova l'on la basse chapelle Dont il n'avoit esté nouvelle Ou il est mis en sépulture Dieu veuille avoir son âme en cure,--Amen." This inscription is engraved as prose: verse is very frequently written in this manner in ancient manuscripts, which custom, as Joseph Ritson conjectured, arose "from a desire of promoting the salvation of parchment." I must also add, that the initial letters are colored red and blue, so that the whole bears a near resemblance to a manuscript page. There is another epitaph, engraved in large letters, upon the exterior of the southern tower, which is an odd specimen of the spirit of the middle ages. It is supposed to have been placed there in the twelfth century.