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 central bosses depict: (1) The Nativity. (2) The Shepherds rendering homage. (3) The Magi on their journey. (4) The Magi in adoration. (5) The finding of Christ in the Temple. (6) The triumphal entry into Jerusalem. (7) The Last Supper.[8] (8) The Betrayal. (9) The Flagellation. (10) The Crucifixion. (11) The Resurrection. (12) The Ascension. (13) The Day of Pentecost. (14) The Coronation of the Virgin. (15) The Last Judgment. The other bosses contain angels bearing musical instruments of every known kind, and alternating, more or less regularly, with angels censing and angels bearing emblems of the Passion. On the south side: (1) Angels with pipe and tambourine. (2) Angels with cymbals and bagpipes. (3) Angels with hurdy-gurdy and harp. (4) Angels with dulcimer and organ. (5 and 6) Angels censing. (7) St. Matthew and St. John with their emblems, a scroll and an eagle. (8) Angel with a violin; others with emblems of the Passion, _i.e._, posts, spear, and scourges. On the north side are to be found: (1) Angel with pipe and tabor; another censing. (2) Angel with harp; another censing. (3) Angels with rebec and zither. (4) Angels with tabor and zither. (5 and 6) Angels censing. (7) St. Luke and St. Mark, with their emblems, a winged ox, and a winged lion. (8) Angel with a harp; others with emblems of the Passion, _i.e._, a crown of thorns, a sponge, a cross, and a scourge. Mr. Gambier Parry, who personally supervised, where he did not personally execute, the decoration of the roof, termed it "a marvellous specimen of English carving," and says that "together with the cathedrals of Gloucester and Norwich, it combined some of the finest features of mediæval sculpture." Further he adds that though "fine details must not be looked for, yet it exhibited a vigour of conception and a charm of inspiration which quite atoned for any faults."