mutilated sculpture of the Crucifixion, surrounded by vine-leaves and tendrils. The work resembles the leafage of the Cantilupe Shrine, and is possibly by the same hand. In a recess decorated with the ball-flower under the arch opening to the vestibule of the Lady-chapel, is the effigy of an unknown lady, (fourteenth century,) dug up outside the church during the restorations. Against the walls of the transept are ranged some coffin slabs, with floriated and enriched crosses, found at different times and in various parts of the cathedral. One of these (_circa_ 1250?) is given in Plate VII. XVI. From the transept we pass into the _ambulatory_, or _retro-choir_, at the back of the altar. This is transitional Norman, and its two bays are divided by a pointed arch, which springs from circular shafts, at the back of the altar and at the entrance to the vestibule of the Lady-chapel. The ribs of the quadripartite vaulting are enriched with chevron and diamond mouldings of late character. The arches at the back of the choir-screen were decorated (see § X.) by Mr. Cottingham. On the base of the central shaft is an inscription recording the erection of the screen as a memorial of the late JOSEPH BAILEY, Esq.; (see § X.) The existing arrangement seems to indicate (although this has not been directly proved) that the Norman ground-plan, like that of Norwich, comprised an ambulatory or “procession-path,” passing round at the back of the high altar, and giving access to the central and side apses, which opened from it. [Illustration: Window in vestibule of Lady-chapel.] XVII. The walls of this central apse are retained in the _vestibule_ to the Lady-chapel. They are pierced north and south with transitional Norman window openings; pointed arches, with massive mouldings, one of which, an enriched diamond, runs round the soffete, and is carried on the capitals of triple side shafts. The foliage of the capitals is of completely Early English character. These windows (the glass in which, as is indicated by their rebated jambs, was fixed in wooden [Illustration: EASTERN BAY OF LADY-CHAPEL. PLATE VIII. ] frames) were built up in the wall, until the restoration of this part of the cathedral by Mr. Cottingham. In the south wall of the vestibule is the very interesting monument, with effigy, of Dean BEREW, or BEAURIEÚ, (died 1462). The head of the effigy, delicately featured and full of expression, and the arrangement of the robe, especially at the feet, are very striking, and should be noticed. The feet rest on a boar; and in the hollow of the arch-moulding are boars and rue leaves, forming a “rebus” of the Dean’s name. Over the whole monument there are traces of painting, and at the back of the recess the kneeling figure of an ecclesiastic is distinguishable; possibly that of Dean Berew himself. On the floor is the very fine _brass_ of Richard Delamare (1435) and his wife Isabella. There is also here the _brass_ of a priest in cope, _circa_ 1450.