. A door (marked 6 on plan) at the western end of this walk led
to the refectory. To the west were probably the kitchen and offices. The
sculptured bosses of the vault over this walk are illustrations of
scenes from the Book of Revelation.

[Illustration: The Prior's Door.]

#The West Walk.#--In the first two bays (marked 7 on plan) are the
lavatories of the monks; and in the fourth bay, a door (marked 8 on
plan) that formerly led to the guest hall, pulled down by Dean Gardiner,
1573-89. The cellarer whose duty it was to look after the guests
probably had apartments above.

A door in the last bay leads to the #Choir School#; this was formerly
the #Locutory#, where the monks indulged in their daily gossip. The
western wall is in the Early Decorated style; the body of the room
dating from Norman times.

The door into the south aisle of the cathedral from this walk, known as
the #Monks' Door#, is of an elaborate example of the Perpendicular
style.

Returning along the #North Walk#, the latest part of the cloisters, we
come again to the prior's door, by entering which the rest of the
interior may be inspected.

#The Ante-choir# occupies one compartment of the nave, and is
immediately under the organ loft. It was in mediaeval times a chapel
dedicated to Our Lady of Pity. The screens between this ante-choir and
the aisles on north and south, were in part formed from the
Perpendicular screen which originally divided off the Jesus Chapel from
the north aisle of the presbytery. Here in the ante-choir they are
certainly preferable, even as "mutilated Perpendicular," to any modern
substitute; though it was lamentable vandalism to remove them from their
original positions, where they are shown in Britton's "History."

#The Choir.#--It may be as well here to give a brief sketch of the
various re-modellings which have been effected in the arrangement of the
choir and presbytery of the cathedral.

Britton shows, in one of his plates published in 1816, the floor of the
choir continued at its level until, immediately before the altar, in the
apse, it rises by five steps to the level of the sanctuary (the
presbytery, after the Reformation, had been cut off from the choir by a
wooden screen, in front of which stood the communion table). Across both
transepts, in the beginning of the century, there stood cumbrous
two-storeyed structures containing pews not unlike boxes at a theatre,
as shown in a drawing here reproduced. In 1837,