,,the ,,gate ,,of ,,remembrance ,illustration3 ,,plate ,i4 ,,glastonbury ,,abbey4 ,view from the site of the north transept1 looking towards the ,quire4 ,frontispiece to ,part ,i4 ,,the ,,gate ,,of ,,remembrance ,,the ,,story ,,of ,,the ,,psychological ,,experiment ,,which ,,resulted ,,in ,,the ,,discovery ,,of ,,the ,,edgar ,,chapel ,,at ,,glastonbury ,,by ,,frederick ,,bligh ,,bond1 ,f4,r4,i4,b4,a4 ,,director ,,of ,,excavations ,,at ,,glastonbury ,,abbey ,,author ,,of ,,the ,,architectural ,,handbook ,,of ,,glastonbury ,,abbey ,,third ,,edition ,,with ,a ,,record ,,of ,,the ,,finding ,,of ,,the ,,loretto ,,chapel ,,in #aiai ,,boston ,,marshall ,,jones ,,company #aibj ,,by ,,the ,,same ,,author ,,architectural ,,handbook ,,of ,,glastonbury ,,abbey4 7,reprinting47 ,,the ,,glastonbury ,,press3 ,,glastonbury4 #ds4 ,net ,,the ,,hill ,,of ,,vision4 ,a ,forecast of the ,great ,war1 with subsequent events1 gathered from automatic writings4 ,,constable ,,co41 #gs4 #f;d4 net1 and of all ,booksellers4 ,,roodscreens ,,and ,,roodlofts4 ,with numerous illustrations of ancient ecclesiastical woodwork in ,english churches4 ,two volumes1 #dto41 #cbs4 #f;d4 net4 ,,sir ,,isaac ,,pitman ,,sons1 ,,amen ,,corner1 ,e4,c4 ,,preface ,,to ,,second ,,edition ,two problems in the script have engaged the serious attention of critics4 ,the first and simpler of the two is that which is involved in the language and literary form of the messages4 ,this is a curious patchwork of ,low ,latin1 ,middle ,english of mixed periods1 and ,modern ,english of varied style and diction4 ,it is a mosaic of multi-coloured fragments cemented together in a strangely random fashion4 ,this anomaly is the more remarkable from the contrast it presents to the sustained and consistent burden of the script itself1 which1 as though in obedience to some preordained intention and settled plan1 seems to proceed to the presentment1 line by line1 of a completed whole1 with absolute patience and indifference to interruptions4 ,lapse of time seems of no account4 ,after a break of several hours1 the thread is resumed at the point where it had been dropped4 ,the unfinished communications about the ,loretto ,chapel in #aiaa are picked up and spontaneously completed five years later4 ,nevertheless1 the queer patchwork of language is again evident4 ,for this fact1 the following explanation is offered4 ,it will easily be conceded that whatever the source or inspiring influence of these messages1 the language in which they are conveyed is the mechanical side of the matter1 the most assuredly conventional element in the process of transmission4 ,but the obvious instruments are the brains of ,f4,b4,b4 and ,j4,a4 ,the reasoning and reflective faculties are at the time in abeyance or are otherwise engaged1#a their attention being entirely diverted3 but the storehouse of memories and subconscious impressions latent within are being used1 and quite independently used1 though concurrently in point of time with the normal use of the thinking faculties on a wholly different subject4 #a ,in the latest series of sittings1 the rule has been for ,f4,b4,b4 to read aloud to ,j4,a4 during the whole course of the writing1 from a novel or other entertaining or amusing book1 calculated to retain his attention1 and the script resulting has proved to have nothing at all in common with the subject-matter of the book1 but forms a related series of essays bearing upon the conquest of matter by spirit4 ,consider for a moment the human brain as the repository of all impressions made on the mind from childhood upwards4 ,thus viewed1 it becomes1 as it were1 an encyclopedia of all knowledge which the conscious mind has stored1 each item recording an idea of a certain quality1 in such language as circumstances may at the time have dictated4 ,suppose then--and it is not difficult to do so--that each of these records is responsive to the impulse of an ,idea which is seeking expression1 and whose instrument of expression is some sort of sympathetic vibration attuned to the original thought which recorded the particular memory or subject4 ,the sympathetic vibration lays hold of the denser or physical particles of the record1 causing them to respond and to emit their own proper voice4 ,in other words1 the language of the script would be simply the product of the reaction of our brain-records to the sympathetic vibration of ,idea1 from whatever source arising4 ,not that such conditions are always necessary or possible4 ,there are1 for example1 many quite well-authenticated cases of automatic writing in which not only the idea conveyed is outside the consciousness of the writer1 but the language itself is entirely unknown to him1 or to her1 as the case may be4 ,take1 for example1 the many recorded cases of automatic writing in languages unknown to the medium1 and sometimes requiring special scholarship to appreciate4 ,the explanation seems in this case to be that the mind of the medium is plastic to a more direct spiritual influence which can therefore mould its particles and create a new record for itself4 ,this must have been so in the ,gift of ,tongues at the ,pentecost1 and later in the history of the ,primitive ,church4 ,the second problem noted by critics is a more difficult one4 ,it concerns the intelligent source of the messages4 ,as to this1 ,i have propounded the view of a ,greater ,memory transcending1 and interpenetrating our own4 ,this theory is suggestive rather than explanatory4 ,it does not1 and cannot1 explain many things which in our present state of knowledge are inexplicable4 ,neither does it pretend to cover the whole ground4 ,it is1 as ,i say1 merely suggestive4 ,its virtue is that it excludes no other possible agencies1 hence leaving room not only for the exercise of transcendental faculty1 such as clairvoyance1 but for any variety of primary impulse1 and for any number or degree of directive agencies capable of employing it4 ,for as we are obliged by our own experience to acknowledge that our own latent memory is revived and brought out in these scripts by some intelligence working apart from our conscious minds2 and to admit that telepathy between two is involved3 so we are also bound to allow the possible presence of a further range of telepathic action working through our minds in the production of these messages4 ,and if we are prepared to agree on the one hand that whereas the physical brain dissolves at death and its action ceases1 yet1 on the other hand1 that a more inward and less material brain1 the organ and vehicle of the subconscious or intuitive self1 still persists and survives entirely the death of the physical body1 and if we consider this more inward brain as composed of finer particles1 responsive to the far more rapid movements of intuitive thought1 then we shall have to allow that the memory-record of any defunct personality1 if capable of response to the same stimulus of spiritual ,will and ,idea which can actuate our own1 can be drawn upon in like manner by the energising ,intelligence1 and again1 as in our own case1 without evoking the conscious spirit or personality proper to it4 ,this is surely the meaning of ,johannes when he says 7p4 #ie73 ,why cling ,i to that which is not8 ,it is ,i1 and it is not ,i1 butt part of me which dwelleth in the past1 and is bound to that which my carnal soul loved and called 'home' these many years4 ,yet ,i1 ,johannes1 amm of many partes1 and ye better part doeth other things--,laus1 laus ,deo6--only that part which remembreth clingeth like memory to what it seeth yet4 ,thus it seems to me the problem of personality1 in the sense of the conscious personal presence of individuals deceased1 need not arise at all in connection with these writings4 ,all that it seems vital to assume is the union of the deeper strata of our own latent mind or dream-consciousness with others of a kindred nature and tone1 by virtue of their sympathetic and accordant motion in the presence of a greater and all-inclusive spiritual essence1 ,idea1 or ,will1 omnipresent and all-permeating1 waking into activity all dormant memory-records1 and directing them into any channel of mind which by previous preparation on the conscious plane has become receptive and retentive of them4 ,still small ,voices from a distant ,time6--thrilling through the void and stirring faint resonances within the deeps of our own being--the great ,telepathy1 the true ,communion of ,mind1 the gate of the ,knowledge1 the ,gnosis of the apostle1 whose key is ,mental ,sympathy1 the key that the lawyers took away1 neither entering themselves1 nor suffering others to enter4 ,no discord can mar this communion1 since love and understanding are its law4 ,death cannot touch it3 rather is he ,keeper of the ,gate4 ,time1 as we know it1 here counts for naught1 for to the deeper dream-consciousness1 a day may be as a thousand years1 and a period of trance or sleeping as one tick of the clock4 ,,bristol1 ,may1 #aiah4 ,,note ,,by ,,sir ,,william ,,barrett1 ,f4,r4,s4 ,as some readers of this remarkable book have thought it too incredible to be a record of fact1 but rather deemed it a work of imagination1 it may be useful to add my testimony to that given in the book as to the genuineness of the whole narrative4 ,the author has1 ,i am sure1 with scrupulous fidelity and care1 presented an accurate record of the scripts obtained through the automatic writing of his friend1 together with all the archological knowledge of the ruins of ,glastonbury ,abbey that was accessible before the excavations were begun4 ,in order to remove any doubt on this point1 before further excavations were made1 ,mr4 ,bligh ,bond has wisely asked representatives of certain societies to examine the later scripts which refer to the ,loretto ,chapel1 note their contents1 and see how far the further excavations may or may not verify any of the statements made in the later scripts4 ,from any point of view the present book is of great interest4 ,to the student of psychology1 who ignores any supernormal acquisition of knowledge and yet accepts the good faith of the author1 the problem presents many difficulties4 ,chance coincidence may be suggested1 but this does not carry us far4 ,the question therefore arises1 where did the veridical or truth-telling information given in some of these scripts come from8 ,as is so often the case in automatic writing a dramatic form is taken1 and messages purport to come from different deceased people4 ,the subconscious or subliminal self of the automatist1 doubtless1 is the source of much contained in the scripts1 and may possibly be responsible for all the insight shown4 ,but in that case we must confer upon the subconsciousness of the automatist faculties hitherto unrecognised by official science4 ,the author has pointed out1 on p4 #aef1 some of the powers the subconscious mind must be assumed to possess2 to these we may add a possible telepathic transfer of information between the author and the automatist1 and also occasionally the faculty of clairvoyance1 or a transcendental perceptive power2 for1 according to the investigations of the author1 some of the statements made in the script were unknown to any living person1 and not found in historical records1 prior to their verification in subsequent excavation4 ,we must1 however1 be on our guard against the too facile use of words such as telepathy and subliminal consciousness as a cloak to our ignorance4 ,the history of physical science shows how progress has often been retarded by the use of phrases to account for obscure phenomena--words such as ,phlogiston1 ,catalysis1 etc41 which explained nothing1 and now are ridiculed1 but which were once used by scientific authorities as unquestionable axioms4 ,it is wiser to acknowledge our ignorance and convey our thanks to the author and his friend for the patient and laborious care with which they have furnished valuable material for future psychological explanation4 ,nor must we omit to recognise the courage shown by ,mr4 ,bligh ,bond in the publication of a work which might possibly jeopardise the high reputation he enjoys4 ,,glastonbury ,grey among the meadows1 solitary1 bare3 ,thy walls dismantled1 and thy rafters low1 ,naked to every wind and chilly air ,that steeps the neighbouring marsh1 yet standest thou1 ,great cloistral monument of other days6 ,though marked by all the storms that beat thee through1 ,a radiant ,parable of heavenly ways ,that scarce thy lordly builders guess'd or knew6 ,vanishing image of great service done1 ,smiling to ,god under the open sky3 ,even in thy translation1 stone by stone1 ,keeping thy spirit-grace and symmetry1 ,through ruined clerestory and broken rood ,our chastened souls with tears ascend to ,god4 ,a4 ,m4 ,,buckton3 from ,songs of ,joy4 ,even so ye1 forasmuch as ye are zealous of spiritual gifts1 seek that ye may excel to the edifying of the church4 ,wherefore let him that speaketh in an unknown tongue pray that he may interpret4 ,for if ,i pray in an unknown tongue1 my spirit prayeth1 but my understanding is unfruitful4 ,what is it then8 ,i will pray with the spirit and ,i will pray with the understanding also4 ,i ,,cor4 xiv4 #ab-ae4 ,,contents ,,part ,,page ,i4 ,,the ,,lost ,,chapel #a 7a7 ,,introductory #c 7b7 ,,documentary #f 7c7 ,,psychological ,,methods ,,applied ,,to ,,research #ag 7d7 ,,on ,,automatism #bb 7e7 ,,notes ,,on ,,the ,,automatic ,,script #bf 7f7 ,,narrative ,,of ,,the ,,writings #cb 7g7 ,,table ,,of ,,veridical ,,passages #gj 7h7 ,,testimonies #gi ,,ii4 ,,the ,,child ,,of ,,nature #hc 7a7 ,,johannes ,,goes ,a-,,fishing #hf 7b7 ,,the ,,vat ,,of ,,good ,,ale #hi 7c7 ,,memories ,,of ,,his ,,house #ic 7d7 ,,the ,,burden ,,of ,,the ,,flesh #if 7e7 ,,the ,,gargoyle #ih 7f7 ,,story ,,of ,,eawulf #aje ,,iii4 ,,the ,,loretto ,,chapel #aji 7a7 ,,documentary #aaa 7b7 ,,story ,,of ,,bere',s ,,vow 7#aiaa ,,script7 #aai 7c7 ,,camillus ,,thesiger ,,speaks 7#aiaf ,,script7 #abe 7d7 ,,architectural ,,details ,,descriptive ,,of ,,the ,,italian ,,chapel #abh 7e7 ,,review #adb 7f7 ,,the #aiag ,,script #add 7g7 ,,reconstructions #aea 7h7 ,,conclusion #aee 7i7 ,,appendix3 ,,table ,,of ,,data ,,and ,,constructive ,,argument #afj ,,iv4 ,,index ,,and ,,synopsis #afi ,,list ,,of ,,illustrations ,,plate ,,page ,i4 ,,ruins ,,of ,,glastonbury ,,abbey ,,viewed ,,from ,,north ,,transept1 ,,looking ,,towards ,,the ,,broken ,,arch ,,of ,,quire4 7,f4,b4,b47 frontispiece ,,ii4 ,,foundations ,,of ,,the ,,edgar ,,chapel1 ,,as ,,restored 7,,from ,,west7 to face #ef ,,iii4 ,,reconstruction ,,of ,,the ,,interior ,,of ,,bere',s ,,time 7,,early ,,sixteenth ,,century7 ,,from ,,the ,,same ,,point ,,as ,,plate ,i4 7,f4,b4,b47 7frontispiece to ,part ,,ii47 to face #hd ,,iv4 ,,coney',s ,,view ,,of ,,the ,,abbey 7#ahag7 7frontispiece to ,part ,,iii47 to face #aaa ,v4 ,,reconstruction ,,of ,,the ,,north ,,transept ,,with ,,loretto ,,chapel ,,and ,,claustrum 7,,from ,a ,,pencil ,,drawing ,,by ,f4,b4,b47 to face #aed ,,fig4 #a4 ,,phelps',s ,,plan #e #b4 ,,willis',s ,,plan #i #c4 ,,arch,,ological ,,institute',s ,,plan ,,of ,,retro-,,quire #ae #d4 ,,plan ,,of ,,gulielmus #cd #e4 ,,second ,,plan1 ,,showing ,,edgar ,,chapel #cf #f4 ,,plan ,,of ,,apsidal ,,chapel1 ,,published ,,before ,,discovery #fa #g4 ,,plan ,,of ,,apsidal ,,chapel ,,after ,,excavation ,,was ,,completed #fd #h4 ,,sketch ,,elevation ,,of ,,north ,,side ,,of ,,edgar ,,chapel ,,and ,,monington',s ,,quire #ha #i4 ,,abbot',s ,,head 7,a ,,gargoyle ,,in ,,profile7 #ii #aj4 ,,stukeley',s ,,panorama ,,of ,,the ,,ruins ,,in #agbc #aae #aa4 ,,hollar',s ,,view1 c4 #afee 7,,enlarged7 #aaf #ab4 ,,cannon',s ,,sketch ,,of ,,the ,,ruins1 c4 #agdf #aag ,,plans ,a ,,to ,i3 ,,nine ,,sheets ,,of ,,details ,,of ,,the ,,loretto ,,chapel1 ,,being ,,facsimiles ,,of ,,those ,,appearing ,,in ,,the ,,automatic ,,script pages #abi-adb #ac4 ,,general ,,plan ,,of ,,the ,,abbey ,,laid ,,out ,,on ,,squares ,,of #gd ,,feet 7#aiab7 #adh;a #ad4 ,,geometric ,,plan ,,of ,,st4 ,,mary',s ,,chapel #aej #ae4 ,,tentative ,,plan ,,of ,,the ,,loretto ,,chapel1 ,,etc4 #aeb #af4 ,,complete ,,plan ,,of ,,all ,,chief ,,features ,,mentioned ,,in ,,the ,,work #aec ,,part ,i ,,the ,,lost ,,chapel ,since the last issue of this work1 the foundations of the ,chapel of the ,loretto at ,glastonbury have been partly excavated1 and are found to accord1 so far1 with the statements received in automatic writing4 ,this discovery sets the seal upon the veridical nature of the writings1 and emphasizes the importance of the method employed by the author for the recovery of latent knowledge4 ,,the ,,gate ,,of ,,remembrance ,,the ,,lost ,,chapel ,the green isle of ,glaston1 severed as it was from the outer world by its girdle of marsh and mere1 was from old time a haunt of peace4 ,its history as a religious foundation goes back into the mists of antiquity1 and is lost in legend and fable4 ,to this quiet retreat1 this secluded stronghold of a more ancient faith1 the footsteps of the first ,christian missioners were guided1 and the company of ,eastern pilgrims found rest in its green recesses and a well-guarded focus for the great work of evangelising the isle of ,britain4 ,successive waves of pagan immigration flooded the land1 yet never was the lamp of truth extinguished here2 and1 stranger still1 those who came1 though of alien race and custom1 cherished the older landmarks and sought not to destroy2 for the heritage of ,glaston was not the heritage of any individual race1 but of all--a trust for ,christendom4 ,within the sacred precincts the dust of many holy men was preserved1 and the church enshrined their relics4 ,she grew great through the pious benefactions of kings and nobles whose memory she kept green4 ,among these the gifts of the great ,saxon ,king1 ,edgar1 yclept ,the ,peaceable1#b were always gratefully remembered4 ,in the great ,abbey ,church there was a chapel to his honour1 well endowed1 and1 we doubt not1 sumptuously furnished4 ,but it was not esteemed sufficient1 and in the day of ,richard ,bere1 the last great building ,abbot1 it was decided that a new and more glorious monument should be erected to his memory4 ,so we learn from ,leland1 who saw the chapel as it stood1 a completed work1 but a few years before the dissolution and ruin of the monastery4 ,then came1 in #aeci1 the forced surrender1 the barbarous execution of the last ,abbot1 ,whiting1 the violation of the shrines1 and the dispersal of all the treasures of art and learning stored within the ,abbey walls4 ,but of the ,edgar ,chapel nothing more is heard1 save that we can infer from a document we quote that it was standing in the days of ,elizabeth4 ,yet it is doubtful whether it can have lasted through half her reign4 ,and perhaps it was one of the first of the buildings to be utterly destroyed1 since even its memory had perished and its form and grandeur were alike forgotten4 ,those who have seen the delicate and beautiful work at ,st4 ,george's ,chapel in ,windsor ,castle1 or that masterpiece of stonecraft1 the ,chapel of ,king ,henry ,,vii4 at ,westminster1 may form some idea of the general character of this ,chapel of ,edgar in its finished state4 #b ,vide ,capgrave's ,chronicle4 ,local memory and tradition generally preserve some traces1 however dim or distorted1 of an architectural work of great magnitude and beauty1 but it is a strange fact that this one had utterly faded out of knowledge save for some scattered and obscure notes in the pages of the old county antiquaries1 which contained no hint of its identity4 ,illustration3 ,,fig4 #a4--,,plan ,,from ,,phelps',s ,,somerset1 ,,reproduced ,,in ,,warner',s ,,glastonbury4 ,shewing in dotted lines the reminiscence of an eastward ,lady's1 or ,retro-,chapel1 thought to have been built by ,abbot ,adam de ,sodbury in the early part of the fourteenth century4 ,two different states are shewn1 both lettered ',f' by these authors1 and here numbered #a and #b4 ,no4 #a shews by scale a projection from the retro-choir of #cj feet2 whilst ,no4 #b gives a total length of #ie feet4 ,this is called by ,warner1 the chapel according to its original proportions4 ,the two measurements are approximately harmonised by ,leland's record of the lengthening of the choir by ,abbot ,monington to the extent of two bays1 and the throwing out of his new retro-choir to the east1 which would absorb about two-thirds of the length of this chapel4 ,,discovery ,,of ,,the ,,edgar ,,chapel1 ,,glastonbury ,,abbey3 ,,an ,,account ,,of ,a ,,psychological ,,experiment ,the following is the story of the discovery which1 in #aijh1 caused a good deal of public interest1 and provided the archological world with an object of attention4 ,although known to a small circle of friends of the writer and his colleague in the research1 and to the ,secretary of the ,society for ,psychical ,research1 who was intimately acquainted with both1 and in touch with them at the time1 no publication of the circumstances has yet been made1 and this was withheld largely for reasons more or less personal to the writer1 though the intention had always been to make known the facts whenever the time should seem ripe for the disclosure4 ,the entire record has been preserved1 and the testimony of both the writer and his friend being available1 as well as the contemporary evidence of the ,secretary of the ,s4,p4,r41 it will be seen that the matter stands on a fairly good basis in respect of documentary witness4 ,for reasons of convenience1 initials will be used in the ensuing account4 ,f4,b4,b4 will denote the writer1 and ,j4,a4 his friend1 ,john ,alleyne4 ,in anticipation of an appointment to the position of ,director of ,excavations at ,glastonbury ,abbey on behalf of the ,somerset ,archological ,society1 of which he was a member1 ,f4,b4,b4 had1 during #aijg1 devoted considerable time to the study of the ruins and their history1 and to that of the older religious foundations1 and in this ,j4,a4 assisted him4 ,most of the surviving accounts of the ,abbey were gone through1 both the works of the medival writers and those of the seventeenth1 eighteenth1 and nineteenth centuries1 with the fragments collected by them from older sources4 ,among the first1 the works of ,william of ,malmesbury1 ,adam de ,domerham1 ,william ,wyrcestre1 and ,john of ,glaston1 were examined1 whilst ,leland was not overlooked1 and the later antiquaries1 ,hearne1 ,dugdale1 ,hollar1 and ,stukeley1 had their share of attention4 ,following these1 ,browne-,willis1 ,britton1 ,carter1 ,collinson1 ,phelps1 ,kerrich1 and ,warner1 were consulted1 and finally some careful attention was bestowed on the modern antiquaries1 ,parker1 ,freeman1 and last1 but not least in importance1 ,professor ,willis1 whose ,architectural ,history was the standard book of reference on the subject during the latter half of the nineteenth century1 and still remains of the greatest usefulness to students4 ,glastonbury ,abbey having passed out of private hands into the custody of a body of ,trustees1 acting on behalf of the ,national ,church1 it was hoped that a greatly increased opportunity for research and excavation would ensue4 ,all published plans of the ,great ,church had been necessarily very incomplete1 in the absence of visible remains and the lack of trustworthy evidence from documents4 ,in particular the following features were in doubt3 #a4 ,the form of the retro-quire1 and eastward termination of the ,abbey ,church4 #b4 ,the question of a north porch to the nave1 and its probable position1 if it existed4 ,,retro-,,quire ,,and ,,chapels4 ,in #ahff ,professor ,r4 ,willis published his invaluable ,architectural ,history1 being the substance of a communication he had made to the ,archological ,institute in the year previous4 ,he devotes two pages 7#dj1 #da7 to a discussion of the number and arrangement of the chapels east of the processional path in the retro-quire1 and arrives at the conclusion that they were five in number4 ,and in his plan 7,fig4 #b71 which appears as a frontispiece to his work1 he shows these five1 the central one projecting about #ab feet4 ,on p4 #dc he says3 ,as ,bere is also said to have built ,edgar's ,chapel at the east end of the church1 it is probable that this chapel was one of those that we are considering1 and that ,bere fitted it up and completed it4 ,the complete eradication of the east wall of the church in the centre may be accounted for by supposing that the central chapel projected eastward1 as ,i have shown in the plan1 and that this chapel was ,edgar's2 for if it had been only one of the ordinary chapels it would not have been worth mentioning as a distinct building4#c #c ,cf4 ,leland's ,itinerary4 ,abbate ,beere buildid ,edgares ,chapel at the ,est ,end of the ,chirch1 but ,abbate ,whiting performed sum part of it4 ,illustration3 ,,fig4 #b4--,,professor ,,willis',s ,,plan4 ,professor ,willis's conjecture represents the largest or most liberal interpretation yet placed by any antiquary upon the passage from ,leland--which1 it may be said1 is the only known contemporary evidence of this work of the last two ,abbots4 ,parker1#d who reviewed the whole subject of the plan in his work for the ,somerset ,archological ,society 7see his article in their ,proceedings for #ahhj71 does not support ,willis's conclusions1 inclining rather to the view that the ,edgar ,chapel was in the south transept1 to the east of the nave1 but it is within the writer's knowledge that ,professor ,freeman believed that the original quire1 which1 before ,monington's addition of a fifth and sixth bay1 must have been shorter by some #ci feet1 was furnished with a large eastern chapel1 probably a ,lady-chapel1 and that this may have been of quite considerable dimensions and even co-extensive in total length with the plan as given by ,willis4 ,but this view does not appear to have gone farther than a mere expression of opinion verbally given at a meeting in the ,abbey1 and the writer only heard it quoted as a reminiscence some time after the discovery of the ,edgar ,chapel4 #d ,see paper by ,james ,parker1 ,m4,a41 in #ahhj volume of ,som4 ,arch4 ,proc41 p4 #aja1 where he says1 speaking of the ,edgar ,chapel3 ,the question is1 ,what did ,leland mean by the 'est end of the chirch'8 ,does he mean the choir8 ,of course1 ,i cannot say that he does not4 ,but there are two considerations4 ,the first is the view preserved by ,stukely1 taken by his friend ,mr4 ,strachey before the ,abbot's ,house was pulled down1 and1 as ,i understand it1 some few years before #agbc4 ,in this a larger portion of the second chapel in the south transept remains than now1 and it is lettered ',edgar ,chapel4' ,he seems to have obtained his name from hearsay1 and possibly no importance ought to be attached to the tradition by itself4 ,the other consideration seems to me more worthy of attention1 and may perhaps support the tradition1 where it is said in the next paragraph which ,leland gives in reference to ,abbot ,bere1 that he 'arched' on both sides1 the east part of the church4 ,parker proceeds to argue that this arching probably refers to the east end of the nave1 not of the choir1 and that if so1 then ,edgar's ,chapel belongs to the same work1 and would thus be connected with the transept also4 ,and there1 says ,parker1 it is placed in the only engraving which gives the name4 ,on the whole1 he concludes1 ,i think it must be left an open question as to what ,abbot ,bere built2 at least1 that the evidence is not sufficient to justify putting ,edgar's ,chapel at the east end of the choir4 ,it appears to have been put forward as an explanation of the curious diagram given in ,phelps's ,somerset1 where a plan of the church is published1 showing in dotted lines a short projection at the point where ,willis shows his chapel1 and this is given a semicircular or apsidal end4#e ,phelps calls this the ,lady's ,chapel4 ,and in the corner of the same sheet this author gives another long rectangular diagram1 again with a semicircular end1 which ,warner1 who reproduces the plan1 calls the ,chapel according to its original dimensions4 ,the apse being the constant feature1 these additional dimensions would be to the west1 and would answer to the difference in the former and the latter dimensions of the quire which ,monington lengthened in #acdd-e4 ,and it will be clear that some such reasoning may have guided ,parker or ,freeman to the tentative conclusion mentioned1 and have assisted ,willis to form his definite theory of a slight prominence in the central chapel of the later retro-quire4 #e ,see ,fig4 #a1 p4 #e4 ,among the documents which have been recovered whose period is that of the immediate post-,reformation1 is one which would have been readily accessible to ,willis and others1 and which is preserved by ,phelps and copied by ,warner in his ,glastonbury1 published in the twenties of the last century4 ,this is a transcript of a report made to ,queen ,elizabeth by a ,commissioner1 who was sent to make an inventory of the ,abbey buildings1 and he gives a series of measurements of the principal parts of the monastery1 including the ,abbey ,church1 as to which he says3 ,the great church in the ,aby was in length #eid as followeth3 ,the ,chapter ,house1 in length1 #ij foot4 ,the ,quier1 in length1 #aei foot2 in breadth1 #ge foot4 ,the bodie of the ,church1 in length1 #bbh foot4 ,the ,joseph's chapell1 in length1 #aag foot4 ,in the seventeenth century we have the bare statements of ,hollar and of ,hearne1 that the total length of the ,abbey ,church was #ehj feet4 ,all the measures given by the ,elizabethan ,commissioner are very excessive1 and perhaps for that reason1 as well as for the confusion of idea suggested by the association of the ,chapter-,house measure with those of the ,church1 they have been rejected1 or not regarded1 by modern antiquaries4 ,in like manner the bare statement of ,hollar and ,hearne1 being without any description of what buildings were to be included in their measure1 has not been taken into account4 ,professor ,willis's review of the probabilities of the plan of the east end seemed conclusive as regards the existence of five chapels in a row on the east wall of the retro-quire1 for the construction he places upon ,william ,wyrcestre's description must be admitted to be most reasonable1 fortified as it is by the record of ,wild's plan 7#ahac71 in which the bases of two piers with fragments of wall attached and running eastward are shown in precisely the position required as partitions for the forming of the three central chapels of the five4 ,these piers had evidently been recently discovered1 and are figured in ,britton's ,architectural ,antiquaries1 vol4 iv41 p4 #aie4 ,but all trace of them has been cleared away1 and1 as ,willis himself says 7op4 cit41 p4 #db73 ,unfortunately1 the practice in respect to these ruins until the beginning of this century and later was always to remove not merely the wrought stones1 but also to eradicate the foundations4 ,and although the remains have been for many years protected from this kind of destruction1 ,,there ,,is ,,no ,,hope ,,left ,,of ,,recovering ,,any ,,details ,,of ,,plan ,,by ,,excavations4 7,capitals mine4--,f4,b4,b47 ,so the matter remained until1 in #aijc-d1 the ,archological ,institute decided to make ,glastonbury the scene of its labours1 and ,mr4 7now ,sir ,william7 ,st4 ,john ,hope was deputed to prepare a paper for their annual meeting4 ,mr4 ,hope1 having in mind such plans as ,abbey ,dore1 where four chapels appear against the east wall of the retro-quire1 reviews ,william ,wyrcestre's statement in this light1 and places on his words an alternative construction such as would be correct if that writer had been habitually precise in his descriptions4 ,but he is not precise1 and a general inspection of his writings will sufficiently show that he has a peculiar method of representing facts where number1 series1 locality1 or dimension are involved4 ,in the present instance he says3 ,,in ,,orientali ,,parte ,,altaris ,,glastonie4 ,spacium de le reredes ex parte orientali magne altaris sunt #e columpn seriatim et inter quamlibet columpnam est capella cum altare4 ,mr4 ,hope thought that ,wyrcestre counted each respond as a whole column1 which would mean three whole columns and two responds or piers engaged with the walls north and south1 suggesting1 of course1 four chapels only4 ,he caused trenches to be cut east and west along the site of his supposed central dividing wall1 and one north and south immediately outside the east wall of the retro-quire and across the gap where the central chapel of ,willis ought to have been4 ,but nothing turned up which to his mind was indicative of an extension of building beyond the line of the two remaining fragments of walling marking the eastward end of the retro-quire1 and his conclusion is definite--that there was not1 and could never have been1 any such extension of a central chapel4 ,and he claimed to have found support for his view of a mid-partition giving a total of four1 and not five1 chapels1 through the confirmatory results of his excavation4 ,such was the position in #aijg when the writer commenced his studies1 and it will readily be seen that no prospect of success could reasonably be expected to attend further research by excavation beyond this point4 ,illustration3 ,,fig4 #c4 ,all the evidence was sifted and discussed by ,f4,b4,b4 and ,j4,a4 ,f4,b4,b4 attached perhaps as little weight to the conflicting records of a longer measure as had those who went before him4 ,but he distinctly preferred ,willis's solution to others1 as there was no gainsaying the significance of ,wild's plan with its two intermediate column-bases4 ,and instinctively he felt1 as his friend also felt1 that the question was not solved1 the last word not said4 ,more than once1 the feeling returned that a chapel which was thought worthy of special mention by ,leland1 and which1 according to his account1 was the work of two ,abbots1 must have been a work of some importance4 ,still1 nothing came uppermost in the mind which would tend to modify the writer's respect for ,willis's view1 nor1 indeed1 to challenge its probability4 ,it was rather with the object of defending this view1 as against the contradictory one more recently put forward1 that the intention was formed to examine1 as soon as circumstances might permit1 the site of ,wild's twin piers1 and to dig deep around the spot in the hope of finding yet some trace of footings characteristic of a crypt2 for ,wild noted these as being probably part of the crypt1 and it did not appear that anyone had taken the trouble to investigate this matter4 ,wild's plan1 incorporated in ,britton's ,antiquities1 may be regarded as a standard work4 ,in this respect it claims greater weight than others such as ,phelps's or ,stukeley's1 which are vague and inaccurate4 ,warner copies ,phelps1 and claims a fourteenth-century ,lady-,chapel at the east1 but neither ,britton nor ,stukeley1 whose plan is two hundred years old1 supports his view4 ,warner's note is quoted by ,professor ,willis 7ref4 to p4 #ca of his ,architectural ,history74 ,,principles ,,and ,,methods ,,of ,,psychology ,,applied ,,to ,,arch,,ological ,,research ,it has been said that the great distinction between ,east and ,west in the matter of learning has been that whilst ,western science deals with phenomena and builds upon deductions from observation of external things1 ,eastern wisdom looks always inwardly1 seeking to find the answer to all enigmas of creation in the mind of man4 ,the one develops the logical faculty1 often1 perhaps1 at the sacrifice of the imaginative functions2 whilst the other follows the intuitive powers1 not regarding logical rules4 ,but1 as a matter of fact1 neither method can be employed to the exclusion of the other1 and any great discovery of ,western science will be found the outcome of interaction between the two principles4 ,it had always been clear1 however1 to the writer that the part played by the intuitive or1 as ,myers would say1 subliminal powers of the mind is habitually set aside by the orthodox naturalist1 who is apt to see little beyond his specimens and what can logically be inferred from them4 ,and archological research has been in such a manner hidebound1 and1 it must be admitted1 with some reason2 for1 as a comparatively young science1 it has had to protect itself against many a foolish fantasy launched by a half-instructed or over-enthusiastic devotee4 ,to describe these as vain imaginations would be correct1 as the word vain is a sufficient qualification1 but the writer at all times deprecates the use of the noble word imagination in the debased sense of a mere fantasy4 ,imagination is a great gift1 a ,divine power of the mind1 and may be trained and educated to receive and to create only that which is true4 ,and this1 maybe1 is the secret of much of the spiritual understanding and wisdom of the ,east4 ,but we ,western folks think it unpractical to cultivate this gift4 ,we have no system for training it1 and our bourgeois habit of mind despises it4 ,in our slipshod way1 we say of anything not founded on fact1 ,it is all imagination1 and similarly we are wont to misuse the term illusion by employing it to characterise positive delusion4 ,the training of the imaginative faculty upon scientific lines and its application to archological research had long been a favourite notion of the writer's1 and he and ,j4,a4 had many a talk on the subject2 but the difficulty was as to the method most likely to secure the results at which they aimed4 ,what was clear enough1 however1 was the need of somehow switching off the mere logical machinery of the brain which is for ever at work combining the more superficial and obvious things written on the pages of memory1 and by its dominant activity excluding that which a more contemplative element in the mind would seek to revive from the half-obliterated traces below4 ,and it occurred to ,f4,b4,b4 that in the faculty of automatism which his friend was believed to possess1 but which he had never used deliberately 7it had operated once or twice in his life spontaneously71 there might be found the key to success in this direction4 ,f4,b4,b4 was a member of the ,society for ,psychical ,research4 ,both he and ,j4,a4 were intimate with ,mr4 ,everard ,feilding1 ,secretary of the ,society1 who had been greatly interested in ,j4,a4's account of certain phenomena of automatism which he had experienced4 ,and ,e4,f4 had been present at one or two experiments in the calling of these powers into play4 ,before entering upon the actual narrative of the discovery in connection with ,glastonbury1 it must be further premised that neither ,f4,b4,b4 nor ,j4,a4 favoured the ordinary spiritualistic hypothesis which would see in these phenomena the action of discarnate intelligences from the outside upon the physical or nervous organisation of the sitters4 ,they would regard such a view as something like a reversal or turning inside-out of the truth4 ,but that the embodied consciousness of every individual is but a part1 and a fragmentary part1 of a transcendent whole1 and that within the mind of each there is a door through which ,reality may enter as ,idea--,idea presupposing a greater1 even a cosmic ,memory1 conscious or unconscious1 active or latent1 and embracing not only all individual experience and revivifying forgotten pages of life1 but also ,idea involving yet wider fields1 transcending the ordinary limits of time1 space1 and personality--this would be a better description of the mental attitude of the two friends4 ,the following may be quoted as indicating ,f4,b4,b's temper of mind and feeling at a time closely following the date of the experiments he made with ,j4,a4 ,it may be found as a passage in the ,illuminated ,address which he prepared for1 and which was accepted by1 the ,queen on her visit as ,princess of ,wales to the ,abbey in #aiji1 and was conceived as a part of the lovynge ,greetinge of ye monkes of ,glaston to theyre ,prince and ,princesse4 xxii ,jun3 ,ao ,mcmix4 ,this extract runs as follows4 ,it was not automatic1 but was doubtless influenced to some extent by a strong feeling in more than one quarter that ,glastonbury would be renewed as a centre of spiritual realisation and reconciliation between the various racial elements in these islands and their distinctive religious expressions1 not yet co-ordinated 7see the writer's article on ,glastonbury in the ,christmas number of the ,treasury for #aijh1 also an address by ,canon ,masterman given in ,london in the same year74 ,glastonbury1 as is well known1 was a centre of pilgrimage from all parts of the world4 ,in most ancient times it was compared with ,rome and ,jerusalem3 ,for ye past dyeth not but slepeth1 nay ffor perchaunce hit wakyth and hit ys they of ye present who doe slepe and dreme4 ,hit ys euen as a ffar countrie ffrom ye which they heare tydynges3 ,yet men will fare vnto londes ffarr distant and ye weelth hath bene theyr guerdon euen soe wayteth euer ffor man ye treasure of ye wisdom of past tymes and yeeldeth her vnto ye loue whych seekyth and ys ne wearyed2 soe schal ye memorie of oldetyme thinges be reuealyd and of ,glaston hit ys sayd yt when ye tymes ben ripe ye glorye schal return3 ,may hit bee euen soe ,gracious ,prince and ,princess yn youre tyme4 ,then ye grasse schal bee as glasse ,and ye schal see ye mysterie ,deepe downe hit lyes ffrom pryinge eies ,and safelie slepes1 while vigil kepes ,ye company4 7,howe doe7 ye dry bonys stir and shake ,and eche to eche hys fellowe seekes ,soone comes agayne what once hath bene ,and ,glastonys glory shal be seene4 ,these verses were evolved one day in automatic writing4 ,what their origin neither ,f4,b4,b4 nor ,j4,a4 know--neither can recall having read them4 ,owing to their beauty and suggestiveness1 they were incorporated in the ,address in a form slightly modified from the original4 ,,on ,,automatism ,the essential objection to the methods and practices of the spiritualists1 and the ground of that instinctive repugnance which is normally felt towards these methods1 is undoubtedly that they imply a surrender of the will and powers of self-control to activities which1 for good or evil1 are outside the personal sphere of the medium4 ,the higher spiritual gifts are those in which the recipient acts as a conscious participator in the act of transmission4 ,between these two extremes is a class intermediate in nature1 which is apparently recognised by ,st4 ,paul in the first ,epistle to the ,corinthians1#f the typical instance quoted being that of the gift of tongues whose exercise1 whilst not discouraged by him1 was nevertheless noted as of inferior value1 since it did not tend always to the edification of the ,church4 ,but it was one phase of a form of inspiration then known1 probably as a common phenomenon1 and there can be little or no doubt that it was accompanied by others of a similar sort1 and that inspirational writing was possibly one of the most ordinary of these4 ,the one necessarily follows from the other4 ,there is even a possible element of the kind to be weighed in any satisfying theory of ,biblical inspiration1 and the prophetic utterances connected therewith1 and it will have to be considered fairly and apart from theological preconceptions4 #f ,see flyleaf4 ,it is clear from the chapter in ,corinthians 7#a ,cor4 xiv47 that in the exercise of the gift of tongues the speaker generally knew little or nothing of the meaning of what he was saying1 though it is not necessary to assume that the utterance was beyond his control4 ,but it implies the action of what1 in modern language1 has been spoken of as a supraliminal part of the mind1 when1 to quote the ,apostle1 the understanding is unfruitful4 ,the exercise of automatism--a controlled automatism--in the production of writing seems to the author a reasonable parallel1 and1 where the result is capable of ready interpretation1 there1 according to the ,apostolic dictum1 is the hope of edification by its means4 ,and for those prepared and ready for its exercise the gift of prophecy in those days awaited manifestation through them4 ,and it is not necessary to suppose that the gifts then bestowed were unique1 in the sense that they were afterwards to be withdrawn for all time4 ,on the contrary1 it is quite clear from ,scripture itself that a great revival of them was to be expected in later days1 as ,peter says in ,acts ii4 #ag1 quoting the prophet ,joel3 ,and it shall come to pass in the last days1 saith ,god1 ,i will pour out ,my ,spirit upon all flesh3 and your sons and your daughters shall prophesy1 and your young men shall see visions1 and your old men shall dream dreams4 ,are we not led to believe that there is no limitation to the liberal gifts of the spirit nor to the variety in the nature of the spiritual gifts which may be exercised8 ,they may be concerned with any possible branch of mental activity1 and all new ideas1 whether in art1 science1 philosophy1 politics1 religion1 or what not1 must be held to be included4 ,nor need the manner or method of such inspiration concern us as of primary importance1 however unusual such may chance to appear4 ,the one test is the quality of its message1 whether it be truthful or otherwise1 edifying or lacking in helpful qualities4 ,if a message of this nature be found true1 it cannot be dictated by a spirit of falsehood2 if sane1 then not by insanity2 if wholesome and moral1 then not by a vicious or depraved intelligence4 ,men do not gather grapes of thorns1 or figs of thistles4 ,the germination of new and profitable ideas in the mind may in this respect be brought about1 firstly1 by a suitable system of mental exercise and culture2 secondly1 by a willingness to hold back all mental preferences and preconceptions1 and to restrain also the surface activities of the brain1 so that the channel of pure idea which resides in the subconscious mind may be maintained1 and the finer activities allowed to percolate4 ,then surely may be hoped for the reaction of those energies sent forth by previous effort of the mind and will1 and ideas will flow back1 not singly and alone1 but accompanied by a spiritual reinforcement which may include elements new and of great value1 from sources beyond the ken of the individual mind4 ,these new elements may be of all conceivable kinds1 moving instinct1 intuition1 imagination1 affection1 or will4 ,they may be vague and abstract1 or tinged1 as in dreams1 with a vivid sense of personality2 dispassionate or pulsing with new enthusiasms2 lighting the intelligence1 or moving in the dark region of the subliminal mind--in this case perhaps incapable of being evoked save by automatism or the telepathy of other minds4 ,from some inward and mysterious fount they come1 borne in upon us by dynamic impulse carrying with it the fruition of memories and experiences long dormant and inaccessible to us1 though within the range of the spiritual intelligence which is the ,directive power4 ,man is a very complex being1 and although1 spiritually speaking1 he lives and acts in relation with his fellow-men in1 and by virtue of1 his memories1 personal and ancestral--for what are character and conscience but the fruition of all those memories and experiences which are his own or those of every pre-natal element in him8--yet1 may it not be that when released from physical conditions1 as at death1 there will take place some dissociation of the strata of his personality1 the mere brain-record1 the husk1 the mechanism of his memories of common things1 being scattered as the chaff1 or shaken off as a discarded coat1 whilst their fruit is garnered as new spiritual power and knowledge in the soul's onial treasury8 ,,some ,,notes ,,on ,,the ,,script ,,and ,,its ,,publication ,the decision to publish these writings was formed after much careful weighing of all reasons for and against1 and their issue at the present juncture was largely influenced by the feeling that public interest in such matters had greatly ripened since the war1 and that the fruits of the author's experiment should not be withheld1 since they might serve to direct that interest into a new and perhaps profitable channel4 ,the script produced during the fairly long period of time 7from the end of #aijg to #aiaa1 and again in #aiab and more recently7 was obtained under varying conditions1 and was of very varied quality4 ,a large proportion had reference to ,glastonbury and to monastic affairs and history1 and of this only a part would claim to possess any sort of evidential value4 ,some was of private interest only1 and would be useless for publication4 ,occasionally the attempted communication was a failure4 ,in a few cases there were noted some very obvious misstatements4 ,the most serious of these was in the measures first given for the ,edgar ,chapel1 ,et ,capella extensit #cj virgas ad orientem et viginti virgas in latitudine7m74 ,a virga is a yard4 ,the script was very obscure1 and the measure was asked for again1 with the result that quinquaginta virgas was written4 ,a third time the confirmation was sought1 and this time the #cj virgas was repeated4 ,quinquaginta 7#ej7 was obviously a mistake1 but the repetition of the #cj virgas1 though indicating a length vastly in excess of anything we had ever thought possible for this chapel1 made one less inclined to dismiss it without further attention4 ,the viginti virgas given once for the width seemed quite out of the question4 ,and as the event proved1 no measure approaching #bj yards for the extreme width of the chapel could then be shown to have existed4 ,it appeared absurd1 and was then and there ruled out1 together with the inconsistent and excessive quinquaginta virgas of length4#g ,this occurred at the close of the first sitting1 which had been a long one4 ,the writing was becoming less clear2 the power was failing1 and the sitters beginning to feel weary4 #g ,at a later date the excavations revealed a small chantry adjoining the south side1 as at ,gloucester ,cathedral 7,lady ,chapel74 ,this extends the width to #dh or #di feet4 ,if a similar chantry were appended to the north side 7again following ,gloucester7 the extreme width might be close on #fj feet 7viginti virgas74 ,but of this nothing is known4 ,colonel ,long's ,,ms4 plan1 found in #aiaj1 gives the #di feet width4 ,no further attempt was therefore made at the time to elucidate the measures1 but it was resolved to try again on a subsequent occasion4 ,there was a very cold spell in the early winter of #aijg-h1 and the attempts during this period were mostly failures4 ,on the #acth ,december the sitting was abandoned for this reason4 ,another on the #bast produced nothing satisfactory4 ,again1 on the #crd ,january1 #aijh1 when the cold was at its height1 only a few cramped and uncertain words could be obtained1 in which these were traced3 ,frigidus sum 444 memoria oportet nullum 444 nescio quid aut quo#h fecimus scriptum4444 #h ,for quomodo4 ,another and much more important cause of failure must now be noted4 ,about the beginning of #aijh certain circumstances of a rather anxious and trying nature were affecting one of the sitters4 ,this produced a preoccupation of mind unfavourable to the production of automatic writing2 and it seems a well-established rule that the sitters' minds must be placid and their mood quiescent to obtain the best results4 ,on the #cjth ,january1 #aijh1 a further attempt was made to obtain writing1 but with entire lack of success from this cause1 and all that was worth recording was a few words1 ending with the following3 ,eschew self4 ,something clogs the tones4 ,search yourselves straitly4 ,it was not until the #aith of ,february that any further really satisfactory results were attained1 and at this sitting the unspoken desire of the sitters was met and a detailed description of the ,edgar ,chapel given1 including its outside measure of width--namely1 #cd feet4 ,but it was not until ,sitting ,,xxxii4 on the #afth ,june that the final confirmation came4 ,this was in answer to a question1 and it was given as follows3 ,the width ye shall find is twenty and seven1 and outside1 thirty and four1 so we remember4--,,beere ,,abbas4 ,at the date of this sitting1 the west wall of the chapel had been located1 but its length not yet ascertained1 so that there was nothing to guide opinion as to this save what could be inferred from the position of the small section opened1 which showed it to be probably about #bj feet in the clear of the footings1 if placed centrally with the quire4 ,then1 in response to the further question1 ,what was the clear internal length of the chapel8 came the reply1 ,wee laid downe seventy and two1 but they builded longer4 ,and the veridical nature of these figures was shown by later knowledge4 7,see ,table1 p4 #gf47 ,but to return to the subject of errors4 ,at ,sitting ,,xxxvi41 on the #aith ,september1 #aijh1 there was given the story of a ,saxon ,earl1 one ,eawulf1 or ,eanwulf1 who was slain by a certain ,radulphus1 ,norman knight of the time of ,turstin1 first ,norman ,abbot4 ,the story is quite a good one and contains what appears to be veridical matter1 but it is marred by a peculiarity4 ,halfway through the script a strange mistake is noted4 ,the name of ,turstin is substituted for ,radulphus1 and the script says1 ,eawulf and ,turstinus did fight1 and the ,norman did slay the ,saxon4 ,now such an error is tiresome1 as it spoils the clearness of the story4 ,yet1 in another way1 it is interesting1 for the light that it throws on the mechanical action of the brain as the probable source of error in automatic writing or speaking4 ,it is a fact well known to those who are called upon to speak in public1 or who are engaged in literary work1 that unless the attention be fixed and concentrated on the subject in hand1 the brain will act mechanically1 causing repetition of any word recently impressed on the mental tympanum1 and such word may easily be substituted for another4 ,where there is fatigue1 this may happen very easily4 ,in the case of automatic writing1 the mind is relaxed1 and there is probably a predisposition to such errors4 ,the example given seems a proof of it4 ,it seems1 indeed1 a matter for surprise that such mistakes are not more numerous in the script obtained by us4 ,on the contrary1 another phenomenon has been frequently observed in connection with it4 ,this is1 that at the commencement of a sitting the thread of a former communication1 broken by the termination of a previous sance1 would be resumed almost as though no interval of time had elapsed4 ,it had been intended in the present work that only the veridical matter concerning the ,edgar ,chapel should appear in print2 but the scope was enlarged by the inclusion of ,johannes1 whose personality seemed attractive4 ,later1 it was decided to allow the remarkable reminiscence of the ,loretto ,chapel also to see the light of day1 in anticipation of further knowledge4 ,but readers will understand that nothing like a wholesale reproduction of the script in the author's possession would be possible4 ,at the same time it may be clearly stated that in what is reserved there is nothing which contradicts or negatives the value of what is given1 and of this the fact that the author has been able with success to follow out the indications given may be held sufficient warrant4 ,no apology seems needed for the quality of the ,latin in the script1 which is very much what one might imagine to be the colloquial jargon of illiterate members of the community1 whose knowledge of the tongue would be chiefly confined to the service-books1 or what they understood of them4 ,the author would here record his indebtedness to his friend ,j4,a41 not only for that cordial interest and co-operation without which the new line of research could not have been undertaken1 nor this work have seen the light of day2 but also for the verses he has written on the subject of ,plate ,,iii41 and on the final ,envoi4 ,his thanks are also due to ,miss ,a4 ,m4 ,buckton for her sonnet 7,plate ,i47 and for many valued suggestions2 to ,mr4 ,t4 ,h4 ,felton for his permission to use material from the ,cannon ,,ms42 to the ,council of the ,somerset ,archological ,society for loan of several blocks 7including ,plate ,,ii472 and to ,mr4 ,edward ,everard for the loan of ,coney's and ,stukeley's plates2 also to ,mr4 ,everard ,feilding for his constant interest in the work and many helpful suggestions4 ,,narrative ,,of ,,the ,,writings ,it was on the #gth of ,november that ,f4,b4,b4 and ,j4,a4 had their first sitting for the purpose of furthering the ,glastonbury research4 ,this took place at #d4cj p4m4 in ,f4,b4,b4's office4 ,j4,a4 held a pencil1 ,f4,b4,b4 provided foolscap paper1 which he steadied with his left hand1 whilst placing his right lightly on the back of ,j4,a4's1 so that his fingers lay evenly across its surface4 ,f4,b4,b4 started by asking the question1 as though addressed to some other person3 ,can you tell us anything about ,glastonbury8 ,j4,a4's fingers began to move1 and one or two lines of small irregular writing were traced on the paper4 ,he did not see what was written1 nor did ,f4,b4,b4 decipher it until complete4 ,the agreed method was to remain passive1 avoid concentration of the mind on the subject of the writing1 and to talk casually of other and indifferent matters1 and this was done4 ,the writing turned out to be a sort of abstract dictum--viz43 ,all knowledge is eternal and is available to mental sympathy4 ,then followed3 ,i was not in sympathy with monks--,i cannot find a monk yet4 ,f4,b4,b4 suggested that one of their living monk-friends might be a sympathetic link1 and the writing was resumed4 ,after a short interval ,j4,a4's hand moved and began to trace a line1 ultimately making a drawing which on inspection looked like a recumbent cross1 but which when examined proved to be a fairly correct outline of the main features of the ,abbey ,church traced by a single continuous line1 but at the east was a long rectangular addition1 nearly as long again as the quire1 and this was given in a double line as though to emphasise it4 ,down the middle of the plan were written the words-- ,gulielmus ,monachus4 7,see ,fig4 #d47 ,next followed what appeared to be an elaborate plan of the great enclosure of the ,abbey ,church1 with a sketch of a central tower1 with square pinnacled top1 a west front or gabled faade1 with two peaked turrets and a large arched light between4 ,across the middle of the surrounding enclosure a line was drawn1 and at one point something like an ornamental turret with two curved diverging lines below appeared1 and the words1 linea bifurcata#i were written4 ,then something looking like a gabled building was sketched1 from which a line was traced to two rows of arches1 perhaps representing a cloister1 and thence another straight line to a drawing recognised as being intended for ,st4 ,mary's ,chapel1 and approaching it from the south4 ,the plan of the chapel showed a large square projection 78 turret7 on the south1 and two doors on the north side4 #i ,the ancient ,book of ,melchin 7now lost71 quoted by ,john of ,glaston1 says of ,joseph of ,arimathea3 ,amongst them ,joseph of ,marmore1 named of ,arimathea1 receives perpetual sleep2 and he lies in linea bifurcata near the south corner of the ,oratory which is built of hurdles4 ,linea1 according to ,ducange1 means an under-garment1 and bifurcata would denote one slit at the sides like a shirt or dalmatic4 ,but our script seems to suggest rather a fork in the paths as the place where ,joseph lay4 ,illustration3 ,,fig4 #d4--,,the ,,plan ,,of ,,the ,,abbey ,,church ,,with ,,the ,,edgar ,,chapel ,,to ,,the ,,east 7,,left ,,hand74 ,,note4--,the drawing has all the marks of a blindfold tracing4 ,the line is continuous1 commencing at ,a1 and the north transept is first drawn1 very small4 ,next the line runs east1 and the north-east angle of the retro-quire is traced1 and1 following this1 the ,edgar ,chapel1 extending east for about half the length of the quire4 ,here the line is drawn three times over1 as though to emphasise the feature1 and it then returns over the old ground1 the north transept being again drawn1 but larger and further removed1 and the whole outline of the church is completed1 to the junction south-west of the ,edgar ,chapel1 ending with the signature ,,gulielmus ,,monachus 7,william the ,monk74 ,q4 7by ,f4,b4,b474 ,what does this drawing represent8 ,a4 ,guest ,hall 444 ,st4 ,maria ,capella 444 ,rolf monachus4 ,the first drawing was now examined1 and both ,f4,b4,b4 and ,j4,a4 expressed a view unfavourable to the possibility of so large a chapel at the east of the church4 ,it was resolved to try again4 ,f4,b4,b4 ,please give us a more careful drawing of the chapel sketched just now at the east end of the great church4 ,in reply1 a new sketch of the rectangular chapel was given 7see ,fig4 #e71 with an attempt to indicate the position of two smaller chapels on the north4 ,again the line was drawn double1 and below was written the following1 in cramped characters not easy to decipher3 ,capella ,st4 ,edgar4 ,abbas ,beere fecit hanc capellam ,beati ,edgari 444 martyri et hic edificavit vel fecit voltam 444 fecit voltam petriam quod vocatur quadripartus sed ,abbas ,whitting 444 destruxit 444 et restoravit eam cum nov 444 multipart 444 nescimus eam quod vocatur4 ,portus#aj introitus post reredos post altarium quinque passuum et capella extensit #cj virgas ad orientem et 78 viginti7#aa in latitudine cum fen 787 444 7874 #aj ,for medival use of the masculine form portus for porta see ,lobinell1 ,hist4 ,brit41 ii4 #hgb4 ,ante suum introitum fecit idem novus dux primum juramentum in introitu variere portus illius urbis vocati vulgariter ,portus de ,morzellos4 ,also in ,o4,e4 7,anglo-,saxon ,psalter7 on portum in porta4 #aa ,a doubtful measure 7see pp4 #bg and #fc74 ,the writing was very weak and unsatisfactory1 as though the force were waning4 ,f4,b4,b4 ,please repeat2 we cannot read this4 7,repeated47 ,quinquaginta#ab virgas et fenestrae transomatae4 #ab ,quinquaginta is sheer nonsense1 and moreover inconsistent with the measure already given4 ,the writing was getting weaker and the difficulty increasing1 and it seemed that the sitting had probably been unduly lengthened1 to the physical exhaustion of the sitters4 ,illustration3 ,,fig4 #e4--,,second ,,plan ,,of ,,the ,,edgar ,,chapel ,,as ,,built ,,by ,,beere1 ,,showing ,,its ,,relative ,,greatness ,,as ,,compared ,,with ,,the ,,little ,,chapels ,,of ,,the ,,retro-,,quire4 ,the line starts at the east1 and again it is repeated for emphasis4 ,the chapel is shown at first1 clear of the east wall1 but there is a subsequent loss of position which brings the little chapels beyond their prescribed limit and makes the plan appear confused4 ,below is written ,capella ,st4 ,edgar1 ,abbas ,beere fecit hanc capellam 7,chapel of ,saint ,edgar1 ,abbot ,beere built this chapel74 ,f4,b4,b4 ,please give length again4 ,a4 #cj virgas 444 et fenestrae 7cum7 lapide horizontali quod vocatur transome et vitrea azurea2 et fecit altarium ornat7um7 cum auro et argento et 444 et tumba ante altarium gloriosa aedificavit ad memoriam ,sanct 444 ,edgar4444 ,f4,b4,b4 ,which ,abbot did this8 ,a4 ,ricar7d7us ,whitting4444 ,ego ,johannes ,bryant monachus et lapidator4 ,this concluded the sitting4 ,,sitting ,,ii4 #aath ,november1 #aijg1 #a p4m4 ,the material influences were at fault when last 444 ,i think active influences were overpowering my will4 ,those monks were anxious to communicate4444 ,they want you to know about the ,abbey4 ,they say the times are now ripe for the glory to return and the curse is departing4 ,i do not know about these things4 ,they have been wishing to influence you for a long time1 and they have been 7endeavouring to87 reproduce things in your minds4 ,here the influence changes4 ,benedicite4 ,go unto ,glaston soon4 ,gloria reddenda antiqua4 ,laus ,deo in saecula seculorum4 ,nubes evaserunt 444 memoria rerum manet et red 444 ,ecclesia catholica extensit et comprehensit latera 7sic18 latentia7 vera et res occultas sapientibus4 ,,johannes4 ,,sitting ,,iii4 #acth ,november1 #aijg4 ,writing commenced without any direction by sitters4 ,i think ,i am wrong in some things4 ,other influences cross my own4444 ,those monks are trying to make themselves felt by you both4 ,why do they want to talk ,latin8444 ,why can't they talk ,english8444 ,benedicite4 ,johannes4444 ,it is difficult to talk in ,latin tongue 7repeated1 being illegible74 ,seems just as difficult to talk in ,latin language4 ,ye names of builded things are very hard in ,latin tongue--transome1 fanne tracery1 and the like4 ,my son1 thou canst not understande4 ,wee wold speak in the ,englyshe tongue4 ,wee saide that ye volte was multipartite yt was fannes olde style in ye este ende of ye choire and ye newe volt in ,edgares chappel4444 ,glosterfannes 7repeated74 ,fannes 444 7again7 yclept fanne 444 ,johannes lap 444 mason4 ,q4 ,what is meant by 'lap mason'8 ,a4 ,lapidator 444 stonemason4 ,having this signature ,johannes now again repeated1 ,f4,b4,b4 felt curious to know how far this dramatisation or memory of a personality might be developed4 ,q4 by ,f4,f4,b4 ,tell us more about yourself4 ,a4 ,i 444 died in #aecc4 7,repeated because almost illegible47 ,yn #aecc obitus 444 curator capellae et laborans in mea ecclesia pro amore ecclesiae ,dei 444 sculptans et supervisor 444 yn ,henricum septem#ac 444 anno #adig et defunctus anno #aecc4 #ac ,i4e41 in the reign of ,henry ,,vii4 ,,note ,,on ,,the ,,first ,,three ,,sittings4 ,we observe in these communications an individual tone1 as of a directing influence1 at first manifesting without intermediate links1 but almost immediately yielding place to the monkish elements introducing themselves as ,gulielmus ,monachus1 ,rolf ,monachus1 and ,johannes ,bryant4 ,there appears something like a clash of intention1 a strain which reacts on the physical condition of the sitters1 and which seems to account for the rapid exhaustion of power towards the end of the first sitting1 and the consequent lack of clearness and consistency in the results4 ,in the second sitting the directive agency speaks of the monks as active influences--an expression to be noted4 ,and it is explained that the material influences were at fault4 ,then in the third sitting we get1 ,i think ,i am wrong in some things4 ,other influences cross my own4 ,it seems very much like a man trying to make a trunk call on a telephone1 who is worried because the local office will either persist in switching him off at critical moments1 or else because the wires are out of order and imperfectly isolated1 so that fragments of other conversation are interjected4 ,when we come to consider the matter of the monkish communications1 under the name ,johannes1 we are at once confronted by the question1 ,is this a piece of actual experience transmitted by a real personality1 or are we in contact with a larger field of memory1 a cosmic record latent1 yet living 7the eternal knowledge of the first writing we record71 and able to find expression in human terms related to the subject before us1 by the aid of something furnished by the culture of our own minds1 and by the aid of a certain power of mental sympathy which allows such records to be sensed and articulated8 ,as to this1 it is too early to dogmatise1 but in either case room must be left for the presence of a ,directive ,power accessible to man1 capable of stimulating and energising dormant consciousness1 and directing it into such channels as man has developed for its reception and expression4 ,,sitting ,,iv4 #aith ,november1 #aijg4 ,the result was interesting1 but contained nothing important as regards the ,abbey4 ,,sitting ,v4 #bbnd ,november1 #aijg4 ,a further plan was produced of the general range of ,abbey buildings1 signed ,johannes4 ,this was followed by a short script as here given3 ,when you dig1 excavate the pillars of the crypt1 six feet below the grass--they will give you a clue4 ,the direction of the walls 444 eastwards 7this word might almost as easily have been 'westwards1' or even 'outwards1' and it was so ill written that nothing could be decided from it7 444 was at an angle 444 clothyards twenty seven long1 nineteen wide4 ,it would have been just as easy to read the last as thirteen4 ,the pencilled original of the plan is preserved1 but not the script1 as it was not regarded as of value at the time1 but the mention of the walls at an angle1 referring1 as it would appear1 to some part of the chapel whose dimensions are in the context1 is an interesting point4 ,the mention of the crypt seemed simply the mentality of the sitters--a reflex of their study of ,wild's plan4 ,it is again referred to1 however1 in later writings4 ,,sitting ,,vi4 #bfth ,november1 #aijg4 ,f4,b4,b4 ,perhaps ,johannes will tell us something more8 ,a4 ,johannes ,bryant is striving for the glory of ,glaston4 ,there is much under the grass deep down and unrifled4 ,the east of ,st4 ,mary's has a vault under the stairs and under the nave there are vaults#ad--the destroyers feared1 and the ruin of the walls hid the entrance in4 ,under the tower the volt is perfect1 and many names of those buried therein very deep down4 #ad ,it is most improbable that any are remaining at this day4 ,the eighteenth century probably saw the last of them1 but this may not be in the sphere of cognisance which we are here touching4 ,q4 ,where should we commence to dig8 ,a4 ,the east end4 ,seek for the pillars1 and the wall7s7 at an angle4 ,the foundations are deep4 ,,sitting ,,ix4 #cjth ,december1 #aijg4 ,commencement of writing quite illegible4 444 7the7 end of the time approaches4 ,the year is big with issues and ,glastonbury will engage much of your attention4444 ,,johannes1 ,,monachus4 ,wait1 and the course will open in the spring4 ,you will learn as you proceed4 ,we have much to do this season4444 444 ,the chapel of ,our ,lady of ,glaston--type of spiritual things which are not manifest to you4 ,the changes need not alarm you4 ,the reconstructions will be more perfect4 ,let the ,state fall in ruins and the outward garments of ,faith perish--fear not6 444 ,for greater things will rise into being--great nations and great ideals4 ,we work for it4 ,be willing1 and strive not against the tide4 ,up on the crest and prosper4 ,all will work for the best4444 ,the spark will live thro' the rains and re-light dead fires1 fire which is still fire but with purer flame4 ,we cannot hasten the time1 but it is sure and is not delayed4 ,you are between two influences4 ,earth and spirit mingle not4 ,losing earthly grasp leaves you without earthly support4 ,hold fast to earth's duties4 ,work as men for man's meat4 ,keep open ears for spiritual help and whisperings4 ,assimilate and combine both forces4 ,stand in the market-place and cry your wares1 but listen for the still small voice in the silence of your chamber4 ,work in the sun4 ,listen in the starlight4444 ,both ,f4,b4,b4 and ,j4,a4 expressed a good deal of surprise at the nature of the first part of this communication1 as any idea of impending revolution in ,church or ,state had been utterly remote from our minds and not in any way the subject of conversation4 ,the passage was an intrusion and a puzzle4 ,but we did not regard it as of any special interest2 more as a curiosity for which a psychological explanation was lacking4 ,later there occurred more such intrusions1 pointing with increasing definiteness to the nature of that which we were warned to anticipate1 but they belong to another story and have no connection with the discovery of the ,edgar ,chapel4 ,hence the record of many sittings will be omitted1 and we pass to the nineteenth1 held #aith ,february1 #aijh1 after a visit to the ,abbey4 ,f4,b4,b4 had not yet received his appointment1 but was steadily preparing1 and at the moment was engaged in working out the probable appearance of the approaches to the central chapel of the retro-quire1 and the work of ,bere's time had been discussed4 ,n4,b4--,all the #aijg sittings were at ,bristol4 ,the next to be recorded 7,sitting ,,xix47 was held at ,glastonbury4 ,,sitting ,,xix4 #aith ,february1 #aijh4 ,at ,glaston ,the arche is flatte--three ells from side to side--ten feet high--all panellae4 ,all ye midst of ye est ende was panellae and the grete chappell was#ae 444 #ae ,at this point the sitting was interrupted1 and was not resumed until eight hours later1 when the broken thread was immediately taken up4 444 we have told you long tyme sins--panellae everywhere 444 thin walls and poore foundations in the new work4 ,two capellae north and south and between them a greate space with a tall doore in the midst1 of four centres1 all panelled under ye fann-tracery over ye lintel4 ,and there were two altares on either side and much carven woode very blacke which was took away for the panellae4 ,and the holes in ye walls were covered with the panellae so that they shewed not1 and yt was all of stone very white and faire and in ye doore was a greate stairway with two windowes on either hand that did rise one above the other of equal height above ye stairway4444 ,and ye stairway was divided in ye midst by a grete rail of stone so that they who went upp might not meet with they who came down ye said stair4 ,and beyond rose a ,capella of ,edgar ye sainte1 faire and high with grete windowes with transomes and between ye windowes were pillars as panellae the whych did holde ye roofe of stone vaultid very faire in panellae which were fanwise very fine much like carven yvorie and carvings ypainted in ye bosses and in ye spandrels and there was a grete windowe in ye est parte of eight lights all ye arches and ye roofe being flatte as of the period and the chamber was yflagged with tiles of many colours and in ye midst was a tumbe of silver and precious stones and pictures in the panellae over against ye est window4 ,and ye chamber was in length seventy feet in four bayes and in width it was thirty and foure#af 444 and the walls were thin and all of faire squared stone and newe carven soe that they who did destroy this 444 first1 even before the great church4 #af ,i4e41 the exterior width4 ,and soe hyt was not4 ,there were faire steppes of marble and ye fannes over ye doore did hold a lyttel galerie the whych did open close on ye stairway looking down on them that passed there and a lytell windowe was above for to lyte ye chapell in ye church at back of ye two altares for hyt was darke4 ,forty and two feete was the hight of ye newe chapelle and yt was ybuttressed with faire buttresses and walls slantwise at ye cornere4 ,there appears throughout this communication a tendency to older forms of spelling never quite achieved1 and constantly slipping back into the normal4 ,the phrasing seems more consistently old-fashioned4 ,note the further reference to walls slantwise at ye cornere1 recalling the walls at an angle mentioned in an earlier script4 ,,sitting ,,xxiv4 #eth ,march1 #aijh4 444 ,wold ,i could tell you of the great ,est window in the gabell4 ,it is hard to say its many parts but ye shall see it a noon4 7,this is of the quire4--,f4,b4,b47 ,the buildings on the south side of the east end were two4 ,one was a chapell1 the other for the priest to robe in4 ,saint ,edgar was buried in the window where ye see the cross4 ,afterwards ,beer moved him to the new chapell that he builded4 ,chapell was like unto ,wells but more faire4 ,this obviously alludes to ,bishop ,stillington's ,chapel1 a fan-vaulted structure of rich sixteenth-century work1 now destroyed4 ,,sitting ,,xxv4 #ajth ,march1 #aijh4 ,f4,b4,b4 obtained the appointment as representative of the ,somerset ,archological ,society1 with licence to excavate1 in the month of ,may1 #aijh4 ,,sitting ,,xxvii4 #agth ,march1 #aijh4 ,at ,bristol4 ,the time is ripe for the stones to be studied4 ,go ye soone4 ,the corbel-stones are full large4 7,this refers to a sketch reconstruction of the transept wall by ,f4,b4,b47 ,put ye ten between each buttress4 ,q4 ,is the parapet right8 ,a4 ,the parapet is right4 ,q4 ,what about the quire vaulting shown8 ,a4 ,ye volte is welnigh righte for what ye see1 but over ,arthur's tombe to the ,est window it was fayrer and much ygilt soe that the lightes of the ,altar shold shine thereon and make a glory4 ,looke for ye ribs of the choir1 plain ones and carven1 and ye bosses4 ,some be at the ,east ,end4 ,enow has been left from the destroyer1 just enow and no more3 it was so ordained lest they should destroy for ever4 ,make ye yourselves a scheme--enow left everywhere4 ,why destroyed they not the walls that came to hande8 ,they cared not1 but indeed they left it and digged deepe for stones4 ,they could not an they would4 ,why left they the altar stones when they might have digged up8 say1 why8 ,q4 ,you say1 ',saxon1 ,norman1 and ,native1 all strive together for the glory of ,glaston4' ,can you put us in touch with any of these early influences8 ,a4 ,what wold they tell ye8 ,their works were rude1 and have departed4 ,the ,abbey is not of them--nothing save certain books--and we wold that the books were againe1 only the ,church as it was wont to be4 ,we who speke are of its different orders3 ,gulielmus of old tyme1 and ,johannes later1 and he who builded last--our ,abbot ,beere4 ,what more is needed8 ,wee point the way2 to you it is to follow1 and all that is needed is given you4 ,worke wyth brain and handes1 and all is there4 ,so it is ordained1 for what ye desire1 that is good that ye shall strive for4 ,wee worked in our day3 ye must work in yours4 ,ne work1 ne wages1--ne what you call honour4 ,q4 ,it is ,st4 ,patrick's ,day to-day4 ,can you tell us anything of his time and of his work1 and ,st4 ,brigit's8 ,no doubt there was much in the great ,library of the ,abbey4 ,a4 ,olde legends1 meet for the people--but what value8 ,they were1 and didde1 much among the heathen4 ,we know not more1 save that their workes were old and very dry to rede4 7,this passage is signed with a cross in a circle1 and a capital letter1 not clearly identified47 ,q4 ,please write your name4 ,a4 ,reginaldus1 qui obiit #abad--one thousand1 two hundred and #ad4 ,the identity of this ,reginald is not clear4 ,bishop ,reginald of ,wells1 who consecrated the ,chapel of ,st4 ,mary at ,glastonbury1 died in #aaia according to the chronicles4 ,the ,chapel is said to have been completed in #abaf4 ,the script has been retraced1 as it was done in soft pencil and could not be preserved4 ,,sitting ,,xxix4 #bjth ,april1 #aijh4 ,gloria in excelsis tibi ,deo4 ,pax vobiscum1 filii4 ,the time is near4 ,dig well and those things which ye seek shall be given you but serche carefully lest ye eradicate those things that be left for your guidance4444 444 the est end will be the first1 and then ye shall find proof of ye goodly towers at ye west end4#ag ,serche the ruins for the way they were finished4 ,there is much left to guide you4444 #ag ,these were proved later4--,f4,b4,b4 444 ,influence man1 and that which was before decreed shall aid you and they who are around you shall feel your influence and ours4 ,in very truth it was a goodly church and it is said that ye of your time shall know what works we did pro gloria ,dei4 ,we were mistaken in some things--all men are--but the thought that made the great church of ,glaston was not bounded by ye mind and that thought must live and prevail4 ,move1 work1 and unceasingly persist1 and in time there will be a place for what once was and ye shall know its buildings yet again as they were wont to be4 ,the lesser works first3 and then cometh one who will build the great church--a son of ,glaston from beyond the sea4 ,even now he waits and watches4 ,we wait and watch and hope with the knowledge that comes to men on the other side4 ,the church is always the church1 and in the great schema of the world we come soon and our instrument ,glaston shall find a mighty place4444 ,thus ,johannes saith4 ,at this point the sequence of the writing is broken by the story of ,johannes going a-fishing1 and lingering in the lanes4 ,this we give in ,part ,,ii4 ,q4 ,we should like to know something of the nature of the old foundations which were found under the ,quire in the #aijd excavations1 also whether any light can be thrown upon the subterranean piers1 their date and purpose8 444 ,the window was straight as we knew it1 but#ah was somewhat changed by ,abbot ,beere when he made the chapell4 ,ye are right about ye end walls4 ,johannes saw to the building thereof for they were five years before they builded the last part because there was nothing in the coffers--so the church was perfect without the new parts4 #ah ,the sitting was interrupted here1 and resumed later with a repetition of the words as we saw it1 but4 ,what was it ,beere performed8 ,we will remember4 ,the olde church had a chapell going east like to ,edgar's and the corners were cut off most like4 ,the foundations ye mean remain4 ,we know but that which we heard and that which they who followed after did1 we know not1 save only we can enquire4 ,beere1 ,abbot1 is not with us now4 ,he has a work to perform4 ,there are others who build in your ,england and he hath to lead them as they should be led4 ,they who builded in our day and were masters1 lead ye now4 ,,robert4 ,,anno #accd4 ,,glaston4 ,,note ,,on ,,sitting ,,xxix4 ,the blending of influences is again very marked1 but the dominant thought is that of one of the inmates of the great abbatial ,house4 ,the signature ,robert 7anno #accd7 does not help us4 ,this was the year that witnessed the election of ,john de ,breynton as ,abbot1 vice ,adam de ,sodbury1 and it was an era of great building activities4 ,but ,robert speaks1 or is made to speak1 for those of an era two hundred years later1 or nearly1 and it is strange to find a voice from the fourteenth century recalling the window as it then was1 and going on to describe alterations made at the beginning of the sixteenth4 ,and the allusion to ,abbot ,beere's living influence is of peculiar interest4 ,among the best modern exponents of the ,gothic ,english styles1 the call of the past1 and the influence of the past1 is vital as an element in their work1 and it is precisely in the measure in which they are able to translate the spirit of the past1 that they can claim inspiration in what they strive to produce4#ai ,occasionally a sincere student will obtain some mental pictures of a bygone time of singular clearness and fidelity1 whence1 he knows not2 only that they are spontaneously apparent to him when in a state of mental passivity after intellectual exertion in the particular direction needed4 ,it may be of interest here to quote an experience once related to the writer by an old friend1 ,w41 now retired from practice1 but who in the #hj's of the last century was responsible for a good deal of scholarly restoration work in the west country4 ,w4 was very partial to the ,early ,english forms1 and if he had a fault1 it was the fault of his day1 when restorers were a little ruthless1 as we should think nowadays1 in substituting ,early ,english detail for the fifteenth century vernacular of the district4 ,on one occasion he was called upon to undertake restoration--which1 in this case1 meant a partial rebuilding--of a decayed church in the very decayed town of ,i4 ,the south wall of the nave1 a work of the ordinary ,perpendicular sort1 had to be rebuilt1 and he had to construct a new arcade for the aisle adjoining4 ,somehow he felt disinclined to do this in the fifteenth-century style1 but was prompted to design afresh1 in the manner of the thirteenth4 ,and for his pillars he imagined a form of capital having rather a complex moulding4 ,there was nothing visible to guide him1 but it appealed to him as suitable4 ,nor was it a local type--at least1 this would be the writer's recollection of the impression he derived from the drawing which ,w4 showed him4 #ai ,the work of the mere copyist is not inspired4 ,the capitals were provided of this pattern1 the old wall was pulled down1 and hidden within it and built into its substance was found a pier-capital of a moulding identical in detail4 ,i myself was satisfied that he had never seen any particle of this early work1 and he allows me to retell the story here4 ,as to the story of ,johannes1 the truant monk and nature-lover1 it takes the form of an interpretation of his memory-record by another4 ,whether we are dealing with a singularly vivid imaginative picture or with the personality of a man no one can really decide4 ,but later examples will elucidate the part he plays in the scheme1 and it is one of much interest from the psychological point of view4 ,,sitting ,,xxix4--,continued4 #bjth ,april1 #aijh4 ,ye crypt was mere a chamber under the stairs and it was at the west end of the chapel4 ,it was not for sepulture and it is gone long syne by reason of the fall of the floor of ye chapel4 ,yt wasne underground and was low--a man might hardly walk sans stooping4 ,the work of excavation commenced shortly after the receipt of this communication4 ,,sitting ,,xxxii4 #afth ,june1 #aijh 7after excavation ,no4 #d74 ,all is well4 ,we direct your course and will continue4 ,there is some difficulty and ye must use your own intelligence4 ,there are two chapels and ye must try and judge old and new4 ,the scheme of ,abbot ,monington gave one1 and under the church are remains yet older4 ,the pillar of many shafts#bj was in the midst between the buttress and the chapel wall1 and the great window needed the buttress to hold hym up4 ,seek out the choir wall1 where the arches were behind the altar1 and it will be plaine4 ,digge for the vestries on the south choir wall--there is somewhat left here1 and there is alsoe a chantry under the window by the crosse4#ba #bj ,there is a sketch of this pillar given in the #aijh volume of the ,proc4 of the ,somerset ,arch4 ,soc44 ,it was found by ,f4,b4,b4 in ,kerrich's papers in the ,british ,museum4 ,its position would fairly obviously correspond to that which the script suggests1 and there is therefore nothing very remarkable about this4 #ba ,the wall of the vestry was subsequently dug for and found outside the bay of the south quire wall third from the west1 where there were indications of such an appendage in the grooving of the masonry for the flashings of a lead roof1 and the plinth mould had been shorn off to get rid of an inconvenient projection4 ,the trench showed a thin wall giving a vestry about #i feet wide4 ,judge not the wall by the foundations thereof4 ,they are mighty but--wee have told you--thin walls were over them4#bb #bb ,the great breadth of the footings of the rectangular part of ,edgar's ,chapel--about #f feet #f inches on the north and south walls--might easily have inspired a wrong opinion as to the substance of the walls themselves4 ,but students of the work of this date are familiar with the fact that the flat and heavy fan-vaulted stone roofs of the ,tudor period require1 in addition to their external buttresses1 a certain amount of interior support1 which is given by building the walls as a series of hollow bays1 the windows occupying the recesses1 and the intermediate masses being brought out inwards1 as piers or counterforts1 the same being architecturally treated1 so that the description elsewhere given of piers as panell is quite probably accurate1 as a description of such features4--,f4,b4,b4 ,search far for the est end of ,edgar's ,chapel4 ,it is but little damaged4 ,s4 ,mary and ,s4 ,andrew's ,chapels1 over the ends of ye choir aisles4 ,the only reminiscence of a retro-chapel is to be found in the plan of the ,abbey embodied in ,phelps's ,somerset1 reproduced by ,warner4 ,phelps shows a dotted-line extension of the east wall of the retro-quire of nearly the same projection as ,willis's plan1 but in this case it ends with a semicircle--a feature impossible for anything but a ,norman chapel1 which here would be out of the question4 ,in a corner of ,phelps's plan appears a similar diagram1 but with the rectangular part much lengthened4 ,both are lettered ,f1 and the reference table gives ,f ,lady's ,chapel4 ,warner copies this plan1 calling this latter one the ,chapel according to its original dimensions4 ,neither ,f4,b4,b4 nor ,j4,a4 had at that time seen ,warner's copy of ,phelps's plan1 because the copy of ,warner accessible to them in the ,bristol ,public ,library had lost this sheet4 ,but owing to the general haziness of the plan1 and its numerous inaccuracies1 and the entirely impossible suggestion of a semicircular apse 7in a dotted-line figure71 as well as owing to the suggestion ,lady's ,chapel1 these records had proved the reverse of illuminating1 save as inspiring a guess that the original and shorter quire might very likely have been furnished with a ,lady ,chapel1 for use in the remote days1 before the western chapel of ,st4 ,mary had been opened up and thrown into the general series by the inclusion of the ,galilee--a work of the fourteenth century1 and that this ,lady ,chapel had been ultimately shorn of the greater part of its length by its absorption into the new retro-quire1 what time ,abbot ,monington caused the quire to be lengthened by two bays 7about #dj feet7 temp4 #acdd or thereabouts4 ,such an hypothesis would entail the deduction that after the lengthening of the retro-quire in the fourteenth century1 there would remain at the east end a relatively short projection--say1 of #ab feet or so--and some such reasoning may well have inspired ,willis's scheme 7see his plan in the ,architectural ,history of ,glastonbury ,abbey71 though he rightly rejected the semicircle as an eastern finish4 ,q4 ,was there any crypt under ,edgar's ,chapel8 ,what were the clear dimensions of the chapel itself8 ,a4 ,the cript is fallen in1 but the clay is not the old clay4 ,clear out the midst thereof1 and many fragments be there4 ,the width ye shall find is twenty and seven1 and outside1 thirty and four1 so we remember4 ,,beere1 ,abbas4 ,q4 ,what was the clear internal length of the chapel8 ,a4 ,wee laid down seventy and two1 but they builded longer1 and he who followed made new schemes for a certaine roofe in golde and crimson1 very cunning4 ,ye must use your talents1 lest they weaken4 ,piece by piece ye shall rebuild it and there is enow1 ,i wot1 for ye4 ,digge east beyond the beds of feathered grasses4 ,there was a passage to the east doore in ye walle to the streete4 ,in the midst it remaineth4 ,there was a lodging where now is the great howse1 and wee loved passages4 ,they were safe1 and the priesthood loveth secret places4 ,there is somewhat in us that loveth mystical things1 so we tell not all1 but leave it to the love which seeketh and is not wearied4#bc #bc ,the local gardeners and workmen had a story of a large covered passage which was said to run from the house or from a point close to it1 and towards the ,abbey1 and one workman1 ,thyer1 now dead1 told ,f4,b4,b4 that he had assisted the late owner1 ,mr4 ,austin sen41 to fill up a part of this and to remove the flat stone coverings which he needed for his building work4 ,at the time of this writing1 only the west end of the chapel had been excavated1 so that the length was still a matter of complete doubt4 ,a massive wall running north and south had been found just about in the position of that shown as a projection in ,willis's plan--namely1 about #ab feet east of the walls of the retro-quire1 and on the farther side of this the foundations commenced at a much higher level1 indicative of a later extension by ,bere from this point onwards4 ,and the whole of this cross-wall must have been ,bere's work1 for it ran north and south for some #cb feet1 and beyond that came the projection of its buttresses4 ,when the continuation walls of the chapel to the east were further revealed1 the clear width between their footings was about #ah feet1 and as they were each about #f feet #f inches in width1 the whole was not quite #cb4 ,so the suggestion in the script of a clear internal width to this chapel of #bg feet is by no means improbable if measured into the window recesses4 ,as to the length given 7#gb feet71 a total of #ij had already been spoken of1 so that the #gb must represent the rectangular portion of the chapel1 plus either the antechapel or the eastward extension only1 either of which give this approximate total4 ,as afterwards revealed 7see plan in ,som4 ,arch4 ,soc4 ,proc4 for #aijh71 the correspondence proved to be faithful1 as the scale shows4 ,measure from the interior of the east wall of the retro-quire1 which will include all the space within the antechapel of ,bere's work1 eastwards to the end of his rectangular walls1 and the whole is close on #gb feet--viz41 #ab #e #ej #e in approximate measures4 ,there were several clumps of pampas grass on the high bank1 but farther east than our advance at the moment4 ,another fragment of script1 unfortunately now lost1 again referred to one of the clumps on the south side1 as being just west of a large mass of masonry4 ,this was correct4 ,the large mass in question is that which stands up high above the rest at the south-east angle of the rectangular chapel4 ,again1 we have the curious and unusual suggestion of an east door to the chapel 7compare the ,portus introitus post reredos1 etc474 ,when1 long subsequently1 the two inclined walls of the apse were revealed1 the gap in the middle was remarked4 ,the footing on the north side of the eastern gap was cut squarely off1 and evidently by intention1 and was thus strongly suggestive of a doorway or archway here4 ,in the walle to the streete we may perhaps discern an explanation of the continuation of the angular wall on the south1 which runs on for a distance not yet ascertained in the direction of the upper part of the town1 and would have passed near the building which formerly occupied the site of the present ,abbey ,house4 ,use your talents4 ,wee guide4 ,it is meet4 ,noe worke1 noe wage4 ,all workes well4 ,this wee tell you4 ,ledde was on the roofe--ne stones1 the wych cometh from meaner buildings elsewhere4 ,the stone tiles were high roofes but ye chappell was flatte or thereabouts4 ,as how think ye the est ende would have looked to them who came from the green pathe in the wall8 444 and ye can see right well4 ,dig deeper3 it needeth4 ,fear not4 ,it will be clear to you ere another night fall4 ,even yet there is somewhat east and south to finde4 ,ye are skilled to find the stones which we put there4 ,all are of the chapelle that ye have noted4 ,benedicite4 ,,whyttinge1 nuper ,abbas4 ,it was not until several months later that the whole of ,bere's rectangular chapel was disclosed4 ,the bank increased in height as we proceeded east4 ,but the farther we went1 the more stone we found on the south side1 until at last1 at the south-east corner1 a block of solid masonry was uncovered which rose several feet above the general level4 ,and to the south of the last two buttresses on this side there came to light the trench or matrix of a small additional building1 a chantry or a sacristy4 ,these trenches were cleared and filled with solid concrete to preserve the record of the lost walls1 which must otherwise have perished through the falling-in of the loose and crumbling earth4 ,,sitting ,,xxxvi4 #ith ,october1 #aijh4 ,ye must see owre old manor of ,sharpham4 ,there is somewhat for you there4 ,search it diligently1 and the walls around4 ,ye church ye have found is ye one which ,ina builded and it was yjoined to the olde churche by a timber passage-way and many steppys4 ,yt had no towre1 but as it were the short arms of a crosse and ye pillars were greate and rounde as ye see4 7,this alludes to an excavation in the nave47 ,ye roofe was woode and it was rough and rude1 ne like unto our church of ,st4 ,mary4 ,would ye could digge around ye altare1#bd for there ye will find much black marble of the style ye call 'decorated4' #bd ,i4e41 the high altar of the later church4 ,we wold make ye see it--square1 and as it were square buttresses with canopies and imagery1 full forty feet in height1 somewhat level in ye toppe1 like a screene1 and in ye midst a faire canopy of gilded stone in width four feet and full of fifteen feet in height2 and in front an image of ,our ,lady in gold and scarlet robes holding in her hands the ,christ and a sceptre of power4 ,on either side two doors with steppys leading down to the path for processions behind ye altare4 ,can ye not see it8 ,black stone and images1 and guilding in the hollow places under the ornaments4 ,on ye south side1 as we deem it1 ye will find most of ye pieces and even ye tombes of ,arthur and of ye two saints ,edgar#be 7sic7 all black stone with much guilding and ye effigies of ye ,kinge and ye ,queene with ye ,lyons in blacke stone--nay1 rather1 ye ,lyons were in light stone like ye bases of ye tombes4 #be ,should be ,edmund4 ,illustration3 ,,plate ,,ii4 ,,the ,,edgar ,,chapel4 ,view of the completed excavations1 showing ,bere's rectangular chapel of four bays1 and the eastern annexe with the walls at an angle4 ,to face page #ef4 ,and ye grete east window in pannels like unto ye sides of ye choir1 and very faire1 with a balcony4 ,ye balcony was underneath ye window and from yt did lead the way to ye altare back where was an ymage of ,saint ,mary1 of great value and very olde1 which was saved from the fire long synce4 ,ego sum ,,johannes qui ex memoria rei dico--meminisco--dixi annorum #adib4 7,i am ,johannes1 who speak from memory of the matter4 ,the time of which ,i spoke would be #adib1 as ,i remember47 ,,sitting ,,xxxvii4 #cjth ,november1 #aijh4 ,the ending of the chappel was at an angle1 the sides makyng as it were a baye in the east wall there4 ,the last bay to the east hayde an arche like unto a chancel arche and with a feather ornament1 as hadde all the other arches2 and the space beyond into the baye was as it were three fannes with thin pillars running up the angles and spreading toward the arche4 ,in the three faces of the east wall were three windowes1 and all this was faire made by ,abbot ,whitting1 who lengthened ,edgar's ,chappel somewhat1 to the extent of half a bay4444 ,the fannes are flat which ,whitting builded1 and ye will see them how they fitted together4 ,the lytell chantry was roofed in pannels by 444 ,beere1 and ye have found the pieces1 deep cut and faire--quatrefoil with lozenges1 cuspings on either side1 and ye roofe as was called 'barrel' shaped--ne fannes in ye chantry4 ,this script was obtained before the angular walls of the apse had been found4 ,the description generally is quite a plausible one1 and there is good reason for thinking that the apse would have been finished by the last ,abbot 7,whiting74 ,some stones of the fan-work were found at the end of the year4 ,the little chantry would seem to refer to the projecting footings found between the last two buttresses on the south side4 ,it compares again with ,gloucester ,lady ,chapel1 where such additions are found north and south of the fourth bay from the west4 ,q4 ,whence came the vaulting-rib1 which we have found8 ,a4 ,he went in the passage-way to ,edgar's ,chappel and the volting of like molding went with it--east of the arches behind the altare4 ,monington was used to what ye call 'decorated' and the choir roof wasne of the newe style--ye 'perpendicular1' but the other style done after ,gloster fashion4 ,,sitting ,,xxxviii4 #bnd ,december1 #aijh4 ,gulielmus monachus qui in area chori requiescet#bf 444 ,reginaldus4 ,hee wots not what they didde but saith the olde procession path went round three corners and they builded the new window after hys tyme straight4 ,ye have found the old wall before ,monington4 ,i guess but doe not know4 #bf ,william the monk who reposes in the quire4 ,gulielmus monk of ,saint ,benedict wold speke but he hath been long ded and cannot as he wold4 ,he of ,monington ,abbas qui 444 he did make the est end full square1 that know ,i he didd1 and in hym three arches and a grete screene 444 soe it was in my day1 that he who followed after did enlong the window and it was full weake and they rebuilded it4444 ,he did build strong walls over ye lytell chapel of ,our ,ladye that then was and in them a new window and on either side he placed a walle which did continue the walls of the choire and did put in an arche and under hym a tombe on either side with the altar in the midst1 and above the arche as it was two grete high windows1 very narrow which did make on to the grete east window and wyth hym made a grete faire window which did light up all the choir and did fill it with glassen cleare and bright of many colours4 _/ ,,sitting ,,xxxix4 #eth ,december1 #aijh4 ,johannes wold speke4 ,there is 7somewhat7 gone from us4 ,the olde foundations were left and they did add to them4 ,the walls at an angle were put in by ,abbot ,beere when he builded the chappell and enlarged the windows4 ,we have told ye of the high windowes and the arche under wych the tombe7s7 of ,edgar 7sic7 one on either side--the ,elder and the ,younger4 ,the arch was ycarven very faire and panellae did rise to ye roofe1 and ye volte over the ,est window was ydonne in fanne worke3 likewise the eastern part of ye choire was in fannes wyth a great arch as soe it was donne with panellae between4 ,during the summer and autumn of #aijh the work of excavation had been steadily continued4 ,by ,december practically the whole of the rectangular portion of ,beere's chapel had been laid bare1 and proved to be of four bays1 in accordance with the script4 ,the excavation of the antechapel entirely confirmed ,willis's view of the divisions of the retro-quire1 and1 strange to say1 justified his plan in regard to the length of the central projection1 for it was abundantly clear from the appearance of the two flanking walls 7or1 rather1 their foundations7 that there had been an original projection here of the same extent as he showed1 and that ,beere had merely taken on at this point and started his new work with a massive cross-wall at a different level4 ,the footings of the north and south walls of ,beere's chapel were about #f feet #f inches broad and a little over #ah feet apart in the clear4 ,the thin ,perpendicular work above would normally stand rather over the outer margin of the footings to allow of the projecting piers supporting the fans of the roof1 and this would entirely justify a computation of width approaching #bg feet clear into the recesses of windows4 ,but the total internal length on the foundations between east and west footings measured #di feet1 a dimension in itself insufficient to justify the #gj feet claimed in the script1 even if it were considered that part of the breadth on the west footing1 and an even larger part on the east footing must be included in the interior area of the chapel4 ,possibly a further #f feet or so might be allowed for these margins1 making a total internal length for the rectangular chapel of #ee feet1 to which another #ae feet must be added if the measurement of #gj feet given in the script were to be justified4 ,but the rectangular chapel ended off with a proper finish to the east1 and the two return buttresses were well marked4 ,at this point the digging had been very deep1 as the level of the bank rises steadily from west to east1 and we were now about #aj feet under the grass level4 ,the rectangular end was cleared1 and before us rose a sheer face of clay without trace of any continuance4 ,nothing had yet been seen of walls at an angle1 and the writer scanned the face of the clay many times1 trying to detect any signs of disturbance or of a further junction of building1 and so matters remained till the end of ,december4 ,in the meantime a report had been prepared for the annual volume of ,proceedings of the ,somerset ,arch4 ,soc41 and as by this time ,f4,b4,b4 was fully persuaded that ,hearne and ,hollar are giving us fact when they state that the total length of the ,abbey was #ehj feet1 he boldly drew a plan of the excavated chapel with an addition in dotted lines1 making out the requisite dimension and showing a polygonal annexe or apse1 and this he caused to be published in the #aijh ,proceedings4#bg #bg ,a facsimile of this plan was published in the ,treasury for ,christmas1 #aijh4 ,illustration3 ,,fig4 #f4 ,during the ,christmas holidays ,f4,b4,b4 again visited the site1 and on a bright sunny day looked at the clay bank1 and for the first time detected a small squarish patch of pale brown discoloration in the clay at a level much higher than the footings of the chapel4 ,he caused the face to be cut into at this point1 which was nearly opposite the southern return buttress1 and at a point about #b feet within the clay face the stump of a wall appeared4 ,this was traced and proved to run north-east at an angle of #fg degrees from the north and south axis of the chapel4 ,the ground was opened in the corresponding position on the north side1 and here a trench was found well and truly cut in the clay1 and filled with debris of sixteenth-century freestone1 tile1 and glass fragments1 chiefly of painted work1 and largely of azure blue4#bh ,the footing-trench was inclined at a similar angle1 but instead of meeting a cross wall at east1 it stopped short at the point where such a return wall should be1 and this indicated that in all probability the annexe had a door in the east wall1#bi behind the reredos1 suggestive of the use of this part as a feretory or relic-chamber1 and this recalls almost exactly the plan of the church 7collegiate7 of ,westbury-on-,trym1 which is also furnished with a semi-hexagonal apse4 #bh ,cf4 p4 #cg1 line #c4 #bi ,cf4 p4 #ce1 last line1 ,portus introitus post reredos1 etc4 ,calculating that the inner faces of the three walls of this annexe would have been designed to be more or less equal in breadth1 for sake of symmetry1 a line was struck across the apse at the required point1 a stake put in1 and a very careful chain-measure made from end to end of the whole range of ,abbey buildings--i4e41 from the internal face of the ,lady ,chapel or ,church of ,st4 ,mary at the west1 to this point1 and the measure was then found to be precisely #ehj feet1 as given by ,hearne and ,hollar4 ,the true plan of the chapel was published in the #aiji volume of ,proceedings1 and makes an interesting comparison with the conjectural plan 7see ,fig4 #g1 p4 #fd74 ,two years later1 in the collection of ,colonel ,wm4 ,long1 ,j4,p41 of ,clevedon1 an eighteenth-century manuscript plan of the ruins1 hitherto quite unknown1 came to light1 and was found to show the two inclined wall-sections of the apse of the ,edgar ,chapel4 ,a note attached to this plan gives the extreme dimensions of the chapel as #hg feet by #di feet4 ,the latter would only be correct if it included the little chantry projecting on the south side4 ,it would not represent the true outside measure of the chapel proper1 which is elsewhere stated as #cd feet1 and must have approximated to that width4 ,eighty-seven feet is of course fairly correct as an internal measure of length1 and thus substantiates the record4 ,,sitting ,,xxxix4--,continued4 ,,awfwold ye ,saxon hath tried1 but hee knows not ye tongue4 ,he hath somewhat of olden tyme that ye have found in ye este4 ,he sayth hee hadde a house or housen in wattlework and a churche within the forte1 ye which wee did enter when wee made ,edgar hys newe chappell4 ,soe he sayth4 ,and that wych is beyond the chappell1 is not there a chambre1 the wyche ye shall see when ye have digged full deepe4 ,and from hym did go a passage way to the ,lodge over the gate that leadeth to ,chalice4 ,hyt is gonne full syne1 wee wot4 ,wyth hym--the chambre--ye church was six hundred and twenty-eight feete in length inside and sixteene more outside walls1 soe wee remember4 ,illustration3 ,the blackened wattlework was found at a great depth in the clay near the south-east corner of the ,edgar ,chapel4 ,it was examined together with other remains1 and reported on by ,mr4 ,st4 ,george ,gray in the ,proceedings of the ,somerset ,archological ,society for #aiji4 ,no attempt has been made to explore the site beyond the eastward limit of the ,chapel4 ,the ground is very deep1 and there are other difficulties4 ,as the proved internal length of the ,abbey with the ,chapel is #ehj feet1 this measure of #fbh feet would imply another large addition1 and in the absence of any sort of evidence of its probability1 it is impossible to attach the least weight to it4 ,the tombe of ,arthur in shining blacke stone was in front of ye altare4 ,ye can see hys size even now1 an ye wis1 in ye claye1 and certain fragmentes that yet are for hym to seeke4 ,blacke and scarlet and golde was ye choire1 save where they didde paint ye leaves in greene1 and somme tyme browne where ye clausteres were4 ,ye windowe was much clere glasse wyth colours in ye midst under golden canopyes in ye heades of the pannels4 ,there was under ye alare 7sic7 a chambre ye wyche ye did enter from the rear1 but hee was low and smalle1 and there were many buried in hym4 ,the pathe for processions wasne needed1 and soe they went not behind ye altare where ye chappells were nor behind ye greate screene under ye este windowe4 ,the churche he was soe grete there was room enow in ye aisles and soe across ye altare in front of hym by ,arthur's tombe4 ,q4 ,as to traces of an interment behind the reredos wall4 ,can you tell us anything of this8 ,a4 ,yee martyr was hee4 ,they made a martyr's grave4 ,he was not coffined1 for they were but bones got by ye faithful from ,bathe and ,tauntone1 and brought in secret4 ,he was yplaced under ye altare1 and they who pulled yt downe when ,elizabeth was ,queene drew hym out4 ,they knew not who hee was1 our ,abbot4 ,ye knowe4444 ,hee who swam in ayre when hee wold not4 ,whytynge4 ,they knew not4 ,wee deemed the altare wold stande for alle tyme4 ,q4 ,who desecrated the ,abbey8 ,a4 ,my ,lord ,somersete4 ,hee cared but for golde--ne faith1 ne good--,hee a ,protestant1 a traitor hee4 ,a heretic was hee4 ,q4 ,is there any foundation for the legends of secret passages in and about the ,abbey8 ,a4 ,covered ways to the corner of the cloyster by ye ,prior's ,house4 ,hee is fallen in1 we wot1 and likewise hym that goeth to ,king's ,gate1 but somme is left4 ,some of ye passage at the east end ye shall finde4 7,here follows a plan47 ,the ,kingswaye seeke ye neare ye ,gatehouse--ye cellars that wee used4 ,ye shall find ye passage4 ,ye shold seek the grete draine4 ,many things are therein4 ,ye should seeke for it4 ,,johannes et alii4 ,permultae memoriae4 ,,sitting1 #ast ,september1 #aiaj4 ,the script begins in a cramped hand1 very disjointed and confused4 ,it is mostly in ,latin words1 and we trace the name of one ,john of ,aller1 in the rural district of ,somerset 7in agros ,somersetiae71 formerly a husbandman1 but later a watchman at the ,abbey4 ,but he cannot tell us what he would1 and the power which should recall his memories fails4 ,nescio quid sum1 it ends1 aut inde veni4 ,then the writing commences afresh1 thus3 ,ambrosius the ,cellarius wold speke to ye4 ,and hee isne a scholar4 ,ye binnes in ye cellar ye wot they were full of good wine1 but ye cellars of ye ,guesten ,hall lye deeper downe4 ,ye roofe of ym#cj is but even with ye floor of hym4 ,but ,i wot they have left ye little enow4 #cj ',them1'--i4e41 the cellars4 ,ye ,abbot's lyttell kitchen he lay in between ye two halles1 and ye cooke hadde enow to feed them on the one syde and alsoe ye guesten folk on ye other4 ,therefore ybuilded ye ,abbot ye grete ,kitchen afore ye ,howse1 for to make feast on grete feast-dayes4 ,ye olde kitchens and ye minte-garden wasne used much after that4 ,ye newe howse of ye ,abbot hadde kitchens enow1 and soe4444 ,know ye ye lytell cloystere ahint ye ,prior's ,lodging and ye ,halle convent over against the ,stabels of ye horses8 ,they were near ye ,guest ,halle on ye syde of our ,lord ,abbat's ,howse1 and ye menne lay over them4 ,there were foure horses1 and rooms for ye guesten horses in ye same stable4 ,the script here deals with an area still unexcavated1 as to which we have but little documentary evidence4 ,the position of the ,guest ,hall may be reasonably inferred to be on the site suggested1 due west from the ,refectory4 ,the statement about the kitchens seems reasonable4 ,at this point the communication under the name ,ambrosius ceases and an entirely different handwriting is noted4 ,the script continues3 ,ricardus de ,tanton1 who did make ye drawings for my ,abbot ,bere1 wold tell you that which ,ambrosius can not4 ,we gather that the level of the ground was lowered and four cellars made for storing wine for the ,guest ,hall above4 ,next we read3 ,the grete ,halle was ybuilded not long syne1 and ye must goe where the kitchens did joyne him to the ,refectorium4 ,aufwold says that the convent of ,arimathia was at hys south-west corner1 builded long tyme since1 and there was as it were a little cloystere between the ,hall and the chapel where ,beere did saye masse4 ,the stabel was over aganst the ,abbat's new howse which ,beere builded1 and which was in front of the ,guest ,hall but away from hym4 ,the crypt under the new ,hall was deeper downe4 ,his roofe was near level to the floore of the vault of the ,refectorium4444 ,goe you through the grete door at ye corner of ye ,cloyster on ye est syde downe ,,xii steppes and on through ye passage-waye4 ,then shall ye rise uppe ye steppes ,,ix on ye south syde1 and soe acrosse ye mint garden to the ,newe ,halle where was a doore1 and through hym cometh a passage to the further syde and soe to the lyttel cloyster1 and beyond hym the lyttel convent and ye lyttel chapel builded long time syns4 ,and there was a grete wall to the est of all these places high and stronge1 and over hym was the dormer1 and beyond1 the parlour beneath and the scriptorium above hym3 and soe unto ye wall of ye lyttle cloystere1 and after a space1 a yarde and the schola with its chappel and buildings around yt 444 for ye boyes1 alsoe ye changing room for ye choire who sang in ye minster4 ,ye boyes were ofttimes joyous and did playe and make a shouting1 and ye ,abbat sayde3 ',chide not youth in its playe1 but may ye keepe them afar from ye claustre places lest they weary my devowte1'--and so ye schola was far from ye 7same74 ,q4 ,which was the ,chapel of ,st4 ,dunstan8 ,a4 ,hym on ye ,north syde of ye ,crete ,church1 at ye ende1 near to ye newe chappel which ,bere 7built74 ,q4 ,what was the exact length of the ,church as completed8 ,a4 ,,cccxi#ca in passibus4 ,,cccxi et capella nova4 ,,cccxi in tota longitudine4 #ca ,the length of the medival pace was unknown to us1 and would have been inferred to be the natural length of a walking step 7in ,f4,b4,b4's case #bb inches74 ,but to reduce paces to feet1 or vice versa1 is not easy by mental arithmetic1 and the calculation was not made4 ,hence this ,,cccxi conveyed nothing definite4 ,but publication necessitated scrutiny of this statement1 and1 to assess the true length1 reference was made to ,william ,wyrcestre's ,itinerary1 wherein1 speaking of ,glastonbury ,abbey 7p4 #bib71 he says3 ,longitudo navis ecclesiae monasterii continet #ed virgas vel #ajj gressus--making #ed yards #ajj steps4 ,if #ajj steps #ed yards1 one step #afb feet4 ,so we have our material for calculation1 as follows3 ,i4 ,length of church #caa #afb #ejchb feet et capella nova 7i4e41 and the new chapel7 7add7 #ijjj ------ #eichb --an amazing result6 ,elizabeth's commissioner1 quoted on p4 #ab1 says3 ,the great ,church in the ,aby was 444 #eid feet4 ,and our own plan 7,fig4 #ab71 based on careful measurement1 yields the total #eib feet6 7,the #ehj feet measure discussed on p4 #fb is an internal measure47 ,q4 ,please state it in feet4 ,a4 ,pedes ,,dccxxxiii#cb circa4 #cb ,,dccxxxiii pedes circa 7about #gcc feet7--at first sight a hopelessly discordant measure1 being #adj feet in excess of the first--yields on analysis an even more astonishing result4 ,for #gcc feet circa is #caa paces2 but ,romano-,british paces--not medival6 #caa paces of #b feet #d-a_/d inches is #gcc feet4 ,the true ,roman pace 7single7 is #b feet #e inches--occasionally less in ,britain--so we see it in this case slightly shortened4 ,and the qualification circa gives us the slight latitude which the computation requires4 ,it is as though our question1 addressed to the previous informant1 had been answered by another in a literal sense1 according to his own knowledge of the measure1 and without reference to the monkish standards4 7,see note in synopsis at end of vol41 sub4 ,ell and ,passus47 ,q4 ,was there anything east of the ,edgar ,chapel8 ,a4 ,yes1 but not ,ecclesia major4 ,on the wall was a capella for them who came from over the hill called ,chalice--a little capella1 but he was not of the grete church4 ,you have hym all4 ,we sayd he 7the church4--,f4,b4,b47 was somewhat over three hundred passuum on the path which passeth on the north syde of hym4 ,this ,i knowe4 ,the chappell was ninety-one#cc of feet1 for ,i did draw hym4 #cc ,this being a foot in excess of the measure first given and found correct1 we have preferred the latter in the calculation given on the last page4 ,,ricardus ,ta4 ,,table ,,of ,,the ,,veridical ,,passages ,,in ,,the ,,automatic ,,script1 ,,sixteen ,,in ,,number1 ,,referring ,,to ,,the ,,edgar ,,chapel ,,and ,,east ,,end ,,of ,,quire ,i4 ,,as ,,to ,a ,,large ,,rectangular ,,chapel ,,east ,,of ,,the ,,retro-,,quire4 ,,script4 ,november #g1 #aijg4 ,plan of ,abbey1 showing oblong chapel at east end1 of very large dimensions1 and exterior to retro-quire1 the width overlapping three of the five chapels of same4 ,the sketch would indicate a width between #bj and #cj feet1 and a length probably exceeding #gj feet4 ,,existing ,,data4 ,professor ,willis's ,architectural ,history shows nearest parallel1 but his plan is only an eastward extension of the central one of five little chapels1 and its total length would only exceed the rest by about #ab feet1 and width would be a little over #aa feet4 ,,result4 ,,proved ,,by ,,excavation ,,as ,,substantially ,,correct ,,for ,,the ,,earlier ,,or ,,rectilinear ,,portion ,,of ,,the ,,chapel4 ,the dimensions are shown in the plan published in the ,proc4 ,som4 ,arch4 ,soc4 for #aijh1 and again in #aiji4 ,,ii4 ,,as ,,to ,,the ,,dedication ,,of ,,the ,,chapel4 ,,script ,november #g1 #aijg4 ,capella ,st4 ,edgar4 ,abbas ,beere fecit hanc capellam ,beat7i7 ,edgar7i74 444 et capella extensit #hj virgas 444 et fecit altarium 444 et tumbam ante altarium gloriosam aedificavit ad memoriam ,sanct7i7 ,edgar7i74 ,q4 ,which ,abbot did this8 ,a4 ,ricardus ,whitting4 ,,existing ,,data ,leland says3 ,abbat ,beere builded ,edgares ,chapel at the east end of the ,church4 ,but ,abbat ,whitting performed sum part of it4 ,willis thought that the ,edgar ,chapel might have been at this point--i4e41 where he shows his projecting central chapel4 ,,result ,,proved ,,later ,,to ,,have ,,been ,,the ,,edgar ,,chapel ,,by ,a ,,plan ,,discovered ,,in #aiaj ,,in ,a ,,private ,,collection4 7,see ,som4 ,arch4 ,soc4 ,proc41 #aiaf-ag47 ,,the #cj-,,yard ,,length ,,is ,,the ,,result ,,of ,,an ,,addition ,,to ,,the ,,original ,,plan4 ,,iii4 ,,as ,,to ,a ,,door ,,in ,,the ,,extreme ,,east4 ,,script ,november #g1 #aijg4 ,portus introitus post reredos1 post altarium quinque passuum 7,an entrance door five paces behind the reredos74 ,june #af1 #aijh4 ,there was a passage to the east doore in ye walle to the streete4 ,,existing ,,data ,no record of such a feature1 and no warrant for supposing it4 ,eastern doorways are very unusual4 ,nothing known of door or wall to the street from this part4 ,,result ,,proved ,,by ,,the ,,gap ,,found ,,in ,,the ,,footings ,,at ,,the ,,eastern ,,extremity1 ,,where ,,the ,,two ,,foundations ,,of ,,the ,,angular ,,apse ,,walls ,,do ,,not ,,join4 ,,the ,,depth ,,of ,,the ,,apse ,,is ,,about ,,five ,,paces4 ,the use of the word portus1 meaning door1 is confirmed in this sense by the allusion to the east door4 ,the angular south wall of the apse continues on1 and was perhaps a fence-wall to a pathway1 but it has not been possible to pursue this4 ,the ditch or moat is believed to have run on the south side of same4 ,on the north1 the footing of the angular wall stops short1 leaving a gap in the foundations at the east end1 as though for a doorway4 ,,iv4 ,,as ,,to ,,the ,,total ,,length ,,of ,,the ,,chapel4 ,,script ,november #g1 #aijg4 ,et capella extensit #cj virgas ad orientem 7,and the chapel extended #hj yards to the east74 ,,existing ,,data ,the ,elizabethan ,inventory1 in a list of measures of the ,church1 says3 ,chapter ,house1 #ij feet4 ,,result ,,proved ,,by ,,measure4 ,,the ,,internal ,,measure ,,is #hg ,,feet1 ,,and ,,this1 ,,allowing #c ,,feet ,,more ,,for ,,thickness ,,of ,,end ,,wall ,,and ,,plinth ,,gives ,,the #cj ,,yards ,,for ,,the ,,total ,,length ,,of ,,the ,,edgar ,,chapel4 ,v4 ,,as ,,to ,,the ,,azure ,,glass ,,in ,,the ,,windows ,,of ,,the ,,chapel4 ,,script4 ,november1 #g #aijg4 ,et vitrea azurea 7,and window-glass of azure74 ,,existing ,,data4 ,azure blue does not predominate in glass of the sixteenth century4 ,the dominant tones are white and gold1 the field often being almost entirely white4 ,the subjects are in glass of various colours4 ,the blues tend to a steely grey4 ,,result4 ,,proved ,,by ,,the ,,discovery ,,of ,,fragments1 ,,relatively ,,numerous1 ,,of ,,blue ,,glass ,,in ,,the ,,trenches4 ,,this ,,glass ,,was ,,probably ,,refitted ,,from ,,the ,,windows ,,of ,,the ,,earlier ,,work ,,altered ,,or ,,removed ,,by ,,successive ,,abbots1 ,,and ,,appears ,,to ,,be ,,of ,,the ,,thirteenth ,,century4 ,,vi4 ,,as ,,to ,,the ,,vaulting ,,of ,,fans4 ,,script ,november #g1 #aijg4 ,abbas ,beere 444 fecit voltam petriam quod vocatur quadripartus1 sed ,abbas ,whitting 444 destruxit 444 et restoravit eam cum nov 444 multipart 444 nescimus eam quod vocatur4 ,november #ac1 #aijg4 ,wee saide that ye volte was multipartite1 yt was fannes old-style in ye este ende of ye choire1 and ye newe volt in ,edgare's chappel 444 ,glost'er fannes4 ,,existing ,,data ,it is a fair inference that a chapel of this nature and period 7,henry ,,vii4 to ,henry ,,viii47 would be vaulted in fans1 and we should have thought ,abbot ,bere's original scheme would have provided for this4 ,fannes old style would apply to those built on a half-hexagonal section4 ,the real ,tudor fan has a circular sweep4 ,,result ,,the ,,edgar ,,chapel ,,had ,,the ,,later 7,,multipartite7 ,,form ,,of ,,fan1 ,,as ,,is ,,proved ,,by ,,the ,,nature ,,of ,,the ,,fragments ,,found4 ,,one ,,of ,,the ,,main ,,bosses ,,is ,,extant1 ,,and ,,on ,,its ,,back ,,has ,,the ,,direction 7,,in ,,scored ,,lines7 ,,for ,,the ,,correct ,,setting ,,of ,,the ,,block1 ,,and ,,this ,,shows ,,twelve ,,ribs1 ,,implying ,a ,,wheel ,,of ,,tracery ,,between ,,fans4 ,,vii4 ,,as ,,to ,,the ,,polygonal ,,east ,,end4 ,,script ,november #ai1 #aijg4 ,the direction of the walls 444 was at an angle4 ,november #ai1 #aijg4 ,forty and two feete was the hight of ye newe chapelle1 and yt was ybuttressed with faire buttresses1 and walls slantwise at ye cornere4 ,november #bf1 #aijg4 ,the east end4 ,seek for the pillars1 and the walls at an angle4 ,november #cj1 #aijh4 ,the ending of the chappel was at an angle1 the sides makyng as it were a baye in the east wall there4 ,,existing ,,data ,no existing data from which such might be inferred4 ,the nearest example of a polygonal east end seems to be at ,westbury-on-,trym1 near ,bristol1 unless we regard the ,lady ,chapel at ,wells as a parallel instance4 ,this chapel1 however1 is in reality an elongated octagon1 with a domical roof4 ,it was erected ,a4,d4 #acbf4 ,,result ,,proved ,,by ,,discovery ,,in ,,january1 #aiji1 ,,after ,,the ,,tentative ,,plan ,,of ,,an ,,angular ,,apse ,,had ,,been ,,in ,,the ,,press ,,for ,,publication ,,by ,,the ,,somerset ,,arch,,ological ,,society2 ,,and ,,after ,,actual ,,publication ,,in ,,the ,,christmas ,,number ,,of ,,the ,treasury ,,for #aijh4 ,,viii4 ,,as ,,to ,,the ,,difference ,,in ,,the ,,foundations4 ,february #ai1 #aijh4 ,thin walls and poore foundations in the new work4 ,nothing known4 ,,proved ,,by ,,excavation4 ,,the ,,footing ,,walls ,,of ,,the ,,apse ,,were ,,thin ,,and ,,poor1 ,,in ,,marked ,,contrast ,,to ,,those ,,of ,,the ,,rectangular ,,part ,,of ,,the ,,chapel1 ,,which ,,were ,,exceedingly ,,broad4 ,,ix4 ,,as ,,to ,,an ,,older ,,lady ,,chapel ,,before ,,monington',s ,,time ,,with ,a ,,polygonal ,,apse4 ,,script4 ,,script ,april #bj1 #aijh4 ,the olde church had a chapell going east like to ,edgar's1 and the corners were cut off most like4 ,the foundations ye mean remain4 ,june #af1 #aijh4 ,there are two chapels1 and ye must try to judge old and new4 ,the scheme of ,abbot ,monington gave one1 and under the church are remains yet older4 ,,existing ,,data4 ,nothing known1 but there is a possible inference as regards a ,lady ,chapel beyond the original ,quire before the ,western ,lady ,chapel was incorporated4 ,phelps has preserved a reminiscence of this chapel1 and he suggests a semicircular end1 which might mean a polygon4 ,the projection beyond the retro-quire would be about #ab feet1 according to his diagram4 ,compare the ,lady ,chapel at ,wells4 ,nothing known at the time4 ,phelps's plan of a ,lady ,chapel1 copied by ,warner1 suggests two different states of this building1 the original extending under the quire1 and afterwards absorbed in ,monington's new work4 ,,result4 ,,in ,,june1 #aijh1 ,,traces ,,of ,a ,,slant ,,wall 7,,footing ,,trench7 ,,were ,,found ,,close ,,inside ,,the ,,east ,,wall ,,of ,,the ,,retro-,,quire ,,and ,a ,,little ,,south ,,of ,,the ,,centre 7recorded in a report from ,rev4 ,h4 ,barnwell1 late ,vicar of ,glastonbury written to ,f4,b4,b4 shortly after the commencement of excavation47 ,about #ab feet beyond the retro-quire1 the levels of the ground and foundations rise considerably4 ,at this point comes the west wall of the ,edgar ,chapel2 and the same point probably marks the extreme eastward limit of the older ,lady ,chapel4 ,,the ,,existence ,,of ,,older ,,footings ,,under ,,the ,,quire ,,floor ,,was ,,proved ,,later4 ,,they ,,were ,,too ,,much ,,pulled ,,about ,,and ,,altered ,,to ,,establish ,,their ,,original ,,form4 ,x4 ,,as ,,to ,,the ,,little ,,crypt ,,under ,,the ,,stairs4 ,,script ,april #bj1 #aijh4 ,ye crypt was mere a chamber under the stairs1 and it was at the west end of the chapel4 ,june #af1 #aijh4 ,the cript is fallen in1 but the clay is not the old clay4 ,clear out the midst thereof4 ,,existing ,,data ,nothing known at this date of chapel1 crypt1 or stair4 ,the rise of ground at east might suggest a raised floor for the chapel exterior to retro-quire4 ,britton's plan of ,abbey suggests that the two piers found circa #ahac on the site of the middle chapel of the retro-quire were probably part of a crypt1 but there was nothing known to warrant such a suggestion1 and facts were against it4 ,,result ,,the ,,necessity ,,of ,a ,,staircase ,,to ,,bere',s ,,chapel ,,is ,,proved ,,by ,,the ,,subsequent ,,discovery ,,of ,,its ,,superior ,,level--,,probably ,,some ,,seven ,,feet ,,above ,,the ,,retro-,,quire4 ,,as ,,the ,,ground ,,rises ,,immediately ,,east ,,of ,,the ,,west ,,wall ,,of ,,the ,,chapel1 ,,it ,,almost ,,inevitably ,,follows ,,that ,a ,,crypt ,,would ,,be ,,confined ,,to ,a ,,small ,,space ,,beneath ,,the ,,antechapel ,,or ,,stairway ,,of ,,approach4 ,,xi4 ,,as ,,to ,,the ,,double ,,hand-,,rail4 ,,script ,and ye stairway was divided in ye midst by a grete rail of stone1 etc4 ,,existing ,,data ,nothing known at the time4 ,,result ,a ,,double-,,handed ,,stone ,,rail ,,was ,,detected ,,later ,,among ,,the ,d,,bris ,,lying ,,about ,,the ,,abbey ,,quire ,,walls ,,not ,,far ,,from ,,the ,,site ,,of ,,the ,,chapel4 ,,xii4 ,,as ,,to ,,the ,,width ,,of ,,bere',s ,,building4 ,,script4 ,june #af1 #aijh4 ,the width ye shall find is twenty and seven1 and outside thirty and four1 so we remember4--,,beere1 ,abbas4 ,,existing ,,data4 ,nothing known4 ,,result4 ,,the ,,west ,,wall ,,of ,,the ,,chapel ,,measures ,,about #ca ,,feet #f ,,inches4 #bg ,,feet ,,is ,a ,,probable ,,measure ,,for ,,the ,,interior ,,width ,,of ,,the ,,chapel1 ,,whose ,,walls1 ,,deeply ,,recessed ,,for ,,the ,,windows1 ,,would ,,stand ,,well ,,upon ,,the ,,outer ,,part ,,of ,,the ,,footings4 ,,these ,,are #f ,,feet #f ,,inches ,,wide ,,on ,,the ,,north ,,and ,,south4 ,,the ,,outer1 ,,or #cb ,,feet ,,measure ,,does ,,not ,,include ,,the ,,buttresses4 ,,xiii4 ,,as ,,to ,,the ,,length ,,of ,,bere',s ,,building4 ,,script ,june #af1 #aijh4 ,wee laid down seventy and two1 but they builded longer4 ,,existing ,,data ,nothing known or recorded4 ,no inference possible4 ,,result ,,proved ,,as ,a ,,measure ,,substantially ,,correct ,,for ,,the ,,superstructure1 ,,as ,,inferred ,,from ,,the ,,footings4 7,see plans in ,som4 ,arch4 ,soc4 ,proc4 for #aijh-i47 ft4 in4 ,antechapel 7approx47 #ab #j ,bere's ,rectangular ,chapel 7#e #ej #e7 #fj #j ------ #gb #j ,,xiv4 ,,as ,,to ,a ,,ceiling ,,in ,,gold ,,and ,,crimson4 ,,script ,june #af1 #aijh4 ,and he who followed made new schemes for a certaine roofe in golde and crimson4 ,,existing ,,data ,nothing known or recorded4 ,,result ,,proved ,,by ,,the ,,subsequent ,,discovery ,,of ,,arch-,,mouldings ,,with ,,members ,,painted ,,in ,,red ,,and ,,black1 ,,and ,,retaining ,,traces ,,of ,,gold4 ,,xv4 ,,as ,,to ,a ,,chapel ,,of ,,four ,,bays4 ,,script ,february #ai1 #aijh4 ,and the chamber was in length #gj feet1 in four bays4 ,,existing ,,data ,nothing known and no inference possible4 ,,result ,,the ,,rectangular ,,chapel ,,proved ,,to ,,be ,,of ,,four ,,bays4 ,,the #gj ,,feet ,,includes ,,the ,,antechapel1 ,,but ,,is ,a ,,round-,,figure ,,estimate1 ,,the ,,true ,,length ,,being ,,about #gb4 7,see ,,xiii4 above47 ,,xvi4 ,,as ,,to ,,the ,,altar ,,screen ,,and ,,triple ,,arcade4 ,,script ,december #b1 #aijh4 ,the procession path went round three corners1 and they builded the new window after hys time straight4 ,ye have found the old wall before ,monington1 ,i guess1 but do not know4444 ,hee 7,monington7 did make the ,est end full square1 that ,i know he didd1 and in hym three arches and a grete screene4 ,,existing ,,data ,nothing known at the time4 ,at ,wells there are three arches between quire and retro-quire1 behind the reredos1 and a similar arrangement at ,glastonbury would easily be inferred4 ,,result ,,the ,,excavation ,,proved ,,that ,,there ,,were ,,formerly ,,three ,,arches ,,behind ,,the ,,altar1 ,,and ,,there ,,were ,,indications ,,of ,a ,,screen ,,wall ,,between4 ,,addendum ,,to ,,the ,,table ,,of ,,the ,,veridical ,,passages4 ,,script4 ,december #b1 #aijh4 ,soe it was in my day1 that he who followed after did enlong the window1 and it was full weake and they rebuilded it4 ,he did build strong walls over ye lytell chapel of ,our ,ladye that then was1 and in them a new window1 and on either side he placed a walle which did continue the walls of the choire1 and did put in an arche and under hym a tombe on either side with the altar in the midst1 and above the arche as it was two grete high windows very narrow1 which did make on to the grete east window1 and wyth hym made a grete faire window which did light up all the choir1 etc4 ,,existing ,,data4 ,the suggestion is that one of the ,abbots coming after ,monington substituted for his square east and a bayed end with a principal window flanked by two narrow ones set anglewise4 ,the great east window of ,glo'ster is slightly bayed and has buttressings for support to the east4 ,it is recorded that in ,bere's day the great east window was casting out and had to be given further support4 ,,result4 ,,nothing ,,can ,,be ,,proved ,,as ,,regards ,,any ,,later ,,alteration ,,of ,,the ,,east ,,window1 ,,as ,,all ,,above ,,ground ,,is ,,cleared ,,away4 ,,extract ,,from ,,letter ,,of ,,hon4 ,,everard ,,feilding1 ,,secretary ,,of ,,the ,,society ,,for ,,psychic ,,research1 ,,to ,,the ,,author1 ,,dated #ae,,th ,,march1 #aiag4 ,,my ,,dear ,,bond1 444 ,as to your record of the script1 it would be most interesting if you were to publish it4 ,there is no question but that the writing about the ,edgar ,chapel preceded the discovery of it by many months4 ,i was present1 if you remember1 at what ,i believe was the beginning of the recrudescence of---- 's automatism1 444 and that was before you ever started your work at ,glastonbury1 and before you were even appointed to the work4 ,i remember your telling me when you were appointed1 how interesting it was1 as you were then able to test some of the statements made4 ,no1 there is no doubt whatever in my mind on that point2 you will remember that the only doubt ,i have ever expressed was on the question as to how far something in one of the books on ,glastonbury which you showed me afterwards1 and which might have suggested the possibility of the actual position of the ,edgar ,chapel1 might conceivably have influenced---- 's mind subconsciously2 ,i forget what book it was1 but ,i remember it was not the book which was taken at that time as the most authoritative4 ,,signed ,,statement ,,of ,j4,a4 ,i1 the undersigned ,j---- ,a----1 hereby certify that ,i am the ,j4,a4 referred to in ,mr4 ,bligh ,bond's account of the automatic writings concerning ,glastonbury ,abbey and other matters1 and that the transcript which he has made of the series of about fifty communications dating from #gth ,november1 #aijg1 to #cjth ,november1 #aiaa1 and also some supplementary writings produced in #aiab and later1 appears to me correct so far as the same could be deciphered by us4 ,i furthermore affirm that the writings were produced through my hand1 but without knowledge of their nature or purport1 and contain conclusions which ,i could not have arrived at normally1 and which in many cases--as1 e4g41 in the case of the ,edgar ,chapel--were such as appeared to me most improbable1 and were deemed fanciful until further research had elucidated points then obscure4 ,my knowledge and reading were confined to documents which have been accessible to all students of the ,abbey1 and ,i had no unique source of information4 ,the writings were produced often whilst my normal attention was devoted to other matters1 and promiscuous conversation at these times was our rule4 ,i held the pencil and ,mr4 ,bond laid his fingers on the back of my hand or lightly grasped it4 ,he did not direct it4 ,there was nothing in my knowledge or experience that ,i know of to suggest the names of ,bryant and others which are appended to the writings4 ,even the possible meaning of such a name as ,manumetaxyl was unknown to me4#cd #cd ,this refers to a portion of the script not yet published4 ,illustration3 ,,fig4 #h4--;,,conjectural ,,appearance ,,of ,,the ,,east ,,end ,,of ,,the ,,abbey ,,in ,,the ,,sixteenth ,,century1 ,,showing ,,the ,,edgar ,,chapel ,,on ,,left ,,hand1 ,,the ,,retro-,,quire ,,and ,,monington',s ,,addition ,,of ,,two ,,bays ,,to ,,the ,,quire1 ,,all ,,as ,,viewed ,,from ,,the ,,north ,,side4 ,the arrow indicates the position of a conjectural north chantry 7see text74 ,i am disposed to concur with ,mr4 ,bond in the view that the subconscious part of the mind may in its operation traverse the limitations of individual knowledge1 either acting telepathically through contact with some larger field of memory1 or as itself part of a larger unit of a more pervasive kind as regards time and space1 conditions which would imply that the individual may have powers of self-expression far greater than those which are normally available through the brain-mechanism controlled by the will and logical faculties4 ,,gloucester1 ,july #bdth1 #aiag4 ,,part ,,ii ,,the ,,child ,,of ,,nature ,,lines ,,on ,a ,,picture ,,of ,,restored ,,glastonbury4 ,short-sighted ,reason pondered long alone2 ,experience and ,deduction lent their aid2 ,they measured well and carefully each stone1 ,and calculated where each groin was laid2 ,but still th' elusive vision of the ,past ,evaded each attempt to hold it fast6 ,then came ,imagination1 ,maid ,divine1 ,and forthwith1 wakened from its resting-place1 ,the ,past arose1 till pictured line on line ,the ,abbey stood in all its ancient grace4 ,awestruck1 they gazed upon that ,house of ,prayer1 ,then silently went in1 and worshipped there4 ,thus1 in the places waste and desolate1 ,where saintly spirits struggled through the night1 ,in ages past1 you still may find the ,gate ,of ,heaven open1 letting down the light2 ,still find on ,yniswitrin's altars1 pale1 ,the gleaming vision of the ,holy ,grail4 ,,john ,,alleyne4 #aiag4 ,illustration3 ,,plate ,,iii4 ,,glastonbury ,,abbey4 ,conjectural reconstruction of interior 7drawn in #aijh7 as seen from the north transept1 looking towards the ,quire4 ,n4,b4--,the arch in the foreground1 communicating with a supposed western aisle1 is an artistic license4 ,frontispiece to ,part ,,ii4 ,,the ,,child ,,of ,,nature ,johannes--who is he8 ,the child of our dreams8 ,or a name inscribed in the great roll of those who were1 and now are not8 ,no previous knowledge of surname or circumstance1 either in history or fiction1 can be traced as a source of the idea underlying this dramatisation of a personality in many respects so sympathetic and so true to nature4 ,yet again and again he speaks1 or is spoken for1 in the writings1 and his simplicity of character is maintained4 ,and he became to us more than a name1 one vested with reality1 even as it is said of a well-known author1 that his characterisations dwelt in his consciousness as living folk4 ,and we never knew when his advent might be expected1 nor what sort of message he would have for us4 ,frequently it happened that in sitting down to writing some expectation or desire would be expressed for information on certain lines1 but the script would negative this expectation1 and either give us something new and quite unexpected1 or else1 as often happened1 take up the thread of a previous communication broken off several days1 or even months before4 444 ,he ever loved the woods and the pleasant places which lie without our house4 ,it was good1 for he learnt in the temple of nature much that he would never hear in choro4 ,his herte was of the country and he heard it calling without the walls and the ,abbot winked at it for he knew full well that it was good for him4 ,he went a-fishing1 did ,johannes1 and tarried oft in lanes to listen to the birds and to watch the shadows lengthening over all the woods of ,mere4 ,he loved them well1 and many times no fish had he1 for that he had forgot them 444 but we cared not1 for he came with talk and pleasant converse1 as nutbrown ale1 and it was well4 ,and because he was of nature his soul was pure and he is of the ,company that doth watch and wait for the glories to be renewed4 ,it was in the fourth sitting that ,johannes1 instead of being the spokesman1 was spoken for4 ,gulielmus de ,glaston shall speke 444 hath spoken of his tyme1 and ,johannes wold speke of hys time4 ,the older tyme wasne known to hym4 ,my punishment is past1 but ,johannes is yet in pain4 ,,sitting ,,xi4 #dth ,january1 #aijh4 ,at this sitting ,johannes speaks for another1 as follows3 444 wold say1 ',seek ye goal and ensue it4 ,ne walke in circles as somme doe4 ,many objects distract ye minde4 ,seeke one goal and wynne all4 ,,johannes ,,de ,,glaston4 ,in response to a question about two friends3 ,dreme4 ,to them is to dreme1 not labour4 ,seek visions4 ,be constant in mind4 ,that wych cometh1 doe4 ,wee may not say more4 ,to you is to choose4 ,opus spiriti1 non opus terrae est4 ,ye are rich1 but not in goodes4 ,work at that which comes4 ,,sitting ,,xviii4 #ahth ,february1 #aijh4 ,stande ye1 and be as waxe in oure hands4 ,listen1 and ye shall heare4 ,i1 ,johannes1 say soe4 ,be patient and yielding4 ,listen for our voices in choro mid4 ,ye shall heare them1 and much more1 but persevere3 great things shall come to pass ere ye join the ,company4 ,goe ye and prosper for us and you4 ,wee waite where wee wold bee4 ,,johannes4 ,,sitting ,,xxvi4 #abth ,march1 #aijh4 ,this communication bears the names of others besides ,johannes1 but is included owing to its interesting nature4 ,the horloge as ye face the wall lieth on the right1 six elles or more above the floor4 ,the stair in the right towret led from ye cloister to it1 to wind hym every day at matins4 ,i1 ,galfrith1 knew in my day4 ,they who came spake in ,latin1 and not all knew the wisdom hid in the british tongue1 nor eke the saxon4 ,some were wrote again1 but the fathers were more sought than the ,bards and much was hearsay4 ,what do ye long after1 my son8 ,the memory of man is but as the grass that fadeth1 and they who would fain translate the word of the barbarian oft inserted what they desired but would not an they could 78 translate truly74 ,the hidden meaning they knew not which looked for the husk which covered it and soe much was lost for all tyme4 ,the merlins spoke in what ye call an allegory1 but the parable was what these fathers read1 not the mystery4 ,those who would tell you of the glory of our howse all strive together1 ,saxon1 ,norman1 and native1 so which wold ye have--,norman base or later ,abbey8 ,ye see the howse in its first condition1 and like a falling lace1 the dremes of later men obscure it4 ,the first dreme improved--it was complete1 and the grete church as it stood when ,jocelyn came is what ye wish4 ,then1 when they were building at ,welles1 we were jealous of our howse1 and certain masons coming on holiday across the causeway which led straight across the marsh1 did tell us we were lacking4 ,they sedde our howse was over smalle for our community1 and the choir thereof was not long enow for our processions and for the brethren to sitte at the service of the church--for we were three hundred and forty-seven in number4 ,and moreover the towre was too lowe for beauty4 ,and ,wells being new and faire with carven stone1 our ,abbot was moved to beautify our howse4 ,soe he that was at enmity with ,jocelyn1 made friends that day1 and the ,bishop with a fair company came on a white palfrey and did dine with us4 ,and so was our choir enlonged and afterwards the towre was beautifyed with certain panelling1 and this although our coffers were much in need because the body of the church was newly yfinished by very faire art4 ,ye belle ,towre that was burnt and new builded was pulled downe because it was falling 7on7 ye cloister1 for it was sunken in the foote4 ,the above being far from clearly written1 a repetition of the last sentences was asked for4 ,nay1 my sonne4 ,have ,i not told8 ,and ye would know of ye belle-towre4 ,it was not4 ,i have sedde it was pulled downe and ne heard of4 ,the gabell was yfinished like unto ,welles1 and the clock and certain belles did hang there4 ,,one ,,of ,,the ,,company4 ,my name ,,johannes ,,glaston4 ,ego ,frater ,,petrus ,,lightfote 7qui horologium deditet dedicavit74 ,,sitting ,,xxxvii4 #bcrd ,september1 #aijh4 ,we have sat in the grate gallery under the west window and watched the pylgrims when the sun went downe4 ,it was in truth a brave sight1 and one to move the soul of one there4 ,the orgayne that did stande in the gallery did answer hym that spake on the great screene1 and men were amazed not knowing which did answer which4 ,then did ye bellows blowe and ye 444 man who beat with his hands upon the manual did strike yet harder1 and all did shout ,te ,deums1 so that all ye town heard the noise of the shouting1 and ye little orgaynes in ye chapels did join in the triumph4 ,then ye belles did ring and we thought hyt must have gone to ye gates of ,heaven4 ,but we know not now1 for there were sinnes1 and the frailties and pomps of men are not meet for the ear of ,hym that dwelleth in the heavens4 7,here follows a reference to a certain ,radulphus1 whose story had been previously given47 ,more we will serche in the great army of past things--they are soe hard to find4 ,,sitting ,,xl4 #aeth ,october1 #aiji 7shortly after the excavation of the corner of the vault beneath the refectory74 444 ,he fell full sore and lay as one dead1 and the ,king was right merrie4 ',see1' he said1 'how heavy lies the good ale on this poor roysterer4' ,and my ,abbot did make penances full sore and many1 so that ,johannes had need of drink and good cheere to help his weakness4 '7,o7 for the full bowle1' quoth he1 '444 for one good drink2 there is so much amiss4' ,and ye have found the place wherein ,i lay1 and even now the scent of good ale hangs round the floores4 ,i go1 who have told ye4 ,peccavi6' ',well1' saith ,father ,abbot1 'ye have disgraced us before ye ,kinge1 and he will not remember us in the day of our adversity4' ',nay1' saith ,johannes1 'but the ,kinge1 who was of an evil choler1 was afterwards right merrie because of poor ,johannes and the vat of good ale4 ,alas6 ,that soe much of good ale was squandered for a ,king's pastime6' ,whereat there went more ,paternosters and much penance in claustro4 ,ye have it4 ,what more wold ye8 ,the foregoing was very difficult to decipher1 and its substance so entirely different from anything we might have expected1 that practically nothing could at the time be made of it4 ,it was therefore asked for again4 ,i have told ye4 ,why ask me more8 ,they who brought the vat of ale pulled hym uppe with a rope1 for ye ,king called for more brown ale such as we in ye ,abbey were wont to brew4 ,ye rope broke1 and ye ,king was merrie1 and this ,i say1 gainsay who may1 it was not ,johannes and ye ale which destroyed our faire ,abbey1 but ye lust of ye ,king and ye haste which 7he had for the possession7 of our house4 ,why did they say that ,i who soe loved my ,abbey1 had compassed its ruin8 ,i didde paternosters for that which wasne my sinne4 ,ye rope it broke4 ,hee was the misdoer4 ,ye ,guesten ,hall was over against the ,monks' ,hall1 and there were1 as you say1 great screenen between the two tables1 and ye ,abbate hadde his high table1 and likewise ye ,kinge had his1 but they had an screne4 ,the ,kinge's party did royster in their cuppes4 ,what of ye ,hall8 ,faire tapestry and carven oake1 and six high windowes in the syde of him1 and one faire windowe in ye gables1 and under hym a gallery where were singing men to please the ,king's majestie1 and cunning minstrelsie4 ,ye pulpitte was silent--not homilies1 but the brethren did list to songs of prowess and pleasure instead of paternosters4 ,but in that pollution was death to our howse1 for the ,kinge did lust after our meats and wines and 7cared7 not to save us from 7the coming doom72 and he whom we trusted1 the great ,cardinal1 was falling1 although we knew it not4 ',wait1' said our ,abbot1 'he is our friend who made me ,abbot4 ,ask hym to our house4' ,this passage was again very difficult to decipher1 and before anything had been made of it ,i asked for it again4 ,j4,a4 was without any idea of its contents4 ,i did say there were windowes six in ye grete ,halle1 and a grete one at the gables1 wherein were singing mennes4 ,i didde sayye that the ,kinge lusted after our ,howse and 7was covetous7 of our good cheere1 fit for a ,kinge's majestie4 ,this proved the ruin of our howse1 for hee who made our ,abbot was himself falling from greatness1 and could give us no help--hee1 the ,cardinal of ,ipswich4 ,but ne'er was it ,johannes and ye ale6 ,,sitting ,,xlii4 #ahth ,april1 #aiaa4 ,the foundations of the chapel of ,st4 ,dunstan at the west end of the ,lady ,chapel had been brought to light1 and were evidently of mixed date--the original probably very early4 ,q4 by ,f4,b4,b4 ,who built ,st4 ,dunstan's ,chapel8 ,edgarus ybuilded long syne4 ,radulphus hoc opus restoravit4 ,after hym ye fyre yburned yt4 ,then he was a capella in muro4#ce #ce ,the remains lie on the line of the wall 7now removed7 which divided the ,inner from the ,outer ,bailey4 ,they say we hadde not hys bonen1 but they lie1 for we hadde the leg-bones of hym1 and certain smalle bones which they took to ,canterbury1 and ,johannes knoweth it of old tyme long syne4 ,they did open the tombe and tooke them backe4 ,what mean they who said we hadde them not8 ,they all knew it1 and the pilgrimmes did come from ,canterbury by ye old horse-way to venerate them4 ,roof yfallen6 ,hee of the gatehouse dwelt therein1 and it wasne ,capella--vae mihi6 ,went6 ,ye ,king commanded6 ,because we all who should obey were meek4 ,and soe it was not4 ,,johannes ,,de ,,glaston4 ,,sitting ,,xlix4 #bith ,july1 #aiaa4 ,this little fragment came quite spontaneously and without anything to lead up to it4 ,at night the sound of many waters refreshed ye parched soil4 ,from tower and from the high roofes the sound came like the sound of waterfloods1 and the gargoyles shouted each to each1 and the cloisters whispered comfort and refreshment as we lay under the dormer roofe in parched and sultry nights4 ,i who speak mind me of the glory of sound even now1 and ,i ever loved the waters and the mere1 and the voices that whispered around me4 ,therefore went ,i a-fishing on the mere1 and the glories of nature were yet more glorious than the ,te ,deums in choro4 ,therefore loved ,i the rain on our hundred roofs1 and the myriad voices that came from the waterspouts4 ,i didde sleepe on the south side1 hard by the great gabell1 and soe heard ,i the sound whilst others slept4 ,vai mihi1 that it is departed6 and the voices are heard no more4 ,,sitting ,l4 #cjth ,july1 #aiaa4 ,although neither of us was aware of the fact1 this sitting was destined to be the last of the series4 ,except for a few occasions in #aiab1 it proved impossible to continue these experiments4 ,but ,sitting ,,xlix4 ends with a message of farewell1 and so1 it will be seen1 does the last of the series4 ,and in some respects the substance of the writing is a sort of review of the part played by ,johannes1 and offers an explanation of the related influences which is full of interesting suggestion4 ,simple he was1 but as a dog loveth his master1 so loved he his ,howse with a greater love than any of them that planned and builded it4 ,they were of the earth--planners and builders for their great glory1 nor ever1 though honest men1 for the glory of ,god4 ,but ,johannes1 mystified and bewildered by its beauty1 gave it his heart1 as one gives his heart to a beloved mistress2 and so1 being earthbound by that love1 his spirit clings in dreams to the vanished vision which his spirit-eyes even still see4 ,even as of old he wandered by the mere and saw the sunset shining on her far-off towers1 and now in dreams the earth-love part of him strives to picture the vanished glories1 and led by the masonry of love1 he knows that ye also love what he has loved1 and so he strives to give you glimpses of his dreams4 ,simple child of ,nature--loving her1 he knew not why2 but loving her yet more deeply because he knew not why he loved4 ,he was not meant to be a priest of the choire1 and it harassed him sometimes overmuch4 ,child of ,nature6 ,he loved freedom1 and was happier in the orchard1 and by the mere1 than performing the rituals of the choir4 ,men loved him for his love1 but ofttimes his ,prior comprehended not1 and mistaking the outward show in which he failed1 for lack of that inner worship which they could not feel1 they made him do penances for which their backs were more fitted4 ,then ye should know who would understand him aright1 and read his inner meaning4 ,he would tell you what he saw1 but how can he describe it8 ,it was beautiful1 and his soul rejoiced as he would have you also rejoice1 but he could not tell you why4 ,it was good4 ,it was pleasing to the eye1 and through the eye his soul was uplifted1 in an age when souls were grovelling4 ,it was lovely1 and he knew it1 but when ye ask1 ',what was it like unto8' he cannot tell you4 ,it was heavenly--so was the sunset--and the shadows on the mere--but he could not paint these nor reproduce them for you4 ,those others1 the great add simple1 are passed and gone to other fields1 and they remember not save when the love of ,johannes compels their mind to some memory before forgotten4 ,then through his soul do they dimly speak1 and ,johannes1 who understands not1 is the link that binds you to them4 ,learn and understand4 ,,we ,,who ,,are ,,the ,,watchers4 ,farewell4 ,,sitting ,,li4 7,first of new series47 #bfth ,january1 #aiab4 ,no previous questions asked4 ,h,,rewith the ,dane hath learned the greater wisdom4 ,many gods there be1 but though many names1 the principles are but two--,good and ,evil1 ,love and ,hate4 ,therefore1 when he slew the ,saxons1 he knew not that he followed ,evil1 but repenting long since1 he hath embraced ,love1 which is ,good1 and his task is easy4 ,therefore is he of the brotherhood1 working with a glad heart to expiate for ever the evil he once did1 and therefore in constant labour there in the joy of ,heaven4 ',purgatorio' would some of the brethren say1 but the ,purgatorio is ,paradise1 if the intent be perfect and the suffering has no half-heartedness4 ,for awhile there is joy in sins1 but only till the day cometh4 ,run the race with a whole heart1 not as the lukewarm ones4 ,happiness is in the extremes1 but the only joy which lasts for ever and grows for ever is the joy of striving for the ,good4 ,thus was it of the beneficial influence of ,glastonbury4 ,hrewith the ,dane hath spoken--once warrior1 now striving ever for the good4 ,be not faint-hearted2 strive your utmost--therein lies happiness4 ,labour1 and even suffering1 make ,paradise1 not ,purgatorio4 ,thus have ,i spoken4 7,influence changes47 ,up cometh ,johannes1 weake by reason of long syne4 ,what wold ye8 ,ye have founden our ,church1 and ye holy places where my unworthy feet have trod1 and the ,hall where some did talk of ,glaston and some did eat that they might be strong for ,god's ordinances4 ,and ye have found ye lytell chapple where our most holy ones did lie4 ,enow1 what think ye8 ,ye walle with the postern1 and ye courtyard over against the graveyard and the antechamber cometh1 and beyond hym the ,grete ,chambre wherein the folk did gather upon the feasts4 ,then cometh the grete ,kitchen and over agaynst 7hym7 the well-chamber in the courtyard is ygone1 but ye well is there1 but yfilled4 ,certain rude men did go down hym to find ye ,treasure1 but found yt not1 tho' they drew off the water nigh twenty cubits4 ,then cast they in the walls and filled him up because ,johannes ,parsons the cowherd fell in and was slayn1 whereat they said1 ',the spirit of our ,abbot is abroad and hath ytaken vengeance4' ,then ycometh the grete ,kyng's ,gate into ye inner courtyarde wherein were no trees but only a grete passage-way of paving4 ,and he was high of roofe1 nigh forty feet1 yvaulted1 and over hym a chamber1 and ye door in ye side dydde leade to apartments for the laity4 ,and soe to the ,kitchen court1 but ye almoner ,john ,bryan dydde live over the grete gate and a porter did dwell at his call on ye south side4 ,there too was a turret and a grete bell the which was ringed for the meals in the ,king's ,chambre4 ,but he is all gone long syne--heu mihi6 99 99 99 99 99 ,i dydde it not1 ,god wot1 not ,i6 ,why cling ,i to that which is not8 ,it is ,i1 and it is not ,i1 butt parte of me which dwelleth in the past and is bound to that whych my carnal soul loved and called 'home' these many years4 ,yet ,i1 ,johannes1 amm of many partes1 and ye better parte doeth other things--,laus1 ,laus ,deo6--only that part which remembreth clingeth like memory to what it seeth yet4 ,,sitting ,,liv4 #agth ,august1 #aiab4 ,johannes now very far away3 far1 in that the force is weake3 even soe may be within you and yet farre away1 for the strength is as the distance2 the one changeth as the other4 ,wee wold saye much1 but the weakness here is strength gathered for other duties4 ,all1 he cannot do4 ,what wold ye8444 ,the stones written in his memory as he knew them8 ,what are real1 and what are in his dreme1 he knows not#cf4444 ,it cease7th7 444 and yet it remayneth in him ever the same4 ,what wold he tell you8--cannot read your wishes4 #cf ,a possible source of error in the communications1 which may describe occasionally as still existing1 things which have perhaps been rooted out by vandals of modern date4 ,digged ye--what dig ye for by the towre of the stairway to the lodgings of the laymen where of late they put those who were sick8 ,from ye passage and stayre that leadeth from ye ,cloyster to the old ,kirkeyarde open to hym1 and there was a doore in ye passage way and a staire four-square4 ,yt opened to the lay-housen4 ,on the floor the lay-chamber for foregathering and above hym the dormitory and lytell chambere above1 with doores from ye stayre to each and on ye south side a doore down to the ,refectorium misericorde1 and one into the gallery under ye window that looketh west1 and the courtyarde of flagged stone and the ,guesten ,hall4 ,so yt was4 ,and the passage way of our ,lord ,abbot opened from ye wall to ye yarde from ye ,abbot's covered walk yvaulted in stone4 ,,sitting ,,lxi4 #ith ,december1 #aiab4 ,in answer to a question3 ,this have ,i told ye4 ,i slept beneath the roof where lay those 7who7 were fleshy and weighty4 ,so it was ordained that we should doe4 ,soe ,i remember those stayres for my fatness4 ,but it availed me not1 tho' my father ,prior recommended it oft4 ,alas6 ,i waxed more fat4 ,not that my belly was my god4 ,i wot not6 ,but ,i was cheery and troubled not1 save for services in ecclesia1 for better loved ,i the lanes and the woods where walked ,i much--with weariness because of my weight4 ,so said ,i1 ',it is the ,lord's will4 ,somme be made fat1 and somme be lean'2 and this ,i said to they that jibed1 that the gates of ,heaven are made full wide for all sorts1 so that none created should stick within the portall4 ,this ,i said1 for they vexed me with their quips4 ,i would remind me of many things4 ,half do ,i remember--yet the lytell things only4 ,the greate ones 7stick7 even as ,i myself stuck in the portal by reason of their trick1 and ,johannes1 as once before1 cannot rayse themme and lies beneath their weight4 ,i wold explain but must gaine strength4444 ,i was ever soe3 of a merry heart1 when like to melte in tears4 ,so was ,i made4 ,it was not my fault4 ,light of thought1 save the thoughts ,i could not speak2 and the light jests comme again to me4 ,glad soule6 ,had ,i but turned my soul to the things that were greate1 ,i should not be now a child among the toys4 ,but ,i was never meant to be a monk4 ,they placed me here in choro1 when ,i would have drawn the sword4444 ,,extract ,,from ,,script ,,obtained #ae,,th ,,september1 #aiab4 ,but one waiteth1 even ,johannes1 whose body1 scattered to the winds of ,heaven1 once lay in the cemetery of the monks1 hard by the east side of the ,chapel of ,st4 ,michael in the midst of the graveyard4 ,what matter8 ,he lives yet in the universal ,memory1 and speaks and acts through every channel in which the ,universal ,life flows4 ,yet when he is himself1 he speaks well1 as he was wont in the rude times that are as yesterday4 ,in these brief yet pregnant passages the author's philosophy is brought to a focus4 ,humbling the arrogance of the individual mind1 because it denies that the mere mechanism of the human brain can ever originate idea1 it yet raises the little limited self to the consciousness of a possibility1 awful and beautiful1 of a contact with something greater than itself1 and yet akin2 and to the dignity of a mystical fellowship in which isolation ends1 and ,past and ,present are seen as parts of a living whole2 points in the circumference of a circle whose radius is ,life beyond these limitations4 ,our little mechanism we may attune to respond to the needs1 the pleasures1 and the interests of our own fragmentary span2 or1 disdaining these1 we may harmonise it to the thought which is pictured on the great outward sweep of the circle of ,memory1 recorded there by the lives of those of far distant times4 ,then will these records live again for us and through the gates of our soul will pour1 from the living source of ,idea1 their ordered recollections4 ,not by our own power1 but through the unseen ,gate of the subconscious mind1 will these memories link themselves with ours--not through the evocation of the spirit of ,johannes1 but by the power of the ,universal ,spirit1 whose life permeates all the regions of ,time1 and in ,whom we and ,johannes1 and all who are in mental kinship with his thought1 are as one4 ,,the ,,gargoyle4 ,in mid-,june1 #aijh1 whilst the work of excavation was still in its preliminary stage1 ,j4,a4 and ,f4,b4,b4 were both at ,glastonbury4 ,at the western end of the little town1 at a fork in the road1 stands the lesser of the two surviving medival churches1 that which is locally known as ,st4 ,benedict's1 but which is in reality dedicated to ,benignus1 a companion of ,st4 ,patrick when he came to ,glastonbury in the fifth century4 ,this church was erected on the site of a much older chapel1 by ,abbot ,richard ,bere1 whose arms and initials appear over the north porch4 ,it has a fine western tower of the regular ,somerset type1 and on the cornice of the belfry are several carved gargoyles1 the most prominent position1 in the centre of the west side1 being occupied by a piece of carving which1 when seen from the west1 as one approaches the town1 has the appearance of a well-executed head of an ,abbot1 with a tall jewelled mitre and lappets4 ,the face is bold1 and full of character1 rather long1 with level brows and austere expression4 ,illustration3 ,,fig4 #i4 ,from the narrowness of the road1 on nearer approach1 a side view of the carving can only be obtained by turning the head up at a somewhat uncomfortable angle2 and probably for this reason the extraordinary fact had apparently quite escaped attention that this was in reality no human head at all1 but a peculiar grotesque animal1 with extended neck1 crouching against the wall in a manner peculiar to gargoyles1 and with a high arched back like a fighting cat1 garnished with knobbly vertebr4 ,it was ,j4,a4 who first noticed this1 and called ,f4,b4,b4's attention to it4 ,both were naturally much interested1 though1 of course1 it was the excavation work at the ,abbey which was the chief object of attention at the time1 and this was quite a side-issue4 ,shortly afterwards a sitting was held1 and the following is the record3 ,,sitting ,,xxxii4 #afth ,june1 #aijh4 ,q4 by ,f4,b4,b4 ,with reference to the sculptured boss on ,saint ,benedict's tower1 which from different points of view appears as an ,abbot's head and as a grotesque animal3 was this intended for a joke8 ,a4 ,wee know not the quips of they who worked for us and did sometimes bee rude to them in powers4 ,we builded ,benedicts4 ,wee know not what they wrought soe only the church was faire and sound for ye people4 ,the greate workmen and ye masons of repute played noe such pranks in our ,abbey church1 we wot4 ,illustration3 ,,rebus#cg ,,mea4 #cg ,i4e41 the ,abbot's rebus 7,f4,b4,b474 ,a rebus is the enigmatic equivalent of a name4 ,many of these are known to have been adopted by ,bishops and other ecclesiastics of note4 ,in the case of ,bere1 the significance is obvious4 ,where a name ended in ton1 as ,morton1 ,pereton1 etc41 a tun1 or barrel1 has been used to complete the rebus4 ,,sitting ,,xxxiii4 #agth ,june1 #aijh4 ,i1 ,johannes ,lory1 ,master mason of ye ,guild of ,st4 ,andrew1 carving of ye gargoyle of ,st4 ,benedick1 came downe from my laddere and walked1 for it was colde and in ,octobere4 ,then turning backe ,i saw my worke was like unto our ,abbot1 and soe ,i carved anew and made it proper4 ,of a truth it was our ,abbot1 and soe sayd they who looked4 ,it was not my intent1 but soe it was1 and methinks our goode master ye ,abbot knew not4 ,of a veritie it was most like1 and soe wee left it4 ,seek it of a morning when the sun shines not2 ye shal see the more truthfully4 ,i meant no despyte1 ,god wot4 ,,script ,,obtained ,,at ,,oxford4 ,f4,b4,b4 ,,and ,j4,a4 7,present1 ,b4 ,blackwell and ,miss ,d4 ,sayers47 #beth ,august1 #aiag4 ,no previous questions4 ,after a short passage in ,latin1 which cannot be deciphered3 ,wolsey the ,cardinal housing me with the ,king1 and did appoint me ,abbot1 olde man that ,i was4 ,here was the ,hall that he builded in this town in ,chancellorium4 ,i have said ,i came to ,oxford1 and ,wolsey the ,cardinal did make me ,lord ,abbot in ye ,hall that he had builded4 ,i was old and infirm1 and came not on my palfrey1 but they carried me on my litter1 and soe ,i1 the old man1 did become ,abbot in mine old age4 ,would ,god ,i had not been so2 then had my death been otherwise4 ,know ye the ,hall which he ybuilded8 ,it was where ye now lie4 ,i came not on ye palfrey4 ,at ye ,abbey of ,westminster ,i lay a long tyme1 for ,i was sick4 ,and with ye ,cardinal came ,i to ,oxford1 and he made me ,abbot1 ,i not willing4 ,i sleeped at ,westminster4 ,there saw ,i the ,king and would know why he desired me for a friend1 ,i being ,treasurer of mine ,abbey4 ,and soe yt was to be4 ,the day before this sitting 7,friday1 #bdth ,august7 ,i was in the ,bodleian during the morning1 and looked at ,dugdale's ,monasticon1 from which ,i made the following extract3 ,on ,beere's death1 #dg monks devolved the election of their ,abbot to ,cardinal ,wolsey1 who declared ,richard ,whiting1 then ,chancellor of the ,house1 their ,abbot4 ,i had not shown this to ,j4,a41 nor had there been any reference to ,whiting in our conversation4 ,the reference to this episode in the script obtained on the following day would therefore seem to involve an element of pure mental telepathy1 of an entirely subconscious nature since the matter was not in my thoughts at the time of the sitting4--,f4,b4,b4 ,,sitting ,,xva4 #ast ,february1 #aijh ,this record has not been included in the general series1 as the subject-matter proved to be quite foreign to anything hitherto appearing1 or having reference to ,glastonbury4 ,it is given as a specimen of the intrusions which from time to time broke the continuity of the main subject of the writings4 ,first1 a spiral coil was drawn1 followed by some letters or characters not possible to decipher4 ,next a lozenge or rectangle2 then a larger oblong surmounted by a semicircle1 as if to indicate a domed building1 a ramped line running at an angle therefrom2 and finally1 a cross4 ,then the following3 ,,ibericus1 who wandered hither bringing strange gifts and treasure4 ,watch ye1 for out of the wish it is created1 and out of the myth will come the solid truth4 ,mystery of ,faith and of ,matter6 ,out of a thought all things were created1 and out of a thought will old-time things renew their being4 ,,one ,,of ,,the ,,controllers ,,of ,,things ,,that ,,are4 ,a ,,thought ,,in ,,being4 ,next followed more vague pencillings1 and several lines of quite undecipherable script1 the only two words legible being ,,constantinus and ,,justinian4 ,the writing clears up towards the end of the page1 and proceeds thus3 444 who followed the ,phoenician keels to far-off ,isles of the ,sea whose treasure was great2 whom ,phaedrus took in his ship to seek for safety and merchandise in one4 ,phaedrus gained much tin1 and left him on these shores1 a ,prince among them1 marrying ,yseuguilt their ,princess1 and they the forebears of a royal line4 7,of7 the countries of the ,iberi and ,kymri they sat upon the thrones1 and gave the world the ,name that lives in all the nations4 ,who am ,i8 ,one that sojourned with them from ,capernaum through the ,isles of ,greece and past the straits which ,pharos lighted to stormy seas and black rocks where the metals be4 ,north1 the settlement ,tintagella2 south1 the river mouths1 and inland to the forest-lands and the marshes where the rising of the sun4 ,there builded he a ,temple such as was of old in ,judah1 and there he reigned4 ,thus was ,i1 ,o man6 my name ,phocis the ,mariner4 ,in tracing on a map of ,cornwall the course indicated in the script1 east from the coast between ,tintagel and ,padstow1 my finger lighted on a village on the fringe of ,bodmin moor1 marked ,temple4 ,neither ,i nor ,j4,a4 were conscious of the existence of this place-name1 nor could we recall our attention having been at any time directed to it4 ,as to the identity of the royal traveller1 the script does not yield a definite statement4 ,if the name is there1 it is to be feared that it is irrecoverable owing to the hopelessly obscure nature of the writing in the undeciphered portion4 ,he came from ,capernaum1 and he came--or was it ,phdrus8--seeking for safety and merchandise in one4 ,can we identify his ,princess8 ,yseuguilt1 or ,yseult1 is one perhaps of many1 but it may be that some record is yet extant of a ,cornish ,yseult who married an ,eastern prince or merchant4 ,and what have the antiquaries to say of ,temple8 ,whence did this little place derive its interesting name8 ,was it merely from a house of the fraternity of the ,templars1 or from some far older and now half-mythical tradition1 lost in the mists of antiquity8 ,in a script dated #bd ,april1 #aiah1 the following passage occurs3 ,the flow of spiritual forces is westward1 following and impelling the forces of material things4 ,by a law of revolution reinforced from all points in the spiritual universe1 this movement is universal4 ,this being so1 the material things first appear1 working on a motive very often in itself most mundane and from your point of view most unspiritual4 ,thus they whose habitation was in ,crete1 revisiting the memories and traditions of others of the same race and civilisation which long before had been impelled westward beyond the great continents of ,america to the shores of ,asia1 and thence onwards through the desolate tracts of ,asia to the great ,mediterranean basin1 still continued the interminable route ever westward beyond the gates of ,hercules to the islands where the fire-drawn metals be3 so1 as mundane influences impelled them1 great immigration was induced by the want of metals for the embellishment of temples1 the hardening of bronze for warlike purposes and1 in short1 for the many needs of man's development in civilisation and knowledge4 ,but soon the spiritual forces which developed and sustained this immigration had deeper objects in view4 ,they followed and transformed it by removing mundane influences1 and a great spiritual development arose in the places in which their instruments had prepared the soil1 ,phocis of the race of ,crete trading with ,poseidon and seeking ,tyrian purple1 was thus brought in contact with them who worshipped the ,one ,god in contradistinction to the many4444 ,this paved the way for the building of a ,temple in his settlement of ,tintagella4444 ,thus first arose that measurement and design which were afterwards as accurately reproduced by that further advance which culminated in the temple of ,glastonbury4444 ,and ,tintagella was the ancient place of the shrine of the ,high ,god4 ,so the ,temple1 a reproduction1 accurate in every measurement was reproduced at ,glaston on this foundation4444 ,phocis was ,phocis--a centre and nucleus1 a focus rightly named but in himself but a merchant prince of ,poseidon and ,eubeia4#ch #ch ,this seems written in defence of the feminine form ,phocis used in the original4 ,this is the right ,greek form for the country1 whereas ,phocas would be the proper form in which to designate a man of ,phocis4 ,a correspondent had raised this point in a letter to ,f4,b4,b41 but ,j4,a4 was totally unaware of it4 ,,the ,,story ,,of ,,eawulf ,note4--,during excavation alongside the south aisle footing of the nave1 in continuation of the work on the south-west tower footings1 an interment of a curious nature was encountered4 ,the skeleton lay in the clay just outside the wall1 and the head was protected by a dropstone having a cylindrical hollow1 open at the neck1 in which lay the skull4 ,between the legs of the skeleton was a second skull1 but broken4 ,at the foot was a flat stone laid across1 and against it on the further side a number of leg-bones1 etc4 ,the following was written shortly after the discovery3 ,,sitting ,,xxxiv4 #aith ,september1 #aijh4 ,radulphus ,cancellarius1 who slew ,eawulf in fair fight1 did nevertheless suffer by his foeman's seaxe1 which broke his bones asunder4#ci ,he1 dying after many years1 desired that they who loved him should bury him without the church where he was wont to feed the birds in his chair4 ,the sunne did shine there1 as he loved it1 for his blood was cold4 ,it is strange1 yet wee know it is true4 ,the head of ,eawulf was 7there74 ,as they digged around his body they knew not that the head of ,eawulf fell1 and so lay betwixt his feet4 ,and thus have ye found it4 #ci ,the right forearm was afterwards found to be fractured4 ,i1 ,gulielmus1 ,i knew the old church that ,radulphus did pull downe1 and much lieth beneath the floor of ye newe church4 ,search estward of where ye now digge and ye shall find much1 and of the old work made they the vaults1 and some are deeper4 ,be not deceived by appearances4 ,under where ye now think is the end of all1 there will be seen very deep walls of the older church4 ,none knew of them1 and they were not destroyed4 ,seek also north of the said cutting3 there is somewhat there ye might not know of4 ,q4 ,why was the head of ,radulphus protected by a dropstone1 when the body was not enclosed8 ,a4 ,soe he wished it4 ,let the worms of the earth devour my poor body with all its sinnes1 saith he4 ,mine head did ever fight against the body4 ,it is the best part of me4 ,see ye1 saith he1 that ye protect it6 ,that foul body--let hym go1 saith hee4 ,q4 ,how did ,eawulf come to be buried there1 and who was he8 ,a4 ,know ye not ,eawulf1 the ,yarl of ,edgarley1 of royal blood1 who harried the ,norman1 and would have slain ,turstinus8#dj ,a doughty ,saxon he1 and one who said that ,glaston was builded by the ,saxon1 and ,saxon it should remain4 ,so he was buried in ,glaston1 and not in his own chapel at ,edgarley4#da ,the holy men of ,glaston1 they who were of ,saxon blood1 suffered much through his violence in their behalf1 and1 ,god wot1 through no rebellion of their own2 and they had their reward1 for a ,saxon#db again was ,abbot for a time4 #dj ,radulphus ,cancellarius4 ,this we supposed1 at first1 to refer to the great ,radulphus or ,ralph 7,fitz,stephen71 who was responsible for the rebuilding of the ,abbey ,church after the great fire of #aahd2 but this would be eighty-three years after the time of ,turstin1 first ,norman ,abbot 7#ajhb-aaja74 ,malmesbury tells us of the trouble that ensued from the tyrannical methods of ,turstin1 and the slaughter of the monks by hired soldiers4 ,but the story of ,eawulf is new4 #da ,eawulf1 ,yarl of ,edgarley4 ,the name was quite unknown to us4 ,edgarley is about a mile out of ,glastonbury on the south-east4 ,there is an ancient chapelry there1 dedicated to ,st4 ,dunstan4 ,subsequent reference to the old ,english ,chronicles brought to light the following entry under date ,a4,d4 #hhe3 ,eanwulf1 ,earl of ,somerton1 buried in ,glastonbury ,abbey4 ,somerton is about six miles from ,glastonbury on the same side as ,edgarley--i4e41 south4 ,this is interesting1 as suggesting a family name perpetuated for some six generations1 or about #bjj years1 in the district4 #db ,turstin1 whose violence caused his dismissal by the ,king1 and exile for a time to ,normandy1 was succeeded by ,herlewin1 whose ,saxon name receives interesting corroboration by the script4 ,,sitting ,,xxxvii4 #bcrd ,september1 #aijh4 ,q4 ,how is the great difference in date between ,radulphus and ,eawulf to be explained8 ,we cannot reconcile this4 ,a4 ,wee know not your dates1 nor the tymes gone by2 but this we know--,eawulf and ,radulphus#dc did fight1 and the ,norman did slay the ,saxon4 ,this is fact1 as we know it4 ,be sure of your own tymes and look at ,domesday for light4 #dc ,written ,turstinus4 ,we remember 7,radulphus7 was an hundred years and three when he went to hys fathers3--hale and of a good visage even then--but hys bones did grieve him 7by reason of7 ye payne in them4 ,soe did he seek ye sunne4 ,more we will serche in the great army of past things4 ,they are soe hard to find6 ,that wych is hidden will be found out and all ye ,abbaye is at your hands2 but serche4 ,alle three churches are open to ye1 and one whych was of old time in the midst of the nave of ye newe--not much1 for ,turstinus did remove 444 them when he builded anewe the ,norman churche 7i4e41 built the new ,norman church4--,f4,b4,b474 ,q4 ,did ,eawulf lead the assault in the fight8 ,how did it come about8 ,a4 ,old men have strong anger1 but youth should have spared him4 ,more we know not1--we wil serche4 ,the script here breaks off into the description 7already given7 of the pilgrims' procession at sunset1 with the music of organs and bells4 ,,sitting ,,xlii4 #ahth ,april1 #aiaa4 ,the problem of the dates was left for further consideration1 and remained in abeyance for two and a half years4 ,at this sitting other matters of early history had been touched upon1 and it occurred to ,f4,b4,b4 to ask a question as to ,radulphus and ,eawulf4 ,q4 ,please explain the apparent discrepancy of dates in the story of ,radulphus and his fight with ,eawulf4 ,a4 ,ne ,radulphus of ,henry the ,king 7i4e41 ,fitz,stephen1 #aahd4--;,f4,b4,b474 ,radulphus the ,treasurer was ,norman of the time of ,turstinus--annos ,one ,thousand and ,eighty-seven4 ,ralph was hee4 ,eorwulf of ,edgarley1 old in years1 was wroth because the soldiers of ,turstinus did slay the ,saxon monks4 ,ralph the ,norman knight and ,treasurer of ,turstinus1 slew him4 ,who was hee8 ,radulphus ,fitz,hamon--as wee wot1 an evil man4 ,q4 ,where was ,ralph ,fitz,stephen--of ,henry ,,ii4--buried8 ,a4 ,ralph1 ye cousin of ye ,king1 dyed as we deem1 at ,wincastre--there yburied4 ,chancellor of ,angleland was he4 ,note4--,the two foregoing answers were now read1 but unfortunately the first was incorrectly interpreted1 as the writing was a little difficult4 ,f4,b4,b4 made the mistake of thinking that it implied that ,ralph of ,turstinus was ,fitz,stephen 7though the sense is clear enough on further inspection71 and consequently asked as follows3 ,q4 ,why do you say that ,ralph1 treasurer of ,turstinus1 was ,ralph of ,king ,henry8 7,here the influence changes and a masterful personality of whom we have had previous experience1 controls the utterance47 ,a4 ,rede4 ,i said it not4 ,i said not ',ralph of the ,king ,henricus1' but ',ralph ye ,norman4' ,taedet damnosum4 ,lege6--,,imperator4 ,audi me1 barbari stultissimi6 ,ego ,imperator1 qui feci interpretationes pro anima insularium4--,,caesar4#dd #dd ,which may be freely translated as3 ,listen to me1 you very dull barbarians6--to me1 the ,emperor1 who have been trying to make these things clear to the minds of you islanders4 ,,part ,,iii ,,the ,,loretto ,,chapel ,the interest of this section is greatly enhanced by the fact that the foundations of the ,loretto ,chapel were discovered last summer in the place indicated by the script4 ,the work of excavation will not be completed until next season1 but already more than half of the plan of the chapel has been laid bare1 and a full report with illustrations has been contributed by the author to the ,somerset ,archological ,society1 and will appear in their ,proceedings for #aiai1 now being published early in #aibj4 ,the report will be accessible to all archological students at the principal libraries4 ,the footings of the chapel show that it was #bj feet wide1 as the script indicates1 but the author's interpretation was at fault in assuming this width to be an internal one1 whereas it is the external dimension4 ,the length may be found to follow suit4 ,the chapel lies about #e feet within the bank as stated1 and the west wall-footing is the best preserved1 thus bearing out the accuracy of the writings4 ,illustration3 ,,plate ,,iv4 ,,coney',s ,,view ,,of ,,the ,,abbey 7#ahag74 ,frontispiece to ,part ,,iii4 ,,the ,,loretto ,,chapel ,among the lost features of ,glastonbury ,abbey recorded by ,leland#de is a chapel built by ,abbot ,bere on the north side of the nave4 ,leland says of this3 #de ,itinerary1 vol4 iii41 p4 #ajc4 ,bere cumming from his ,embassadrie out of ,italie#df made a ,chapelle of our ,lady de ,loretta1 joining to the north side of the body of the ,church4 #df ,undertaken in #aejc1 on the election of ,pius ,,iii4 ,but apart from his record1 which has preserved the bare memory of the work and its approximate location1 we have no surviving facts1 either historical or descriptive1 to guide us in the search for its vestiges1 save one or two trifles which the orthodox archologist would probably despise1 but on which the imagination might build an airy and tenuous fabric1 a mere gossamer which the rude touch of practical argument would dispel1 and which would find its place more fittingly in the pages of romance than in the chronicles of the labours of serious-minded antiquaries4 ,here1 then1 was a chance for the subliminal mind to exercise its powers1 just the opportunity most desirable for an experiment in the psychology of inductive and deductive processes1 and a test of the possibility of drawing by the thread of slenderest and most imperfect knowledge1 some kindred knowledge from the great reservoir of the memory of nature4 ,this experiment was made1 and the result of it ,i am going to give my readers without any sort of reticence or reserve1 making no claim1 but asking that they will regard it with an open mind1 and accepting it for analysis as an illustration of the working of the latent powers of the mind under the same conditions that we in the onset laid down for our work4 ,the material from which our sublimated essence was distilled was as follows3 #a4 ,leland's note1 as above4 #b4 ,a fragment of walling shown in ,coney's view of the ,abbey1 #ahag4 ,this appears in the sketch just on the spot where the wall of the north aisle of the nave would have joined that of the transept at its eastern extremity1 but it is diminutive in height--only about a third of the height proper to the nave wall1 as is clearly evident by comparison with the surrounding features4 ,it is like a little screen-wall1 and such as might have filled at one time an archway at this point opening from the last or most eastward division of the north aisle wall towards a chapel just without1 in the angle between the aisle and the north transept4 ,but in ,coney's sketch it does not look like a ,gothic work1 but is more like a building of the modern times1 since it has four little dumpy windows with round heads and the projecting cills which we associate with our everyday experience of domestic building4 ,no one but ,coney1 so far as ,i am aware1 has indicated any sort of remnant of building at this point1 and there are several older views of the ,abbey1 which would be expected to show it if anything had been there4 ,look1 for example1 at ,stukeley's panoramic view of the ruins1 published in #agbc4 7,see ,fig4 #aj1 p4 #aae47 ,nothing visible there--the whole of the north side of the nave an open field1 as it had been for at least half a century previous 7vide ,hollar's view74 #c4 ,in the ,cannon ,,ms41 a diary referring to ,glastonbury about the time of ,george ,,ii41 is a sketch plan of the ,abbey1 very crude1 in which the writer shows a mound of rubbish and rough stones with suggestions of a broken wall on the ground at or near this point1 and he makes a note to the effect that it is the remains of ,the ,chapter ,house4 ,but1 of course1 the ,chapter ,house was on the south side of the ,choir1 and could not have been elsewhere in the case of ,glastonbury1 as its site was never in doubt1 and it has now been recovered and its dimensions tested and proved4 #d4 ,marsh1 the old gardener at the ,abbey for over forty years1 used to say to me that in the grass bank which runs along the north side of the nave area1 under the trees1 there was a fine bit of freestone walling1 some of which ,mr4 ,austin1 his earlier employer1 used up for building4 ,i dug in1 but could find nothing of this at the point he indicated4 ,now1 at the risk of being a little tedious1 ,i propose to quote a short paragraph from my ,architectural ,handbook1 because it shows what ,i was thinking about this matter in #aiaj1 and such evidence is needed for any useful analysis of the psychology of the whole subsequent matter4 ,i would add that1 so far as ,i can remember1 my friend ,j4,a4 had formed no theory as to the nature of the chapel or its real position other than my own1 and what ,i here quote represents the utmost that could at the time be said 7,architectural ,handbook of ,glastonbury ,abbey1 second edition1 pp4 #cb1 #cc1 #aiaj73 ,some fragments of building on the north side of the nave were surviving as recently as #ahag1 when ,coney's drawings were published4 ,in one of these we see a wall with a row of windows having a rather unusual detail in their heads 7,fig4 #aj74 ,this would be near the site of the ,loretto ,chapel1 built by ,abbot ,bere4 ,carter1 writing some few years later1 tells us that the ,loretto ,chapel was then standing1 and if he be correct1 it must have been a substantial piece of masonry exterior to the church1 and not a light internal structure within it1 as has been conjectured4 ,but he may have been referring to the ,chapel of ,saint ,thomas the ,martyr in the north transept1 which has sometimes been miscalled the ',loretto ,chapel4' ,illustration3 ,,fig4 #aj4--,,view ,,of ,,the ,,ruins ,,in #agbc4 7,from ,stukeley's ,itinerary47 ,illustration3 ,,fig4 #aa4--;,,glastonbury ,,abbey ,,in #afee circa3 ,,enlargement ,,of ,,hollar',s ,,view4 ,illustration3 ,fig4 #ab4--,,ms4 ,,plan ,,of ,,john ,,cannon1 #agdj circa4 ,a1 ,chaple2 ,b1 quire2 ,c1 the great arch2 ,d1 the nave or body2 ,e1 the chapter house2 ,f1 gate to ye kitchen2 ,g1 ,st4 ,joseph's ,chaple4 ,a sketch plan in the ,cannon ,,ms4 shows a group of ruins in an apparently similar position1 and he records the tradition of a very magnificent building at this point1 which he terms the ',chapter ,house4' ,however erroneous this designation1 we may at least accept his record as corroborative of the existence of a richly ornamented building of some special nature 7as distinct from the body of the ,church at the junction of the ,nave aisle and ,north ,transept74 ,it seems1 then1 that we had formed the impression of a fine building just outside the nave wall and in the angle of aisle and transept2 but to be strictly accurate1 ,i do not think that ,coney's sketch had much weight as regards the character of the work it might have contained1 and so far as one's normal impressions were concerned1 it was dismissed as modern4 ,,record ,,of ,,excavation ,,in #aiaa4 ,in the early part of ,june1 #aiaa1 the footing trench of the north aisle wall of the nave was opened up at its eastward end1 and the junction of the same with the west wall of the north transept was found4 ,the area just outside the angle of the two walls was cleared with the object of discovering traces of a chapel at this point1 but beyond a few very beautiful sections of window mullions of the style of the late fifteenth or early sixteenth century--good ,tudor work--nothing material came to light in the way of detail4 ,but about #ac feet west of the transept wall1 and running parallel to it1 meeting the line of the aisle wall at right angles and going north from it1 was found another broad foundation1 and this we assumed at the time to be the footing of the west wall of the ,loretto ,chapel4 ,the inference was clear that there must at least have been some building of a permanent nature1 and rather substantial1 attached to the west face of the transept wall just outside its junction with the aisle1 and perhaps it was not unreasonable at the time to suppose that this was the ,loretto ,chapel4 ,the architectural detail discovered pointed to a ,gothic chapel1 and was entirely inconsistent with such a building as ,coney showed4 ,neither was it of like character with the work in the ,nave4 ,such was the position when1 on #acth ,june1 #aiaa1 we obtained the following automatic script3 ,,sitting ,,xlvii4 #acth ,june1 #aiaa4 ,i made that building4 ,all that ,i didde anywhere is fannes4 ,ne barrel vault4 ,and under them1 three faire windowes of foure lights with transomes and littel castel-work on the ramps thereof4 ,and if ye digge in the wall of the navis1 there is much fell in4 ,serche the great pier of the nave opposite the cutte3 yt is full 444 but they threw therein the fragments of my capella1 a canopy at the west1 and all the central ones--faire canopy work1 and in the midst a littel one for ,our ,ladye1 sylver guilt and very faire4 ,somewhat remaineth of ye outer walls and ye walle by ye crossinge1 but they have taken hym mostly away long syne4 ,very deepe fannes 444 and each fanne had twelve ribs1 and they were ycoloured red and gold1 like my chapel of ,edgar4 ,there yet remaineth somewhat of ,our ,ladye4 ,yt lieth in front of the west walle three feet or thereabouts4 ,seek ye well out the bank to the ,est3 something remaineth of ye transept 787 wall whereon we placed the tabernacles1 but most is ygone4 ,ye doore unto hym is at the west1#dg nigh unto the pillar of the navis1 one doore only1 on nave4 #dg ,this must be a mistake4 ,the south is the ,nave side4--,f4,b4,b4 ,r4 ,b4 scripsit1 pro instructionem tuam4 ,ye roundels of ye volte were golden1 and also ye bosses1 and ye hollows were bright redde2 likewise ye tabernacle of ,oure ,ladye in the est wall golde and redde2 and ye windowes were of glasse yellow in canopies with redde and blewe in ye little lights thereof4 ,ye floore was of tileis red1 with shields1 and ornaments in yellow likewise1 and it was very faire and magnifical1 like unto my chappel of ,edgar1 but more faire1 for ,i builded hym later1 for ,i hadde a vowe of mine owne which ,i performed4 ,q4 ,what was your vow8 ,a4 ,know ye not that wee were borne downe by rude men in foreign parts and the mule which bore me fell1 for ,i was a grete and heavy man4 ,and being like to fall down a steepe place or be trampled by ye mule1 ,i called on ,oure ,lady and shee heard me1 soe that my cloke catching on a thorne ,i was prevented1 and then said ,i3 ',lo6 ,when ,i returne ,i will build a chapel to ,our ,lady of the ,loretto1 and soe instant was ,i inn 7my vowe7 that the brethren were grieved1 for yt was arranged in ,chapitre that wee shold build a ,chapel to oure ,edgare before ,i wennt in ye shyppe4 ,therefore builded ,i hym first1 for it was a public vowe3 but mine owne vowe ,i fulfilled afterer1 and soe all was well--,yt is given4 ,q4 ,what was the occasion of your journey8 ,a4 ,know ye not of my ,ambassadrie1 when ye ,kinge wold know what the ,bis,p of ,roume would doe8 ,even soe journeying fromm ,padua whither came the shippes1 we felle among evil menne who would hold us to ransome4 ,here fell ye mule1 and ye reste ye knowe4 ,,notes ,,on ,,beere',s ,,embassy4 ,abbot ,richard ,bere was deputed by ,henry ,,vii4 to visit ,rome in #aejc1 in order1 it is said1 to congratulate the new ,pope1 ,pius ,,iii41 on his election4 ,whether there was any political object intended to be served by his embassy does not appear1 but it is strongly suggested by subsequent events4 ,the new ,pope did not live to establish his policy4 ,he survived his election only twenty-six days1 and was succeeded during the same year by ,julius ,,ii41 a political ,pope1 who formed the ,league of ,cambrai1 which was followed by the ,holy ,league of powers against ,louis ,,xii4 of ,france1 including ,england1 ,spain1 and ,venice in the bond1 which ,henry ,,viii4 afterwards joined1 until the peace with ,france in #aead ended it4 ,as to the story of the journey1 the mention of ,padua as his port of call seemed odd1 and a little hard to understand4 ,the usual route to ,rome for ,english travellers of that period was via ,antwerp1 ,augsbourg1 and ,venice4 ,from ,venice he might have taken boat to the wharves of ,padua1 and would thence proceed southward along the ,adriatic side1 till near ,ancona1 and here he would strike ,loreto1 which would be the start of an overland journey1 the ,apennines being crossed possibly on mule-back4 ,q4 ,what were the dimensions of the work about which you have been telling us8 ,a4 ,yn feete twenty and two1 and foure paces in width thereof1 and ye walle of ye nave was strengthened thereby1 for ye towre hadde pressed ye walls through the volt of the navis1 and hee was crackt all ye way to the bottom thereof4 ,therefore my chapel was high1 in height twenty and three feet1 and very strong in the volt1 soe that it tied the wall of ye nave and ye wall of ye crossing where it was weake4 ,they who builded ye towre should have made arches in ye walle to help ye higher windowes1 carrying them along ye crossing in ye walle to helpe ye towre at ye angle1 but they did not4 ,therefore helped ,i yt by my chappell and by an arche ,i builded from ye toppe of ye aisle to the roofe of ye chappell to bond ye whole at ye angle4 ,also builded ,i ye grete arches in ye towre4 ,it wasne ye volte that did caste out1 but ye towre gave inne as against ye volte by reason of its weight1#dh and soe it even gave away from#di the crossing in its lowre part and gave out in its upper4--,r4 ,b4 #dh ,this seems perfectly true4 ,the great piers buckled under the weight of the tower1 and bowed inwards1 probably pushing the vault1 and cracking it by compression4--,f4,b4,b4 #di ,gave in towards the crossing would be more expressive of the fact4--,f4,b4,b4 ,q4 ,can you give us an idea of the state of opinion in the religious establishments of your day--of the views and ideals current8 ,a4 ,ne helde ,i wyth superstitions4 ,ever ,i was for ye people and ye better understanding of ye mysteries4 ,it was meet that it be soe1 and notte kept in the hearts of the religious only4 ,more wold ye8 ,what more ,i didde as seemed best1 for the old tymes were changing and menne loved the glory of our ceremonial4 ,they were angered at the deceits which hadde kept their fathers humble and meek4 ,through the eye the glory of our services might make them wish for noble things1 but ,i knew1 and hee my friend knew#ej they were no longer to be fooled with trickery4 ,all was changing in my day and the wars made for greater knowledge4 ,the ,englyshe were 7a7sleepe no more1 ne ever to be4 ,dixi4 #ej ,bere was the friend of ,erasmus4 ,the dimensions given for this little chapel could be applied to the foundations discovered only if the longer measure 7#bb feet7 were taken north and south1 and the shorter 7four paces7 east and west4 ,this would make the building cover one bay of the transept1 and extend to the outer footing wall exposed by the excavation4 ,but this footing did not stop at #bb feet1 but ran on north1 and was found to be co-extensive with the northerly projection of the transept1 so that the chapel described would only have occupied one-half of the length1 and it looked as if there had been an aisle to the transept such as ,f4,b4,b4 showed in his drawing of the reconstructed interior4 ,the description of the strongly built little chapel in the angle1 buttressing up the weak tower and transept wall1 was a plausible one1 but the description1 and especially the dimensions1 would not throw any light on ,coney's sketch1 and left the wall in the bank1 spoken of by the gardener1 still unexplained4 ,the dimensions were small--unsatisfying for a special work of this nature1 and one which had merited individual mention by ,leland4 ,and the proportion was so unusual1 in that the east and west measurement was the lesser and would be insufficient for its purpose1 one would think1 unless the altar were placed at the north end1 which would not be an ,english custom4 ,was this little building1 after all1 the real ,chapel of the ,loretto1 or was it only an antechamber1 through which access would be had from the nave to a more important work farther out8 ,the long aisle-like footing looked like an adit or approach4 ,it could hardly have been part of the transept because of the sharp difference in level between the two floors1 that of the transept being #d feet or so above the nave4 ,but only further digging could bring light1 and this was at the time impossible1 so there the matter was bound to remain until a more favourable opportunity should occur for further research4 ,so it rested for five years4 ,in ,december1 #aiaf1 ,f4,b4,b4 and ,j4,a4 found themselves near neighbours1 and it had been mutually agreed1 in view of the greatly revived interest in the subject of spiritual phenomena1 that the experiments in writing should be resumed1 but no definite day had been fixed4 ,some days before ,f4,b4,b4 had given ,j4,a4 some ,,ms4 notes to transcribe1 being extracts he had made some years before from the ,cannon ,,ms4 ,it had been proposed to publish these in the ,proceedings of the ,somerset ,archological ,society1 and with them was the sketch of the ruins already referred to1 at which both had casually glanced2 but this had not been the subject of attention4 and ,j4,a4's transcript had not arrived at that point when the first sitting was held4 ,this was on #dth ,december4 ,glastonbury matters were not to the fore in recent conversation1 which had been given to the subject of the ,greek ,cabala and the geometry connected with it4 ,j4,a4 says his mind was still full of this on #dth ,december1 to the exclusion of ,glastonbury1 and that the reference in the ,cannon ,,ms4 had not been in his thoughts4 ,f4,b4,b4's experience was similar4 ,he had been busy with letters until the moment of ,j4,a4's arrival1 and his last envelope having been sealed1 he1 on the spur of the moment1 proposed a sitting1 to which ,j4,a4 agreed4 ,f4,b4,b4 had an idea that if any writing were obtained it might be on the subject of the war and current events2 and ,j4,a4 anticipated something on geometrical symbolism4 ,no suggestion was made as to the subject of the proposed communication4 ,the following is the record3 ,,sitting4 #dth ,december1 #aiaf4 ,the first page of writing is cramped and well-nigh illegible4 ,the following can be made out3 ,cosmic facts are everywhere1 but not easily attained4444 444 by assembling yourselves together and obtaining the inspiration ye seek consciously or unconsciously4 ,the result obtained is the same1 but the word endures4444 444 ,the material world is the screen between--the complex fabric of the simple weaving4 ,the essential facts are eternal which 78 move7 in a circle1 and to them that know the circle1 somewhat will pass into all times1 only ye see but little at a time4 ,the centre is the point on which all revolves1 and ye1 revolving1 are conscious of the influence1 but cannot know the radius4444 ,obliviscor4 ,so long we have slept near ,capella ,loretta under the bank full thirty paces from the ,navis4 ,ye did not go farre enow beyond the 7bank7 they cast up there4 ,it was full five feet in1 and buried in the place where he didd drawe the ,chapitre ,howse4#ea and the end of the pilgrimmes 7way7 is 444 through ye porche1 thro ye wicket gate in ye corner1 and by ye steppes over against ye lower graveyard4 ,there shewed wee the relics and ye pilgrimmes passed by this way to the ,chapell of ,st4 ,mary1 by ye steppes1 and to ,navis majoure4 #ea ,this appears to be in allusion to the note in the ,cannon ,,ms4 which ,j4,a4 says he had not then noticed4 ,then in a different hand3 ,abbot ,bere ybuilded ye ,loretto ,chapel faire and large to the north 7side of the7 navis4 ,we said that itt 444 was not ye ,chapitre ,howse4444 444 ,the syde of it was distant from ye navis thirty-one feet and a half1 and from ye aisle of ye transept he was fulle tenn feet with a covered way unto1 and four steppes up unto ye aisle aforesaid4 ,yt 444 was ybuilded by ,bere most faire and wonderfull in ye newe style brought from ,ytaly when he didd goe there upon ambassadrie4 ,ye have heard of yt4 ,ye ,chapell was full forty feet1 and width between twenty and 444 twenty-one feet1 and hee had an entrance unto 7hym7 from the roade which ledde from ,st4 ,john his gait unto ye navis1 and thus might ye ,bp and the ,kinges majestic 7enter74 ,bere used to approach by entering into the ,claustre1 and soe he didde close it oftentimes4 ,the foregoing script at first sight seemed impossible to decipher1 and a repetition was asked for4 ,this was clearly written1 and by its aid the sense of the foregoing was mastered1 and word by word picked out1 but there are yet some seemingly hopeless blanks4 ,these1 however1 may not be material1 and will probably refer to the ruinous state of the ,chapter ,house and its repair1 as re-stated in the following communication3 ,we have said he was of the ,ytalian style new and very faire1 and ,bere ybuilded coming from embassadrie in ,ytaly4 ,hee was not ye ,chapitre1 but ,bere did use hym so because ye ,chaptre ,house was dammp and ruinous and was being repaired4 ,we have said so4 ,hee met ye ,king and ye ,bp who sojourned 7with him74 ,the same was forty feet 7long7 by twenty 7or7 thereabouts and his grylled doore was to the west and a pavement joyned him to the ,road from ,st4 ,john's gate to ye churche4 ,he wasne like anything else 7but was of the7 newe style4 ,there were four steppes--nay1 six--to the aisle of ye transeppt1 and a covered way vaulted in a rounde vaulte to ye ,chappell4444--,,thesiger4 ,q4 ,by 'steps' do you mean ascending steps1 or paces8 ,a4 ,ten feet1 and four or six steppes up to hym4 ,the signature ,,thesiger is of peculiar interest4 ,at the beginning of this communication will be seen the words ,obliviscor4 ,so long we have slept near ,capella ,loretta1 etc4 ,only once before1 at ,sitting ,,xlii41 on the #gth ,september1 #aiaj1 has the same signature been observed4 ,this was at the close of a communication dealing with the shrine of ,st4 ,dunstan1 and was given as follows3 ,sub marmore dormio1 quod taedet me--obliviscor4--,,camillus ,,thesiger4 ,the identity of this person was at the time a matter of speculation1 but ,f4,b4,b4 concluded that it must be meant for ,camel1 the ,purse-bearer to ,abbot ,bere1 whose marble tomb with coffered panels is a feature in ,st4 ,john's ,church4 ,camel had a house in the upper part of the town1 in the ,high ,street1 on the south side1 some little way above ,st4 ,john's ,gate1 and to the east4 ,the architectural details which we here reproduce were then given1 some explanatory notes appended4 ,,the ,,loretto ,,chapel ,,architectural ,,plans ,,description ,,of ,,plan ,a4 ,i4 a1 ,drawing of a gable with stepped coping1 probably meant for the west gable4 ,i4 b1 ,plan of the ,chapel1 showing four bays in length1 with buttresses having a pointed profile1 labelled ,cappella ,loretta4 ,i4 c1 ,elevation of a circular-headed recess1 with ornament in head1 labelled ,cava4 ,i4 d1 ,plan 7enlarged7 of the ,chapel1 showing an entrance 7portus7 apparently in the south-west bay4 ,,description ,,of ,,plan ,b4 ,i4 e1 ,plan of the east end of ,chapel1 showing the convex ,cava ,virginis1 and the door 7portus7 leading to the church4 ,i4 f1 ,another and clearer plan of the ,chapel1 confirming the four-bay division4 ,i4 g1 ,elevation of the east wall of ,chapel1 as seen internally1 the ,cava ,virginis1 or semicircular recess1 being in the centre and the door to the transept on the right or south side4 ,illustration3 ,,plan ,a4 ,illustration3 ,,plan ,b4 ,,description ,,of ,,plan ,c4 ,i4 h1 ,this appears to be another effort to show the east wall1 but the ,cava is so small that the alternative suggests itself of an elevation of the west wall1 with a central doorway4 ,i4 j1 k1 ,head of the ,cava1 with attempt to represent a shell ornament filling the hollow of same4 ,,ii4 a1 ,elevation1 probably of exterior of west wall1 with round-headed door1 and ,virgo over--i4e41 a statue of the ,virgin here4 ,there is a suggestion of undulating parapets1 with a sitting lion at the corner4 ,,ii4 b1 c1 ,divisions of the copings1 with lions at intervals4 ,illustration3 ,,plan ,c4 ,,description ,,of ,,plan ,d4 ,,ii4 d1 ,another drawing of the east end of the plan1 with the position of the east door1 written portus ad ecclesiam et voltus quadripartus4 ,note portus for porta1 and voltus for volta1 always occurring in these writings4 ,,ii4 e1 f1 ,repetition of the undulating contours of the parapet1 labelled parapetus4 ,the lions at intervals as before4 ,illustration3 ,,plan ,d4 ,,description ,,of ,,plan ,e4 ,,ii4 g1 ,undulating outline of a parapet1 with foliage ornament applied1 and the word leo4 ,,ii4 h1 ,sketch of a small pier or baluster form4 ,this is labelled patella and pillar4 ,the word patella has the same intention as the word patera1 well known as an architectural term and implying a plate or panel1 often of rectangular form4 ,this may be let into the surface of a pilaster4 ,the plan clearly indicates a flat pier or pilaster2 or it may imply an abacus for the support of the lion4 ,illustration3 ,,plan ,e4 ,,description ,,of ,,plan ,f4 ,,iii4 a1 ,two sketches of the lions4 ,they are sitting lions1 holding shields1 as we see them in many ,tudor buildings1 but the ornament is more customary in domestic work than in ecclesiastical4 ,,iii4 b1 ,more parapets1 this time partly of a ,florentine pattern4 ,whether these are meant for a more detailed study of the undulations previously shown1 or are some in a special position1 does not yet appear4 ,the little angels seem to be connected with them4 ,,iii4 c1 ,probably meant for one of the heads of the side-windows in the ,chapel4 ,there is clearly a semicircle at head1 and there appears some sort of filling like open scroll-work4 ,no ,english precedent of this date is known to the writer4 ,illustration3 ,,plan ,f4 ,,description ,,of ,,plan ,g4 ,,iii4 d1 ,another sketch of the ,cava1 with the description of the treatment of its recess3 ,golden stars on azure1 at the back of the ,virgin's ,hollow2 and it proceeds3 ,ad orientem1 in cava ,virginis ,mari7a7e ,lorettae quod 444 ad ecclesiam 444 via claustra ad ecclm 444 ad orientem 444 ad ecclesiam 7,to the east1 a covered way1 or cloister1 leading to the church74 ,,iii4 e1 ,again a plan of the east end of the ,chapel1 with the door marked portus1 and a line going east4 ,,iii4 f1 ,the via claustra shown from the ,chapel to the ecclesia4 ,illustration3 ,,plan ,g4 ,,description ,,of ,,plan ,h4 ,,iv4 a1 ,chapel is forty 7in7 feet by twenty4 ,then follows an elevation of one side showing the round heads of the windows connected by a string-course1 and the writing forty feet1 four parts4 ,,iv4 b1 ,sketch of a rounded vault1 its groin carved along the whole length4 ,described thus3 ,volt of fruit and flowers painted very cunningly4 ,ye ribs of volts ycarven so4 ,,iv4 c1 ,small sketch of one of the sitting lions at the angle of the ,chapel1 with one crenelle of the parapet adjoining4 ,described thus3 ,ye ,leones cornerwise1 and thre7e7 between4 ,the partitions were #aj feet1 forty in length and twenty wide1 with round vaults3 ribs carven with fruit and many colours4 ,illustration3 ,,plan ,h4 ,illustration3 ,,plan ,i4 ,,iv4 d1 ,another sketch of a sitting lion4 ,,review4 ,it was with a sense of astonishment that1 after so great a lapse of time1 this interesting communication1 so voluminous in detail1 and1 so apparently explanatory of doubts and difficulties in connection with the obscure problem of the ,loretto ,chapel1 should have presented itself unsought1 unexpected1 and inclusive of strange new elements which suggested the existence at ,glastonbury in ,bere's day of an architectural model which would be unique for the period in these islands1 and probably without parallel in ,northern ,europe4 ,several questions arise in the mind4 ,could the little windows in ,coney's sketch have stimulated a subconscious dream of an ,italian chapel8 ,but where are we to look for the original model of these undulating parapets1 ,lions sejeant with shields1 patell1 fruit and flower enrichment1 the conchoidal ,cava ,virginis1 and the precision of the general proportions8 ,was there1 in the subconscious memory of either of the sitters1 some forgotten impression of a building in ,padua or elsewhere in ,northern ,italy1 which in its main features1 or subsidiary detail1 might tally with what was here given8 ,that we cannot say1 for nothing of the sort could or can be recalled by the conscious mind4 ,should the day come when the bank of rubble on the north side of the nave of ,glastonbury ,abbey can be thoroughly explored1 it may be that beyond some traces of the freestone wall spoken of by the old gardener there may be found nothing2 but if1 on the other hand1 it should appear that by the same obscure mental process which has already1 in the case of the ,edgar ,chapel1 predicated the existence1 with practical truth in form and detail1 of a building whose very memory was lost 7and the evidence for which had been ignored1 nay even scouted1 by the most competent antiquaries71 another architectural treasure1 long buried and forgotten1 might once again be brought to light1 and its wealth of ,italian detail verified2 then1 indeed1 would come into sight new vistas1 new possibilities of exploration and research into the secrets of old time1 and we should stand at the threshold of the ,gate of ,remembrance4 ,,sitting4 #afth ,august1 #aiag 7at ,gloucester74 ,note4--,the objects sought in this communication were formulated by ,f4,b4,b4 in advance4 ,they chiefly concerned the discrepancies between the two descriptions of ,bere's buildings given at previous sittings1 #acth ,june1 #aiaa1 and #dth ,december1 #aiaf1 the first of which referred to some work unidentified4 ,f4,b4,b4 suggested that the discovery of the footings of the transept aisle immediately before the former of these two sittings had created a mental bias in favour of a chapel there1 and thus confused the script4 ,maestro 444 ,francesco de ,padua qui me instruxit et capella7m7 cognoscit in ,italia4 ,ille etiam scripsit cum me et ille 444 7struebat7 in modo ,italiano1 et mecum in nave navigavit ad ,brit7tanniam74 ,ille aedificavit et ornavit4 ,deepe1 by ye ,bank1 is ye walle where ye fathers didde sit in their old age2 and they had not the use#eb of the younger brethren1 but were free--and who wished to spend hys dayes in ease and luxury8 ,but capella wasne in muro in ,boreali parte4 ,i have told ye4 ,it was soe1 and in the banke deepe down ye shall find hym full perfect as ,i do think4 ,there was a deepe place where they destroyed and they covered him and made a banke full six feet high1 and soe saved the wall at the west end for all tyme4 #eb ,i4e41 did not keep the canonical hours1 etc4--,f4,b4,b4 ,ask ye1 what was the chapel under the ,tower beyond the ,porche8 ,he was for the reliquaries1 and ye did enter hym from the garth on the syde of ,st4 ,mary's and uppe four steppes to him1 and soe through to the upper garth and ye road to the ,john's ,gate4 99 99 99 99 99 ,wysdom--it was best soe4 ,the ,land was ycovered with the houses of ,god1 and the grass he could not grow1 and it was in the providence of ,god that the houses were destroyed1 for they held no life4 ,men desired fuller life in ye world1 and to travel far2 and the old faith#ec was no longer needed1 for the minds of men were no longer as ye beasts that perish1 but each man was a light unto himself and did need no father to control him--so it was best1 though much loveliness was destroyed in the undoing4 ,the ,spirit liveth still1 and what we lived for1 in new guise we give to you4 ,grow in the ,spirit4 ,we are a symbol of great truths1 and ye read the symbol aright4 ,that which we did dream lives on1 and in the ,spirit we pass it on to you1 from symbol to symbol--ever higher1 ever wider4 #ec ,i4e41 the old system4 ,as great books were we1 and our work was in stone--a language handed down for you to read1 which we had forgotten1 and so fell4 ,what wold ye8 ,at this point there was a pause in the writing4 ,neither ,f4,b4,b4 nor ,j4,a4 were aware of anything that had been written4 ,the sheets were replaced and laid aside as they were filled1 and nothing was suggested during the writing by either sitter4 ,there was a little conversation on other subjects4 ,at this point it occurred to ,f4,b4,b4 7though in ignorance of the question ,what wold ye87 to ask the following1 and he wrote it down on the paper4 ,q4 ,do you confirm all that was told us of the ,italian design of the chapel of the ,loretto8 ,please say what building in ,italy was the model chosen by ,abbot ,richard ,bere for this work4 ,a4 ,francesco de ,padua aedificavit4 ,two would speak of it--he who made it and ,i who moved for my fannes and ,english4 ,we both made hym--,i1 and he1 my friend4 ,capella di ,marco#ed at ,padua--hym by the ,key4#ee #ed ,not mentioned in ,cesare ,foligno's ,story of ,padua1 but there is a chapel of ,st4 ,mark figured in a medival map of the town4 ,the mention of this saint tends to explain the lions mentioned in the #aiaf script1 which had hitherto seemed an incongruous feature1 if not quite out of place on a chapel of ,our ,lady4--,f4,b4,b4 #ee ,the ,chapel of ,st4 ,mark occupies1 in the map1 a place not far from the river1 and near the medival bridge of ,st4 ,mathio4 ,as the ,river ,bacchiglione was navigable1 it seems quite probable that there would be quays along its banks within the city4 ,dominic di ,vallera ,castiglione#ef aedificavit anno #adig--via ,st4 ,ursula4 #ef ,this name is quite unknown to either of us4--,f4,b4,b4 ,at this point the sitting was broken off and resumed on the evening following--#agth ,august1 #aiag4 ,q4 by ,f4,b4,b4 ,please tell us plainly1 what was the building #bb feet long and #d paces wide spoken of on #acth ,june1 #aiaa8 ,what was its use and what was its dedication8 ,this is the building with the fan-vaulting4 ,tell us exactly where it stood4 ,vincula ecclesiae disrupta sunt4 ,claustra aperta sunt4 ,claustra quae vocantur1 vento ,boreali aperta est 7sic7#eg in vestibulo sub turre--,english volts--and ,capella ,lorettae 7in7 ,ytaliano modo4 #eg ,evidently a play upon words1 the first ,claustra apparently signifying that the barred gates are opened2 and the second1 that which we should describe as 'cloisters' were open at this point to the ,north ,wind4 ,capella ,loretta was on ye lower level1 with four or six steppys up to the pavement4 ,one steppe to hym from the way from ,john's ,gate to the ,north ,porche4 ,seek my chapple as ,i told ye in ye ,banck4 ,he was entered from ye ,west1 and had a door into the littel cloister by ye transept of ye grete ,church1 and four stepps up to the pavement4 ,ye door was in ye transept wall at ye end thereof4 ,wold ye have many things8 ,the ,vineyard was by the ,ponds behind the ,priests' ,houses that ,i ybuilded1 over against the 7road871 and beyond ye gallery at the ,maudlin ,gate by the water4 ,on ye side of ye grete ,courte was ye brick yarde--beyond ye fishponds4 ,seek ye foundations at ye east of ye great ,court where ye pryor's chapel was1 and ,i ybuilded in front of hym4 ,digge also near by the ,kitchens1 which were near together4 ,that which the brethren of old handed down to us1 we followed1 ever building on their plann4 ,as we have said1 our ,abbey was a message in ye stones4 ,in ye foundations and ye distances be a mystery--the mystery of our ,faith1 which ye have forgotten and we also in ye latter days4 ,all ye measures were marked plaine on ye slabbes in ,mary's ,chappel1#eh and ye have destroyed them4 ,so it was recorded1 as they who builded and they who came after knew aforehand where they should build4 ,but these things are overpast and of no value now4 ,the spirit was lost and with the loss of the spirit the body decayed and was of no further use to 7us74 #eh ,william of ,malmesbury's ,glastonbury1 quoted below4 ,there was the ,body of ,christ1 and round him would have been the ,four ,ways4 ,two were ybuilded and no more4 ,in ye floor of ye ,mary ,chappel was ye ,zodiac1 that all might see and understand the mystery4 ,in ye midst of ye ,chapel he was laid2 and the ,cross of ,hym who was our ,example and ,exemplar4 ,braineton1 he didde much1 for he was ,geomancer to ye ,abbey of old tyme4 ,these curious statements appear to have a bearing on certain facts recorded of the ,lady ,chapel and upon others which have come to light as a result of the study of the whole plan of the ,abbey ,church and ,monastic buildings4 ,the latter were found to be laid out on a series of commensurate squares of #cg #b 7or #gd7 feet1 and it has been observed that there is no divergence from the symmetry of these squares in the works of the successive centuries right up to the time of the last ,abbot1 for the ,edgar ,chapel falls into line with the rest4 ,thus the outer measure of the total length of the ,great ,church with ,st4 ,mary's ,chapel is #eib feet1 or eight commensurate and consecutive squares of #gd feet each1 and the width of the ,nave and ,quire are each one such square4 ,the plan has been already most useful in locating the position of walls destroyed and lost4 ,there is much yet to be done in order to complete the plan1 but it is1 in the main1 recovered1 and has been published in the ,proceedings of the ,somerset ,archological ,society1 from which it is here reproduced 7,fig4 #ab74 ,as to the engraved geometric lines on the floor of ,st4 ,mary's ,chapel1 it may be well to quote ,william of ,malmesbury1 whose record of this dates from the twelfth century4 ,this old chronicler says1 speaking of this chapel1 which was on the site of the oldest ,christian church3 ,this church1 then1 is certainly the oldest ,i know in ,england1 and from this circumstance derives its name 7vetusta ecclesia74444 ,in the pavement may be seen on every side stones designedly inlaid in triangles and squares1 and figured with lead1 under which1 if ,i believe some sacred enigma to be contained1 ,i do no injustice to religion4 ,illustration3 ,,fig4 #ac4 ,,note4--,this plan shows the state of knowledge in #aiab4 ,a western aisle to the north transept is shown on the site of the foundations which had been discovered4 ,to fold between pp4 #adh1 #adi4 ,the plan of the ,chapel is itself a perfect instance of the ,vesica ,piscis1 the proportions of the double equilateral triangle and the most sacred and cherished mystery of the ,christian temple builders 7see ,proceedings of the ,somerset ,archological ,society1 vol4 lxii41 #aiaf1 pp4 xxxviii-xl74 ,for the ,four ,ways see such early instances of the ,rood as the example at ,lucca ,cathedral1 where the arms of the ,cross are held in a circle1 suggestive of the zodiac1 and point to the position of the four fixed signs ,aquarius1 ,leo1 ,taurus1 and ,aquila or ,scorpio1 corresponding to ,,ss4 ,matthew1 ,mark1 ,luke1 and ,john1 figured in the ,christian symbology by the ,angel1 the ,lion1 the ,bull1 and the ,eagle respectively4 ,what is implied in the foregoing communication1 when it is stated that of the four ways1 they only builded two1 is not known to the writer4 99 99 99 99 99 ,f4,b4,b41 not being yet quite satisfied on the subject of the script of #acth ,june1 #aiaa1 repeated a part of his former question1 as follows3 ,q4 ,but where was that building #bb feet long and #d paces wide1 with three four-light windows and fans4 ,i cannot see how the measure of #bb feet is obtained4 ,was this an east-and-west measure1 or to be taken north-and-south8 ,a4 ,ye door into ye transept in ye north1 which ,i1 ,camel1 used2 he was in ye west porche and under the three high windowes4 ,what wold ye8 ,the newe ,chappell1 he was in ye ,bank far oute1 in line with ye ,transept as ,i remember yt4 ,he wasne finished or ever4 ,chappells a many6 ,everywhere6 ,why cumbered they the ground when faith was dead1 and there was no longer any need for hym8 ,the purse#ei was full1 it must be spent1 and so1 when nor barn nor byre nor pent called for it1 it was yspent4 ,why should roysterers and evil men have it to spend8 ,so we builded much4 #ei ,john ,camel was ,purse-bearer to ,abbot ,bere4 ,chapels everywhere--ne need of them4 ,small chance it is preserved 7passage doubtful71 but it was well ycovered1 ,i wot1 for them who would pull downe4 ,illustration3 ,,fig4 #ad4--;,,glastonbury ,,abbey3 ,,plan ,,of ,,the ,,chapel ,,of ,,our ,,lady1 ,,built ,a4,d4 #aahd1 ,,on ,,the ,,site ,,of ,,the ,,church ,,of ,,joseph ,,of ,,arimath,a4 ,the plan lies in a hexagon4 ,its measures are based upon the standard ,british foot of #ab inches4 ,the breadth between the faces of the central buttresses is #cg feet1 in harmony with the general scheme of measures found in the ,abbey4 ,the length of the vesica is approximately #fd feet1 and its points touch the outer faces of the end walls4 ,external to this is another vesica embracing the plinth-course 7see plan74 ,the interior shows a third1 marking three-quarters of its length4 ,each vesica contains a rhombus of two equilateral triangles4 ,their measures are symbolic and explanatory of the sacred geometry of which the ,gematria of the ,greek scriptures is illustrative4 ,thus1 the solid rectangular area of this building is #cg by #fd1 or #b1cfh square feet1 by ,gematria the equivalent of 7,jesus ,christ7 or 7,the ,holy ,one of ,holy ,ones74 ,the rhombus contained has the area #a1ahd square feet1 very possibly designed to record the date 7,a4,d4 #aahd7 of the erection of the ,chapel4 ,it will be noted that ,william of ,malmesbury alludes to the sacred enigma believed to be concealed in the triangular and other figures on the floor of the ,chapel4 ,stones carven and yguilded--ne spirit1 ,i wot4 ,how could these things stand in the day of wrath8 ,pride6 ,ostentation6 ,much glory and much tinsel2 but ne worship1 ne humbleness1 ne object for us to continue more4444 ,so passe old tymes away4 ,q4 ,but how was that #bb feet length arrived at8 ,a4 ,a cloyster from ye ,nave to ye ,lobby1 and four steppes unto ye ,transept floor1 and from ye lobby1 on ye west1 ye ,chappell4 ,ne ,chappell but ye ,cloyster in ye corner of ye grete ,church4 ,claustrum to ye ,chappel along ye aisle--then ye lobby and ye ,chappel west of hym4 ,this statement is now sufficiently explicit4 ,it is possible to form a plan 7see ,figs4 #ae and #af74 ,the little cloister alongside the wall of the transept forms a western aisle to the same1 covering one bay1 whose width is known to have been #bb feet nearly4 ,at this point it merges into a lobby or vestibule1 at or near the foot of a fair-sized turret which stands at the north-west angle of the transept4 ,this lobby has doors on all sides--7#a7 south1 from the cloister communicating with the nave2 7#b7 north1 to the upper garth1 and the path used by ,camel the ,purser1 who lived in ,high ,street2 7#c7 east1 and up the steps through the transept wall1 into the transept itself2 and 7#d7 west1 into the short corridor of #aj feet leading to the ,loretto ,chapel4 ,illustration3 ,,fig4 #ae4--,,the ,,north ,,transept1 ,,showing ,,the ,,claustra ,,along ,,the ,,aisle1 ,,then ,,the ,,lobby1 ,,with ,,its ,,four ,,doors1 ,,and ,,the ,,loretto ,,chapel ,,to ,,the ,,west4 ,illustration3 ,,fig4 #af4--;,,glastonbury ,,abbey3 ,,complete ,,plan1 ,,showing ,,all ,,the ,,principal ,,features ,,mentioned ,,in ,,the ,,script4 ,a final question was asked1 and the result is interesting1 as the question was a mental one1 asked by ,f4,b4,b41 not written nor communicated to ,j4,a4 by any ostensible means4 ,f4,b4,b4 formulated the question in his mind thus3 ,what was the surname of the ,paduan architect ,francesco8 ,answer3 ,vecchi4--,francesco di ,vecchi4#fj #fj ,a name unknown to us in this connection4--,f4,b4,b4 ,a letter received by ,f4,b4,b4 from an ,englishman living in ,venice 7dated ,april #ai7 gives the following extract from the ,curiosita ,veneziane 7,giuseppe ,tassini1 ,venezia1 #ahhg73 ,vecchia 444 ,stefano della ,vecchia4 ,il cui padre ,venturino era stato approvato cittadino originario il #bi ,octobre #afbi apparteneva alla famiglia ,della ,vecchia1 la quali venne dal territorio di ,bergamo1 ed era detto da principio1 ,cornovi4 444 ,un ,antonio di questa famiglia il cui figlio ,zaccaria fu ,vescovo di ,torcello1 comperi in #aefe un nobile palazzo sulla ,fundamenta della ,madonna dell',orto4 ,this not being quite as clear as was wished1 the question was repeated1 and the reply came as follows3 ,,vecchi di ,torcello in ,italia4 ,illustration3 ,,plate ,v4 ,,conjectural ,,reconstruction ,,of ,,the ,,north ,,transept1 ,,with ,,the ,,claustrum ,,attached ,on the left1 under the turret1 is the open vestibule1 leading to the ,chapel of the ,loretto 7on extreme left74 ,to face page #aed4 ,,conclusion ,so ends the ,loretto ,chapel script1 with a series of precise and categorical statements1 offering no means of escape from the final alternative of truth or falsehood1 fact or fiction4 ,this situation will be clear to the reader1 as it is to the writer of this narrative1 who1 for the reasons now about to be given1 entertains no misgivings as to the course he has taken in publishing it4 ,his motto here would be1 ,prove all things1 and hold fast that which is good4 ,these writings1 whose value is at present unproven1 and in respect of the detailed statement of names1 dates1 and places1 highly problematical1 are put forward as an illustration of the working of his method4 ,they are not to be accepted with credulity1 but are subjects for critical analysis1 and must be weighed and examined1 with all the rest1 in the light of reason1 assisted by every useful means of normal research and exploration4 ,if we are resolved to accept nothing which is not first fully endorsed by reason and common sense1 and afterwards fortified by deductions fairly made from data1 however slender1 we stand but little risk of being deceived4 ,let us1 therefore1 apply to this case the same rule which the writer has already successfully applied in the case of the ,edgar ,chapel4 ,intuition has played her part4 ,from the depths of the subconscious mind her power has evoked these images4 ,now let ,reason and ,logic take the reins and drive the argument4 ,let us analyse the facts1 such as they are1 which bear upon the case1 and in the light of the intuitive results see whether an argument may be built up which will be capable of supporting weight4 ,in this lies the true utility of the method we have chosen4 ,it claims a double value--7#a7 in its ability to remember and to review subconsciously an infinitude of minor things1 slightly or casually impressed upon the mind and unnoticed or unremembered by the working brain2 and 7#b7 the faculty of balancing1 assessing1 and combining these in such manner as the brain itself is rarely if ever able to do1 and hence to evolve from slenderest data a scheme in which all probabilities which can lawfully be inferred from these minuti are welded into a complete whole4 ,for a moment1 let us go farther and assume that some of the statements made in the script are not merely incapable of proof1 but are found actually inconsistent with facts4 ,where then do we stand with our theory8 ,as ,i have said1 until the statements are accepted1 no one is deceived unless by his own rashness4 ,all that has happened is that two people having a perfectly honest purpose have attempted to record by automatic process knowledge arrived at by the trained exercise of the subconscious mind1 and have obtained--let us say--fiction or romance instead of the fact they sought4 ,the logical inference from this failure will obviously be that the particular method employed1 whilst it may have the value claimed for it of supplementing the ordinary reasoning powers1 has proved unreliable where applied for the purpose of procuring statements whose truth does not 7as in the case of the ,edgar ,chapel7 depend upon the deductive or inductive probabilities1 but upon isolated facts unrelated to others1 such as the names of places and people unknown2 and that therefore1 as a general conclusion1 the method is unsuited for the purpose of obtaining such information1 and we have used it for an end for which it is not adapted4 ,thus may the legitimate bounds of the automatic method be prescribed2 ,intuition must bring all her results to the bar of ,reason for provisional acceptance1 and when this test is passed then the matter becomes ripe for further research4 ,above all1 let us not be superstitious4 ,there is no need to invoke the action of supernatural agencies of a malevolent sort to explain the outcome of our own fallibility4 ,if a man or woman sits down and produces automatically a story which turns out to be fiction1 why1 ,i ask1 should that fiction be regarded as anything inherently worse in origin than the mass of fiction1 good1 bad1 and indifferent1 which writers produce consciously8 ,where is the essential difference8 ,the only answer ,i can find to this question is that the difference lies in the folly of the credulous1 who are at all times willing to attach greater importance and credit to a statement made from an unknown source than to one which has a definite human and personal origin4 ,omne ignotum pro magnifico4 ,for the imaginative function1 whether working consciously or unconsciously1 is the same in either case4 ,give it truth to feed upon and it will evolve truth4 ,and through the door of truth may enter that which will guide us to a wider knowledge4 ,,appendix ,,the ,,loretto ,,chapel ,,synthetic ,,or ,,constructive ,,argument ,,based ,,on ,,conclusions ,,offered ,,by ,,the ,,automatic ,,script1 ,,and ,,the ,,weighing ,,of ,,all ,,available ,,data ,,in ,,the ,,light ,,of ,,same4 ,a4--,,as ,,to ,,the ,,position ,,of ,,the ,,loretto ,,chapel4 ,,script4 ,august #af1 #aiag4 ,deepe1 by ye ,bank1 is ye walle1 etc4 ,but capella wasne in muro in ,boreali parte 444 and in ye ,banke deepe downe ye shall find him1 etc4 ,there was a deep place where they destroyed1 and they covered him1 and made a banke full six feet high1 and soe saved the wall at the west end for all tyme4 ,december #d1 #aiaf4 ,abbot ,bere ybuilded ye ,loretto ,chapel faire and large to the north side of the ,navis4 ,itt was not ye ,chapitre ,house4444 ,bere's ,chapel was distant from ye ,navis thirty-one feet and a half1 and from ye aisle of ye transept he was fulle tenn feet4444 ,the same was forty feet by twenty or thereabouts1 and his chief doore was to the west1 and a pavement joyned him to the road from ,st ,john's ,gate to ye ,churche4 ,august #ag1 #aiag4 ,capella ,loretta was on ye lower level1 with four or six steppys up to the pavement4 ,seek my chapple1 as ,i told ye1 in ye ,banck4 ,he was entered from ye west1 and had a door into the littel cloister by ye transept of ye grete ,church1 and four stepps up to the pavement4 ,all ye measures were marked plaine on ye slabbes of ,st4 ,mary's ,chappel 444 so it was recorded1 as they who builded and they who came after knew aforehand where they should build4 ,the newe chappell he was in ye bank far oute in line with ye transept as ,i remember it4 ,september #a1 #aiaj4 ,on ye north syde of ye grete church1 at ye ende1 near to ye newe chappel which ,bere 7builded74 ,,existing ,,data4 ,the ,deep ,place4--,the mention of a deep place calls attention for the first time to a number of facts which group themselves in a manner suggestive of such a probability4 ,they are as follows3 7a7 ,stukeley's view 7#agbc7 7see ,fig4 #i7 seems to indicate a drop on the north side of the nave and transept1 to a lower level4 ,coney's view 7see ,plate ,,iv47 certainly shows the small building on the north side of the nave with a break in the ground just in front of it1 marking a lower level for the wall4 7b7 ,the configuration of the ground is in favour of this4 ,above and eastward of the ,abbey enclosure is a narrow valley running west1 and filled up in its lower part1 over which lies the northern section of the ,abbey enclosure4 ,the ,high ,street runs down the north side of this valley1 and parallel to it1 and closely adjoining the ,abbey wall is ,silver ,street1 a name said by some antiquaries to indicate a ford4 7c7 ,the drainage of the ,abbey church is down the north side1 as would appear by the direction of the drainage channel in the foundations of the ,edgar ,chapel1 and the larger water-channel whose course was traced diagonally beneath the floor of the quire4 7d7 ,in excavating the north porch1 a very deep pit was found right against the north-west angle of the footings4 ,it went down nearly #aj feet below the floor-level of the church4 ,this may have extended east and west1 and the north porch may in that case be supposed to have been approached by a paved way over a bridge4 ,the ,bank4--,the foot of the bank1 as nearly as may be estimated1 lies about #bg feet north of the position of the nave wall 7outer face74 ,this would bring the #ca and a half feet distance indicated by the script for the wall of the chapel1 about #d and a half feet within the bank1 and this would seem to accord with the old gardener's recollection4 ,the bank runs westwards as far as the north porch1 or about #ajh feet west of the transept1 so that the west end of the chapel as described would be well covered1 being some #dj feet east of the termination of the bank4 ,the extreme projection of the transept1 beyond the line of the inner face of the nave wall1 would be about #fj feet1 and not less than #ed4 ,the thirty-one and a half feet measure from the outside of the nave wall1 if added to the probable thickness of the latter1 will give a total of #ci or #dj feet1 and if this measure is assumed to be to the inner face of the chapel wall 7south7 the position of its outer face would accord with the #cg feet general line1 following the symmetric scheme on which the whole abbey is found to be built 7see ,fig4 #ab71 and the north side of the chapel will then come very nearly into line with the transept4 ,,working ,,hypothesis4 ,that the ground on the north side of the ,church sloped down formerly to the bed of the brook coming from the hill behind the town4 ,this would make a depression about #aj feet deep alongside the ,church1 at a distance1 roughly1 of about #dj feet north of the outer face of the nave aisle wall1 and immediately north of the projection of the north transept and porch4 ,the bed would have been partly filled when the ,abbey was standing1 and there would be a system of drains beneath the soil1 which would have been levelled to form a garth or garden a few feet below the nave floor1 terminated on the west by a path or pavement from the porch to ,st4 ,john's ,gate 7running due north71 and beyond this1 again to the west1 would be another garth at a still lower level1 to the north of ,st4 ,mary's ,chapel and the ,galilee1 following the general trend of the grounds1 which slope to the westward4 ,this part was the cemetery of the laity4 ,it is inferred that ,bere's ,chapel of the ,loretto may have stood on the upper garth1 its floor a few feet below the nave1 and at about the distance mentioned in the script4 ,that the present aspect of the ground1 which shows a uniform rise to the north of the ,abbey1 is thus totally misleading1 and the bank and the higher level beyond on the town side must be altogether artificial1 and nothing but a huge accumulation of dbris from the destruction of the ,abbey4 ,the bulk of the ancient work now destroyed was so enormous that there is no difficulty at all in supposing this1 notwithstanding the fact that a great quantity of the masonry went1 as is known1 to make a foundation for the new road to ,wells4 ,the further inference is made that under this bank will most likely be hidden a great deal of fragmentary work1 and that its removal will bring to light many things of archological interest4 ,that the ,loretto ,chapel1 if its position be correctly given in the script as #ca feet #f inches from nave1 would appear nearly in line with the transept 7north end71 when viewed from the north1 but1 if anything1 rather further out 7see ,fig4 #ad74 ,b4--,,as ,,to ,,the ,,western ,,aisle ,,to ,,the ,,transept1 ,,and ,,the ,,suggestion ,,of ,a ,,cloister ,,or ,,passage ,,in ,,same1 ,,and ,,the ,,character ,,of ,,the ,,building4 ,,script ,june #ac1 #aiaa4444 ,somewhat remaineth of ye outer walls1 and ye walle by ye crossinge4444 ,ye doore unto hym is at the west 7see note71 nigh unto the pillar of the ,navis2 one doore only1 on ,nave4 ,yn feete twenty and two1 and foure paces in the width thereof1 and ye walle of ye ,nave was strengthened thereby1 etc4 ,december #d1 #aiaf4 ,bere's ,chapel was distant from ye ,navis thirty-one feet and a half1 and from ye aisle of ye transept he was fulle tenn feet with a covered way unto1 and four steppes up unto ye aisle aforesaid4 ,there were four steppes--nay1 six--to the aisle of ye transeppt1 and a covered way vaulted in a round vault to ye chappel4 ,august #ag1 #aiag4 ,claustra quae vocantur1 vento ,boreale aperta est--in vestibule sub turre--,english volts4 ,seek my chapple as ,i told ye in ye ,banck4 ,he was entered from ye west1 and had a door into the littel cloister by ye transept of ye grete church1 and four stepps up to the pavement4 ,ye door was in ye transept wall at ye end thereof4 ,ye door into ye transept in ye north1 which ,i1 ,camel1 used1 he was in ye west porche and under the three high windows4 ,a ,cloyster from ye ,nave to ye ,lobby1 and four steppes unto ye ,transept floor1 and from ye ,lobby1 on ye west1 ye ,chappell4 ,ne ,chappel but ye ,cloyster in ye corner of ye grete church4 ,claustrum to ye ,chappel along ye aisle1 then ye lobby and ye ,chappel west of hym4 7,italics mine4--,f4,b4,b47 ,,existing ,,data 7a7 ,the wall-footing discovered in #aiaa shows a possible breadth of #ab feet or so for this aisle4 ,the thickness of the footing is evidence of a strong construction4 ,there were some marks of a cross-foundation at a point over #bj feet out north1 and near the face of the bank4 7b7 ,the indications were in favour of a lower level for this work4 ,the drop from the transept level to that of the nave is about #d feet1 and this aisle or passage would appear to be on the nave level4 7c7 ,benedictine houses did not usually have western aisles to the transepts1 as is the case with cathedral churches4 ,but ,glastonbury followed ,wells in some things1 and at ,wells there are western aisles to the transepts1 and that on the north side has screens on two sides1 within arches to nave and to transept4 7d7 ,the detail found on this site was of very fine late perpendicular window-tracery1 showing the existence of windows with heavy central mullions1 and most likely of four lights4 7e7 ,camel's house was in the ,high ,street at a point which would be readily approached by a path towards this part of the ,abbey ,church4 ,,working ,,hypothesis4 ,that the foundation discovered in #aiaa is not that of a chapel1 nor yet of an aisle to the transept1 properly so called1 although it might be thus described since it would have that appearance from without4 ,the inference is that this adjunct would have been on the nave level1 and its use connected with the nave4 ,it would have been primarily a passage-way from the nave to a court or to buildings on the north side1 and it would be properly described as a cloister alley4 ,in this position it would1 if substantially built1 most readily serve the useful purpose of contributing support to the central tower and to the walls near the crossing1 adding stability to the transept if affected by the weakness of the tower1 and furnishing support for flying buttresses to the north-west angle of the crossing and tower itself4 ,there would be little object in carrying it out further north than would be requisite to cover one bay of the transept wall4 ,this would make it a possible #bb feet in internal measure4 ,there would be normally a double square on plan1 and if fan-vaulted this would give two bays1 and two windows to the west and one to the north--three in all4 ,c4--,,as ,,to ,,the ,,italian ,,style ,,of ,,the ,,chapel4 ,,script ,december #d1 #aiaf4 ,abbot ,bere ybuilded ye ,loretto ,chapel faire and large1 to the north 7side of the7 ,navis4444 ,yt was ybuilded by ,bere most faire and wonderful in ye newe style brought from ,ytaly when he didd go there4444 ,we have said1 he was of the ,ytalian style1 new and very faire1 and ,bere ybuilded coming from embassadrie in ,ytaly4444 ,he wasne like anything else1 7but was of the7 newe style4 ,here followed the detailed sketches showing-- #a4 ,a rectangular chapel of four bays1 with a small apse to the east1 as a ,cava ,virginis4 #b4 ,parapets of undulating outline1 and others suggestive of the fleur-de-lys1 with indications of fruit and flower enrichment4 #c4 ,sitting lions1 bearing shields1 over each division of the bays1 mounted on small pillars with patellae or plaques1 dividing the parapets4 #d4 ,heads of angels or cherubs1 probably in the cornices4 #e4 ,round-headed windows1 and vaults with bands of carved fruit and flowers on the groin-ribs4 ,august #af1 #aiag4 ,maestro ,francesco de ,padua qui me instruxit et capellam cognoscit in ,italia 444 struebat in modo ,italiano4 ,francesco de ,padua aedificavit4 ,two would speak of it--he who made it1 and ,i who moved for my fannes and ,english4 ,we both made him4 7,name of the model for this work7-- ,capella di ,marco at ,padua--hym by the ,key4 ,domenic di ,vallera ,castiglione aedificavit anno #adig--via ,st ,ursula4 7,name of ,bere's architect7-- ,vecchi--,francesco ,de ,vecchi4 ,,vecchi di ,torcello in ,italia4 ,,existing ,,data 7a7 ,the ,chapel was built just after ,bere's embassage to ,italy4 ,he was a cultivated and learned man with a knowledge of architecture1 as is evident from the quality of his building works4 ,he must have been supported by capable1 if not eminent1 master-builders and craftsmen4 7b7 ,bere was impregnated with the new ideas1 and was the friend of ,erasmus4 ,a letter of his to ,erasmus is extant4 ,his sympathy with new and more liberal views would be reflected in a wider culture1 and the influence of the ,italian ,renaissance1 already affecting ,english art in minor ways1 may well have moved him to become a pioneer in introducing the style which1 a half-century later1 usurped the place of our native ,tudor forms4 ,these he used as a master1 and had developed them to their highest pitch4 7c7 ,the duration of his visit to ,italy is at present unknown to us1 but the circumstance of the death of ,pius ,,iii4--if he overstayed that event--would make for delay and give him time to devote to the study of ,italian architectural models4 7d7 ,the circumstances of his vow are also1 so far as we know1 not a matter of history2 but the vow itself or the intention which clearly implies it is our reading of ,leland's note4 ,the ,chapel is undoubtedly a thank-offering4 ,it is built to the honour of ,our ,lady in the particular aspect of an ,italian saint of local repute1 possessed of the attribute of protection to life and health4 ,the choice of a style and character for the monument designed by ,bere would very naturally be consonant with that prevailing locally--i4e41 ,italian4 7e7 ,a few fragments of plain moulded work1 of ,italian character1 have been noted amongst the dbris of the ,abbey4 ,these were hitherto supposed to have belonged to some ,elizabethan building1 now destroyed1 whose remains had somehow found their way into the general mass of ,abbey fragments4 ,,working ,,hypothesis4 ,that a ,chapel dedicated to an ,italian ,madonna1 erected by an ,abbot of liberal views1 impressed by the newer learning and culture1 immediately on his return from a visit to ,italy1 at a time when the forms of ,italian ,renaissance were in process of adaptation to ,gothic buildings1 might well have been influenced in its design by ,italian ideas1 even to a wholesale extent1 and that if an ,italian master were employed1 as appears by no means an unreasonable idea1 an entirely ,italian model may have been followed4 ,that the type that would evoke most readily the ,abbot's artistic sympathies would be a ,north ,italian type1 not too far removed from the principles of architectural form to which he had been habituated4 ,an entirely ,roman model1 on purely classic lines1 is for this reason less likely4 ,but the selection of an ,italian master for the purpose of carrying out ,bere's scheme almost necessarily follows if the intention to employ an ,italian style be conceded4 ,bere could not do this unaided1 as an ,abbot would not be his own architect4 ,d4--,,as ,,to ,,the ,,style ,,of ,,the ,,building ,,at ,,the ,,angle ,,of ,,the ,,transept ,,and ,,north ,,aisle ,,of ,,nave4 ,,script ,script1 ,june #ac1 #aiaa4 ,i made that building4 ,all that ,i didde anywhere is fannes4 ,ne barrel vault4 ,and under them1 three faire windowes of foure lights1 with transomes and littel castel-work on the ramps thereof 444 and each fanne had twelve ribs1 and they were ycoloured red and gold1 like my chapel of ,edgar4444 444 ,ye roundels of ye volte were golden1 and also ye bosses1 and ye hollows were bright redde1 likewise ye tabernacle of ,oure ,ladye in the est wall golde and redde2 and ye windowes were of glasse yellow in canopies with redde and blewe in ye little lights thereof4 ,ye floore was of tileis red1 with shields and ornaments in yellow likewise4444 ,,existing ,,data 7a7 ,as an integral part of the ,church the probabilities lie in the direction of the use of ,bere's own master-masons for this work1 and the choice of the customary ,english style seems to follow4 ,this would be all the more consistent with probabilities if the work were involved with the strengthening of the older masonry at the crossing of the ,church--a work known to have been necessary1 since ,leland records the fact that ,bere strengthened the central tower by the addition of the ,st4 ,andrew's arches beneath it 7see ,plate ,,iii74 7b7 ,the fragments of window-tracery already referred to as having been found on the site are ,english in character4 ,,working ,,hypothesis4 ,that the building in the angle of the nave and transept was formed with the double object of a support to the weak walls of the crossing1 and as a covered approach to the ,chapel of the ,loretto1 erected by ,abbot ,bere on a site adjoining the north side of the nave1 but not attached directly to same1 and that this cloister was built in the later ,english style in which his own masons were expert4 ,,envoi ,,the ,,lamplighter ,one by one1 along the crowded street ,the footsteps falter1 and the stillness grows ,oppressive as the sudden hush that falls ,in shaded chambers whence a life has flown4 ,one by one1 the ruddy windows fade ,to utter darkness1 while behind closed doors ,the voices cease1 and all the shadowy night ,broods o'er a city of the seeming dead2 ,save only that amid the shadows gleam ,dim lights that trace the form of street and square ,and guide the wanderer in his mazy quest ,through ways all unfamiliar4 ,he that lit ,the starry welcome now is seen no more4 ,his light extinguished and his duty done1 ,he peaceful sleeps within his silent home4 ,we see him not2 and yet perchance he hears ,in dreams our echoing voices as we pass ,athwart his shuttered windows--hears us bless ,the light he lighted1 gleaming through the night ,a welcome to the lost and weary2 wakes perchance ,to murmur1 ,all is well1 then sleeps again4 ,so may he sleep in peace until the ,sun ,from which his flame was borrowed wakes the ,east ,to crimson glory1 and his glimmering lights ,merge in the splendour of the breaking ,day4 ,,john ,,alleyne4 ,,index ,,and ,,synopsis ,a ,abbey ,church1 plans1 ,figs4 #a1 #c1 #ab1 #ae its total length1 #ab1 #fb1 #fe1 #fh1 #fi ,abbots 7see ,bere1 ,breynton1 ,whiting1 etc47 ,house1 #aj ref4 and ,fig4 #i head 7carved71 #ii 7,fig4 #h7 ,aisle to north transept 7a cloister-alley71 #abe1 #abf ,ale1 ,johannes and the vat of1 #hi ,aller1 ,john de1 #ff ,almoner1 ,j4 ,bryan 7lived over the ,king's ,gate71 #ie ,altar1 the ,high1 #de1 #ef screen1 etc41 #ea1 #ef1 #eh1 #gg2 its back1 with ancient image of ,b4 ,v4 ,m41 #eg sepulchre under1 #fe ,altars1 side1 #dc ,ambrosius the ,cellarer1 #ff ,andrew1 ,st41 ,chapel of1 #ea ,guild of1 #ajj arches 7under tower71 #abb1 #afg1 and ,plate ,,iii4 ,apse1 semicircular1 on ,phelps' and ,warner's plans1 #aa1 #ea1 #eb1 #gd polygonal1 #eg1 #fa1 #gc1 #gd2 ,figs4 #e1 #f1 #g1 and #ab2 also ,plate ,,ii4 ,arch to ,edgar ,chapel 7antechapel71 #dc to end of ,quire1 #ei relieving1 to the north-west angle of central tower1 #aba ,arches1 like ,st4 ,andrew's ,cross1 under tower1 #abb1 #afg2 ,plate ,,iii4 ,architect of ,edgar ,chapel 7,richard de ,tantonia71 #fg of ,loretto ,chapel 7,francesco ,vecchi71 #add1 #ade1 #aed of ,st4 ,mark's1 ,padua 7,domenico di ,vallera ,castiglione71 #adf ,arimathea1 ,joseph of1 #cc ref4 ,convent of 7near ,guest ,hall71 #fh ,arthur1 ,king3 tomb of1 #de1 #ef1 #fe ,automatism1 discussion of1 #bb ,awfwold the ,saxon1 #fc1 #fh ,azure glass 7vitrea azurea73 in script1 #cg1 #gb discovered1 #fb1 #gb ,b ,bailey1 the ,inner and ,outer1 #ia ref4 ,bank1 on site of the ,loretto ,chapel1 north side of nave1 #aac1 #add1 #adf1 #afj1 #afa1 #afb ,bards1 writings1 #hg ,barrel vault1 in south chantry1 #eg ,bell-tower1 over north-east angle of cloister1 burnt1 repaired1 and pulled down owing to bad foundation1 #hh ,benedict 7for ,benignus71 ,st43 ,church of1 #ih1 #ajj2 gargoyle of1 #ii 7,fig4 #h7 ,bere or ,beere1 ,abbot ,richard1 #d1 #ce1 #dd1 #de1 #dg1 #ed1 #ei1 etc4 arms of1 #ih2 carved head of1 #ii 7,fig4 #h7 embassy1 #aaa2 notes on1 #abj built ,st4 ,benignus' ,church1 #ajj ,edgar ,chapel1 #ec ,loretto ,chapel1 #aaa1 #abj1 #abe1 #abf1 #ade1 #adf claustrum in angle of transept1 leading to ,loretto1 #aai1 #aba his signature in script1 #ec his influence on those coming after1 #dg-dh ,body of ,christ 7in symbolic lines on floor of ,st4 ,mary's71 #adg ,bones1 the stirring of the dry1 #ba of ,abbot ,whiting 7collected and buried71 #fe of ,st4 ,dunstan 7held by ,glastonbury71 #ia ,braineton1 or ,breynton1 ,john of1 ,abbot1 #dh geomancer to the ,abbey1 #adg ,bryan1 ,john1 ,almoner1 #ie ,bryant1 ,johannes1 monk1 curator of ,edgar ,chapel1 sculptor1 mason1 #cg1 #ch1 #dj1 #da1 #de1 #dg1 #eg1 #ei1 #ff child of ,nature1 #he-ig passim ,c ,camel1 or ,camillus1 ,thesiger--i4e41 treasurer to ,abbot ,bere1 #abe1 #abg1 #adi1 #aea1 #aff house of1 #afd path used by1 #aed tomb in ,st4 ,john's1 #abg ,cancellarius 7see ,chancellor7 ,cannon1 ,,ms4 of ,john1 #aac1 #aad1 #aag 7,fig4 #aa71 #abd ,cannon1 sketch of ruins by1 #aag ,canterbury1 pilgrims from1 to shrine of ,st4 ,dunstan1 #ia ,capella ,st4 ,edgar 7see ,chapel7 ,st4 ,maria 7see ,chapel7 ,cardinal ,wolsey3 friend of the ,abbey1 #ia made ,whiting ,abbot at ,oxford1 #aja ,castiglione1 ,domenico1 #adf ,cava ,virginis 7the apse of the ,loretto ,chapel71 #abi1 c1 e1 g2 #acj1 h1 j1 k2 #aci1 d2 text1 #adc ,cellarer3 ,ambrosius1 #ff ,cellars of ,refectory1 #ff of ,guest ,hall1 #fg ,chalice ,hill1 #fi chapel on path to1 #fi ,chamber1 the ,great1 #id over ,king's ,gate1 #ie to the east of ,edgar ,chapel1 #fc ,chancellorium1 in 7as a ,chancery3 the purpose of ,christ ,church ,hall1 as built by ,wolsey71 #aja ,changing-room for the choristers1 #fh ,chantry 7south of ,quire71 #ea south side of ,edgar ,chapel1 #bg ref4 #eg 7script71 #fc2 plan1 #fd 7,fig4 #f7 ,chapel of ,dunstan1 ,st43 in the west 7built by ,edgar1 and rebuilt by ,radulphus71 #ia plans1 ,figs4 #ab and #ae in the north 7the corner chapel in ,fig4 #ad71 #fh ,chapel of ,edgar1 #ce1 #dc1 #dd1 #dg1 #ea1 #ec1 #ee1 #fc1 #gj-gg 7table71 #aai1 #abj plans of1 #cd1 #cf1 #fd 7,fig4 #f71 #adh;a 7,fig4 #ab71 #aec 7,fig4 #ae72 ,plate ,,ii4 7p4 #ef;a7 elevation of1 #ha length determined1 #fc ,chapel of ,our ,lady of ,loretto 7site lost73 built by ,bere1 #aaa2 described in script as being in ,italian style1 its locus indicated1 and details given1 #abe1 #abf1 #abi-adb1 #adf2 plans1 #aeb1 #aec 7,figs4 #ad and #ae72 ,plate ,v4 7#aed;a7 used as a ,chapter ,house by ,bere1 during repairs1 #abf ,chapel of ,st4 ,mary1 #ce1 #da1 #dg1 #eh1 #abe 7see ,retro-,chapel1 ,lady ,chapel1 etc47 the older ,lady ,chapel1 #dg1 #ej1 #gh minor1 in retro-quire1 #dc1 #ea present1 on site of the primitive church1 at west end3 plans1 #adh;a 7,fig4 #ab71 #aej1 #aec 7,figs4 #ac1 #ae7 sketches of1 ,figs4 #i1 #aj1 #aa sacred geometry on floor of chapel1 #adg1 #adh geometric principles of the plan1 #aej1 #aea1 ,fig4 #ac and ref4 ,chapel of ,st4 ,michael in the graveyard 7burial-place of ,johannes71 #ig ,chapel of ,st4 ,thomas of ,canterbury1 #aad1 and ,fig4 #ad 7this is the inner chapel shown in ,fig4 #ad1 the outer being ,st4 ,dunstan7 ,chapter ,house3 ,edgar ,chapel so called in ,elizabethan record1 #ab ,loretto ,chapel1 so called in ,cannon ,,ms41 #aad1 #abe1 #abf ,loretto ,chapel used as1 by ,bere1 during repair of1 #abf ,christ ,church ,hall1 a ,chancellorium1 #aja ,church1 ,saxon 7on site of ,edgar ,chapel within a fort71 #fc ,church of ,ina1 #ef of ,turstin1 #ajg the ,great 7temp4 ,jocelyn71 #hg1hh ,clock 7horloge7 of ,peter ,lightfoot1 #hg ,cloister1 the ,great1 #fh1 #if ,little1 #fg1 #fh to north transept1 #abf and ,plate ,v4 of the ,north ,wind1 #adf1 #aea2 ,plate ,v4 ,community of #cdg monks 7thirteenth century71 #hh ,company1 the1 #ba1 #hg1 #hh 7brotherhood1 #id7 ,coney1 drawing by1 ,plate ,,iv42 ref4 to1 #aab1 #aad1 #abc ,convent of ,arimathea 7the little convent71 #fh ,court1 the ,great1 #adg by the graveyard1 #id ,covered walk 7,abbot's71 #if ways 7see ,passages7 ,cross in the ,zodiac1 #adg ,crypt under stairs of ,edgar ,chapel1 #dj1 #ej1 #ec under ,new ,hall1 #fh under nave1 #da ,curator capellae 7,j4 ,bryant71 #ch ,d ,deep ,place1 the1 #add1 #aff ,distances1 ,mystery of the1 #adg ,di ,vallera3 ,domenico1 #adf ,door 7in east wall71 #ec 7see ,portus7 ,drain1 the ,great1 #ff ,drawings of ,edgar ,chapel1 #fg of ,loretto ,chapel1 #abh-adb geometrical1 on floor of ,st4 ,mary's ,chapel1 #adg ,ducange1 dict4 of medival and low ,latin quoted1 #cc ref4 ,dunstan1 ,st43 bones of1 #ia chapel in the west1 #ia2 chapel in the north1 #fh2 chapel at ,edgarley1 #ajf ref4 ,e ,eawulf1 or ,eanwulf1 ,saxon ,earl of ,somerton 7,yarl of ,edgarley7 #bi1 #aje1 #ajh ,edgar1 ,king 7,saint71 #d1 #dd ,chapel of1 #d1 #h1 #i1 #bh1 etc41 ,plate ,,ii4 7see ,chapel7 for ,edmund1 #ef1 #ei ,edgarley1 #ajf ,elizabeth1 ,queen1 #d1 #ab1 #ff ,enigmas1 ,sacred1 on floor of chapel1 #adh ,erasmus 7friend of ,bere71 #abb ,ell 7measure71 #dc 7,in the script still unpublished occurs an authoritative statement that the builder's ell used by the monks was just over #b feet #d inches4 ,this makes it identical with the pace as indicated in the statement of length on p4 #fh1 where #gcc feet #caa passus47 ,excavation of ,bere's chapel1 #ec1 #ed2 completed1 #ee1 #ei of apse1 #fb plan1 #fd ,f ,fannes 7fan-vaulting7 in ,edgar ,chapel1 #ch1 #dc1 #eg in claustrum of the ,loretto1 #aai1 #ade in ,quire1 #ei ,glo'ster1 #ch1 #eh ,fishponds1 the ,abbey1 #adg ,flat fan-vault in apse1 #eg ,fort or enclosure 7,saxon71 #fc ,foundations of apse1 #dc1 ,fig4 #f of ,bere's ,chapel1 #ea1 #ei2 also ,fig4 #f and ,plate ,,ii4 mystery in the1 #adg ,four ,ways1 the1 #adg ,francesco de ,padua 7,vecchi71 #ade1 #aed ,freeman1 ,professor1 quoted1 #aa ,g ,galfrith1 ,frater1 #hg ,gallery over entrance to ,edgar ,chapel1 #dc ,gallery under great west window1 #hh under the great east window of ,quire1 #eg under west window of ,refectory1 #if ,gargoyle1 the1 #ii ,garth1 upper and lower on north side of church1 #add ,gate1 to ,chalice ,hill1 #fc ,king's1 #ie ,maudlin1 #adf-adg of ,remembrance1 #add ,st4 ,john's1 #abg-add ,water1 #adg ,gatehouse keeper's lodging 7in dismantled ,chapel of ,dunstan71 #ia ,gematria of the ,holy ,name in the ,greek1 #aea ref4 ,geometry1 sacred1 #adg1 #adh1 #aej ,gifts1 spiritual1 #bb-be and flyleaf ,glastonbury as a centre of spiritual life1 #bj ,abbey 7see ,abbey7 ,gloucester ,cathedral cited1 #bg ref4 ,glo'ster fannes1 in ,edgar ,chapel1 #ch ,gold and crimson roof in ,edgar ,chapel1 #ec1 #gg ,grave1 a martyr's1 #fe ,graveyard1 monks'1 #id1 #if1 #ig chapel in the1 #ig ,groin 7see ,vaulting7 ,guest ,hall1 #ce1 #fg1 #ij1 #if ,gulielmus1 ,monachus1 #cc 7signature71 #cd1 #ch1 #de1 #eh1 #hf ,h ,hrewith the ,dane1 #id ,hall1 the ,great1 #ij1 #ia1 #id1 #if built by ,wolsey in ,oxford1 #aja ,handrail1 double1 #dc1 #ge ,hearne1 ,thomas 7eighteenth-century antiquary71 quoted1 #ab1 #fb ,herlewin1 ,abbot1 #ajg ref4 ,hollar 7ditto7 quoted1 #ab1 #fb ,view of ruins in #afee1 enlarged1 #aaf 7,fig4 #aj7 ,i ,ibericus1 journey of1 #ajb ,imperator 7,csar71 #ajh ,ina 7,king71 ,church built by1 #ef ,j ,jocelyn 7,trotman71 ,bishop of ,wells1 thirteenth century1 #fg1 #hh ,johannes 7see ,bryant7 ,joseph of ,arimathea 7or of ,marmore71 #cc ref4 ,k ,king's ,gate and ,way1 #ff ,kirkyard1 #if1 #ig ,kitchen1 ,abbot's 7the grete kitchen71 #fg1 #id little 7between the ,refectory and ,guest ,hall71 #fg ,kitchen ,court1 #ie ,l ,lady ,chapel at east end 7older71 #aa with angular end1 #dg ,monington's1 #ej1 #ea 7see ,phelps and ,warner7 ,lady of ,loretto1 #aai ,lapidator 7 stonemason7 7,j4 ,bryant71 #ch ,lay-brothers' ,house1 #if ,lay-,chamber1 #if ,lead roof on ,edgar ,chapel1 #ee ,leland's ,itinerary quoted1 #d1 #i1 #aaa1 #abc ,life1 ,universal 7mention in script71 #ig ,lightfoot1 ,peter 7maker of the clock71 #hh ,linea bifurcata 7,joseph of ,arimathea's sepulture71 #cc ref4 ,lions of ,arthur's ,tomb1 #eg of ,loretto ,chapel1 #aca1 ,,ii4 b2 #acc1 ,,ii4 g2 #acg1 ,,iii4 a2 #ada1 ,,iv4 c2 #adb2 text1 #adc1 #adf ref4 #a ,lobby to ,loretto ,chapel 7with round vaults71 #aea ,lobinell ,hist4 quoted1 #ce ref4 ,lodge over the ,chalice ,gate1 #fc ,loretto1 ,chapel of1 #aaa1 #abe documents1 #aaa-aah script1 re1 #aai seq4 dimensions 7#dj #ba feet71 #abe excavation of cloister footings 7#aiaa71 #aah ,lory1 ,john 7carver of gargoyle71 #ajj ,m ,malmesbury1 ,william of1 on sacred symbols1 #adh ,mark1 ,chapel of ,st4 7in ,padua71 #adf ref4 ,marmore1 ,joseph of1 #cc ref4 ,martyr's grave 7,whiting's71 #fe ,martyri1 #ce4 7,not known to whom this refers1 unless to one of the two ,edmunds1 both of whom were assassinated4 ,king ,edgar died a natural death47 ,maudlin ,gate1 #adf-adg ,measures 7sacred71 #adg1 #adh1 #aej1 #aea ref4 ,melchin1 ,book of1 #cc ref4 ,memory1 cosmic1 #bj universal 7in script71 #ig ,merlins1 the ,british1 #hg ,michael1 ,chapel of ,st4 7since discovered71 #ig ,monington1 ,abbot3 lengthened ,quire about #accd1 #eh modified retro-quire and chapel1 #ej ,multipartite vaulting 7,whiting's work71 #ce1 #ch ,n ,new ,hall1 #fh ,north porch1 #abe1 #adf passage through1 #abe ,o ,organs on screen and in chapels1 #hh1 #hi ,p ,padstow 7,cornwall71 #ajc ,padua1 ,bere's journey to1 #abj1 #aba1 #adc ,francesco de1 #ade1 #aed1 #aff ,chapel of ,st4 ,mark in1 #adf1 #aff ,panellae 7panels71 #dc in east window1 #eg in ,quire1 #ei ,parapets of ,loretto ,chapel1 #acc1 ,,ii4 e1 f2 #ace1 ,,ii4 g2 #acg1 b ,parker1 ,james1 quoted1 #aj ,parlour1 ,monks'1 #fh ,passages1 secret1 #ec1 #fc1 #ff ,passage1 timber1 to ,saxon ,church1 #ef paved1 in inner court1 #ie ,passus 7paces71 #fh1 #fi 7a7 ,medival1 of #a foot #gdd inches 7or #afb feet7 7b7 ,romano-,british1 of #b feet #d-a_/d inches circa ,,note4--,the ,greek and ,roman foot1 on which the last is founded1 appears in these islands in early monuments such as ,stonehenge1 as well as in medival work4 ,it varies from about #aaeb to #aagd inches 7see ,flinders ,petrie's ,inductive ,metrology1 p4 #aji for ,english medival units2 p4 #aah1 ,stonehenge 7#aaed inches72 p4 #ach1 ,rome and ,medival ,england 7#aaeb to #aagd inches72 also synoptic table1 p4 #adb;a2 ,england #aaf1 ,england1 ,italy1 and ,roman ,colonies1 #aaebe to #aafh inches74 ,patellae 7plaques71 in ,loretto ,chapel1 #ace1 ,,ii4 h ,phdrus 7,phocis71 voyage of1 #ajc ,pilgrims' processions1 #hh1 #ia ,way1 #abe ,pillars over buttresses 7,loretto ,chapel71 #ace1 h ,polygonal apse1 plan published before discovery1 #fa foundations discovered1 #fb1 #fd 7,fig4 #f7 ,ponds of abbey1 #adf ,portus introitus 7door in east wall of ,edgar ,chapel71 #ce1 #ec 7door to ,loretto ,chapel71 #abf 7west door72 #abi1 ,i4 e1 g2 #acc1 ,,ii4 d2 #aci1 ,,iii4 e1 f ,priests' houses1 #adf ,prior's ,chapel1 #adg ,lodgings1 #ff1 #fg ,processional path and doors1 #ef1 #eh1 #fe ,r ,radulphus 7,ralph71 ,fitz,stephen1 chancellor1 and builder of the ,abbey ,church1 #ia1 #ajf1 #ajh ,fitz,hamon 7,norman knight1 temp4 ,turstin1 #ajhi circa71 #ajh ,rebus of ,abbot ,bere1 #ajj ,refectorium1 #fg1 #fh cellars of1 #ff misericorde1 #if ,reginaldus 7ob4 #abad71 #df1 #eh ,bishop of ,wells 7twelfth century71 #df ,relics1 where kept1 #add ,ribs of vault to ,loretto1 carved with fruit and flowers1 #ada1 b2 #adb ,richard de ,tantonia 7architect of ,edgar ,chapel71 #fg ,robert 7anno #accd71 #dh ,rolf1 ,monachus1 #ce1 #ch ,s ,saint ,andrew1 ,chapel of1 #ea guild of1 #ajj ,bridget1 #df ,benedict 7or ,benignus71 #ih ,church of1 #ajj ,edgar 7,king71 #ce1 #dd ,john's ,gate1 #abg1 #add ,mary1 ,chapel of 7see ,chapel71 #da1 #ea1 #ef1 etc4 ,michael in the graveyard 7burial place of ,johannes71 #ig ,patrick1 #df ,thomas of ,canterbury 7site of his ,chapel71 #aad ,schola1 the 7the ,abbey ,school71 #fh ,screen1 the great 7on which was the ,quire ,organ71 #hi behind altar and reredos1 #fe ,screens in ,guest ,hall1 #ij1 #ia ,script1 notes on1 #bf errors in1 #bf-cj1 #fh1 #fi ,latin in1 #ca ,scriptorium of ,abbey1 #fh ,somerset1 ,lord1 #ff ,somerton1 ,eanwulf1 ,earl of1 #ajf ,squares 7symbolic7 in sacred geometry on floor of ,lady ,chapel1 #adh1 #aej general system of in plan of monastery1 #adh;a 7,fig4 #ab7 ,stables of ,abbey 7near ,guest ,hall71 #fg ,stairway to ,edgar ,chapel1 #dc ,steps in marble to ,edgar ,chapel1 #dc four or six from ,loretto to the transept aisle1 #abf four from ,st4 ,mary's ,garth to the ,relics ,chapel1 #add four from aisle up to transept1 #adf1 #aea from vetusta ecclesia to ,ina's ,church1 #ef ,steps from great cloister in south-east corner1 ,,xii4 down1 and ,,ix4 up1 to back parts of monastery1 #fh ,stillington's ,chapel at ,wells1 #dd ,stukeley's panorama of ruins1 #aae 7,fig4 #i71 #afj ,t ,taunton1 ,abbot's bones secretly brought from1 #fe ,richard de 7architect71 #fg1 #fi ,thesiger1 ,camillus1 #abf1 #abg ,tintagella settlement1 #ajc ,towers1 western1 #df ,tower1 central1 #da1 #hg bell1 #hg1 #hh ,triangles 7symbolic7 in floor of ,lady ,chapel1 #adh double1 in plan of ,lady ,chapel1 #adh ,turstin1 ,abbot1 #ajf1 #ajh church built by1 #aje1 #ajg ,v ,vallera di1 ,domenico1 #adf ,vault1 sepulchral1 under ,high ,altar1 #fe under halls1 #ff1 #fg1 #fh under central tower and nave1 #da under stairs of ,st4 ,mary's 7,galilee71 #da ,vaulting 7volt71 quadripartite1 #ce multipartite1 #ce1 #ch fans 7old style7 at east end of ,quire1 #ch panelled1 in ,edgar ,chapel 7fans71 #dc1 #eg fans in claustrum north side of nave1 #aai with gilt roundels1 #abj barrel section 7to chantry chapel71 #eg cracked1 under central tower1 #aba1 #abb ,italian pattern1 to ,loretto ,chapel1 #abf1 #ada1 #adf ,vecchi1 ,francesco 7di ,torcello71 #aed ,vesica ,piscis 7sacred symbol1 containing the double equilateral triangle1 found in plan of ,st4 ,mary's ,chapel71 #aej 7,fig4 #ac71 #aea ref4 ,vestibule 7,italian71 to ,loretto ,chapel 7the cloister open to the north wind71 #adf1 #aea ,vineyards1 the ,abbey1 #adf ,virga 7a yard71 #cf1 #cg ,virgin1 ancient statue of 7at back of altar-screen71 #eg and ,child in canopied niche over ,high ,altar1 #fe ,virginis1 ,cava 7apse1 or recess of circular form in the east wall of the ,loretto ,chapel1 as indicated by script71 #abh-adj1 #adc ,w ,walls at an angle1 #dj1 #da1 #dd1 #ea1 #ei1 #fd 7,figs4 #e1 #f1 and ,plate ,,ii47 ,warner quoted1 #g1 #aa1 #gd plan of older ,lady ,chapel1 #ea1 #eb ,watchers1 the1 #ic ,watergate1 #adf-adg ,wattlework 7,saxon71 #fc1 #fe ,ways1 the ,four1 #adg ,well of ,abbey1 filled1 #ie chamber in court1 #id ,wells1 ,bishop of1 #df1 #hg chapel at1 #dd ,cathedral cited1 #dd1 #hh ,wells ,lady ,chapel1 #gc ,whiting 7,whyttinge71 ,abbot1 #d1 #ce1 #cg1 #ee 7signature71 #eg1 #fe1 #gj1 #gb1 #aja ,wild1 plan by1 #ac1 #af1 #dj ,willis1 ,professor1 quoted1 #g-ab1 #ae1 #af plan by1 #i 7,fig4 #a7 of retro-chapel1 #ea1 #ec ,window1 great east2 #eg2 originally straight1 #dg2 with balcony under1 #fe2 lengthened and rebuilt1 #eh great west1 with gallery under1 #hh ,window1 transomed1 in ,edgar ,chapel1 #cg six1 in ,great ,hall1 #ij1 #ia ,window1 marked with cross 7old shrine of ,edgar71 #dd ,windows1 three1 in apse of ,edgar ,chapel1 #eg three1 in claustrum chapel1 north side nave ,wolsey1 ,cardinal1 #ia1 #aja ,wyrcestre1 ,william1 quoted1 #ad1 #fi reviewed1 #ac1 #ad ,y ,yseuguilt 7,yseult71 ,princess1 #ajc ,z ,zodiac 7in the floor of ,st4 ,mary's ,chapel71 #adg ,,billing ,,and ,,sons1 ,,ltd41 ,,printers1 ,,guildford1 ,,england ,,the ,,gate ,,of ,,remembrance ,a series of ,seven ,musical ,impressions for the ,pianoforte1 by the ,english composer ,,carlyon ,,de ,,lyle1 based upon episodes in the life of ,johannes1 the monk of ,glastonbury1 as given in the well-known book of the same name1 being ,,magnus ,,album1 ,no4 #cg ,published by ,,swan ,,co41 #cab1 ,,regent ,,street1 ,,london1 ,w4 ,may be had of all ,music-sellers ,price #bs4 net ,first edition1 ,february1 #aiah ,second edition1 ,july1 #aiah ,third edition1 ,march1 #aibj 99 99 99 99 99 ,transcriber's ,notes4 ,obvious typographical errors have been silently corrected4 ,hyphenation has been standardised1 but other variations in spelling1 punctuation and accents remain as in the original ,for the sake of clarity1 the advert for ,the 7musical7 ,gate of ,remembrance has been has been moved from the beginning to the end4 ,the ,table of ,veridical ,passages and ,table of ,data and ,constructive ,argument are three column double page spreads in the original1 linking ,script1 ,existing ,data and ,working ,hypothesis4 ,these sections are now sequential to conform with width restrictions4 ,footnote #f refers to a non-existent flyleaf4 ,italics are represented thus italics and bold thus bold4