Chapter VIII: Appendix: The Loretto Chapel

SYNTHETIC OR CONSTRUCTIVE ARGUMENT

BASED ON CONCLUSIONS OFFERED BY THE AUTOMATIC SCRIPT, AND THE WEIGHING OF ALL AVAILABLE DATA IN THE LIGHT OF SAME.

A.--AS TO THE POSITION OF THE LORETTO CHAPEL.

SCRIPT.

August 16, 1917. "=Deepe, by ye Bank, is ye walle," etc. "But capella wasne in muro in Boreali parte ... and in ye Banke deepe downe ye shall find him," etc. There was a deep place where they destroyed, and they covered him, and made a banke full six feet high, and soe saved the wall at the west end for all tyme.="

December 4, 1916. "=Abbot Bere ybuilded ye Loretto Chapel faire and large to the north side of the Navis. Itt was not ye Chapitre House.... Bere's Chapel was distant from ye Navis thirty-one feet and a half, and from ye aisle of ye transept he was fulle tenn feet.... The same was forty feet by twenty or thereabouts, and his chief doore was to the west, and a pavement joyned him to the road from St John's Gate to ye Churche.="

August 17, 1917. "=Capella Loretta was on ye lower level, with four or six steppys up to the pavement.="

"=Seek my chapple, as I told ye, in ye Banck.="

"=He was entered from ye west, and had a door into the littel cloister by ye transept of ye grete Church, and four stepps up to the pavement.="

"=All ye measures were marked plaine on ye slabbes of St. Mary's Chappel ... so it was recorded, as they who builded and they who came after knew aforehand where they should build.="

"=The newe chappell he was in ye bank far oute in line with ye transept as I remember it.="

September 1, 1910. "=On ye north syde of ye grete church, at ye ende, near to ye newe chappel which Bere (builded).="

EXISTING DATA.

_The Deep Place._--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 probability. They are as follows:

(_a_) Stukeley's view (1723) (see Fig. 9) seems to indicate a drop on the north side of the nave and transept, to a lower level.

Coney's view (see Plate IV.) certainly shows the small building on the north side of the nave with a break in the ground just in front of it, marking a lower level for the wall.

(_b_) The configuration of the ground is in favour of this. Above and eastward of the Abbey enclosure is a narrow valley running west, and filled up in its lower part, over which lies the northern section of the Abbey enclosure. The High Street runs down the north side of this valley, and parallel to it, and closely adjoining the Abbey wall is Silver Street, a name said by some antiquaries to indicate a ford.

(_c_) The drainage of the Abbey church is down the north side, as would appear by the direction of the drainage channel in the foundations of the Edgar Chapel, and the larger water-channel whose course was traced diagonally beneath the floor of the quire.

(_d_) In excavating the north porch, a very deep pit was found right against the north-west angle of the footings. It went down nearly 10 feet below the floor-level of the church. This may have extended east and west, and the north porch may in that case be supposed to have been approached by a paved way over a bridge.

_The Bank._--The foot of the bank, as nearly as may be estimated, lies about 27 feet north of the position of the nave wall (outer face). This would bring the 31 and a half feet distance indicated by the script for the wall of the chapel, about 4 and a half feet within the bank, and this would seem to accord with the old gardener's recollection.

The bank runs westwards as far as the north porch, or about 108 feet west of the transept, so that the west end of the chapel as described would be well covered, being some 40 feet east of the termination of the bank.

The extreme projection of the transept, beyond the line of the inner face of the nave wall, would be about 60 feet, and not less than 54.

The thirty-one and a half feet measure from the outside of the nave wall, if added to the probable thickness of the latter, will give a total of 39 or 40 feet, and if this measure is assumed to be to the inner face of the chapel wall (south) the position of its outer face would accord with the 37 feet general line, following the symmetric scheme on which the whole abbey is found to be built (see Fig. 12), and the north side of the chapel will then come very nearly into line with the transept.

WORKING HYPOTHESIS.

_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 town. This would make a depression about 10 feet deep alongside the Church, at a distance, roughly, of about 40 feet north of the outer face of the nave aisle wall, and immediately north of the projection of the north transept and porch. The bed would have been partly filled when the Abbey was standing, and there would be a system of drains beneath the soil, which would have been levelled to form a garth or garden a few feet below the nave floor, terminated on the west by a path or pavement from the porch to St. John's Gate (running due north), and beyond this, again to the west, would be another garth at a still lower level, to the north of St. Mary's Chapel and the Galilee, following the general trend of the grounds, which slope to the westward. This part was the cemetery of the laity._

_It is inferred that Bere's Chapel of the Loretto may have stood on the upper garth, its floor a few feet below the nave, and at about the distance mentioned in the script._

_That the present aspect of the ground, which shows a uniform rise to the north of the Abbey, is thus totally misleading, and the bank and the higher level beyond on the town side must be altogether artificial, and nothing but a huge accumulation of débris from the destruction of the Abbey. The bulk of the ancient work now destroyed was so enormous that there is no difficulty at all in supposing this, notwithstanding the fact that a great quantity of the masonry went, as is known, to make a foundation for the new road to Wells._

_The further inference is made that under this bank will most likely be hidden a great deal of fragmentary work, and that its removal will bring to light many things of archæological interest._

_That the Loretto Chapel, if its position be correctly given in the script as 31 feet 6 inches from nave, would appear nearly in line with the transept (north end), when viewed from the north, but, if anything, rather further out_ (see Fig. 14).

B.--AS TO THE WESTERN AISLE TO THE TRANSEPT, AND THE SUGGESTION OF A CLOISTER OR PASSAGE IN SAME, AND THE CHARACTER OF THE BUILDING.

SCRIPT

June 13, 1911.... "=Somewhat remaineth of ye outer walls, and ye walle by ye crossinge.... Ye doore unto hym is at the west (see note), nigh unto the pillar of the Navis; one doore only, on Nave.=

="Yn feete twenty and two, and foure paces in the width thereof, and ye walle of ye Nave was strengthened thereby," etc.=

December 4, 1916. "=Bere's Chapel was distant from ye Navis thirty-one feet and a half, and from= _ye aisle of ye transept_ =he was fulle tenn feet with a covered way unto, and four steppes up unto= _ye aisle_ =aforesaid=.

"=There were four steppes--nay, six--to the= _aisle of ye transeppt_, =and a covered way vaulted in a round vault to ye chappel=."

August 17, 1917. "=Claustra quae vocantur, vento Boreale aperta est--in vestibule sub turre--English volts=."

"=Seek my chapple as I told ye in ye Banck. He was entered from ye west, and had a door into the= _littel cloister by ye transept_ =of ye grete church, and four stepps up to the pavement. Ye door was in ye transept wall at ye end thereof.="

"=Ye door into ye transept in ye north, which I, Camel, used, he was in ye west porche and under the three high windows.=

"_A Cloyster from ye Nave to ye Lobby_, =and four steppes unto ye Transept floor, and from ye Lobby, on ye west, ye Chappell=.

"_Ne Chappel but ye Cloyster_ =in ye corner of ye grete church=. _Claustrum to ye Chappel along ye aisle, then ye lobby_ =and ye Chappel west of hym=."

(Italics mine.--F.B.B.)

EXISTING DATA

(_a_) The wall-footing discovered in 1911 shows a possible breadth of 12 feet or so for this aisle. The thickness of the footing is evidence of a strong construction. There were some marks of a cross-foundation at a point over 20 feet out north, and near the face of the bank.

(_b_) The indications were in favour of a lower level for this work. The drop from the transept level to that of the nave is about 4 feet, and this aisle or passage would appear to be on the nave level.

(_c_) Benedictine houses did not usually have western aisles to the transepts, as is the case with cathedral churches. But Glastonbury followed Wells in some things, and at Wells there are western aisles to the transepts, and that on the north side has screens on two sides, within arches to nave and to transept.

(_d_) The detail found on this site was of very fine late perpendicular window-tracery, showing the existence of windows with heavy central mullions, and most likely of four lights.

(_e_) 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 Church.

WORKING HYPOTHESIS.

_That the foundation discovered in 1911 is not that of a chapel, nor yet of an aisle to the transept, properly so called, although it might be thus described since it would have that appearance from without._

_The inference is that this adjunct would have been on the nave level, and its use connected with the nave. It would have been primarily a passage-way from the nave to a court or to buildings on the north side, and it would be properly described as a cloister alley._

_In this position it would, if substantially built, most readily serve the useful purpose of contributing support to the central tower and to the walls near the crossing, adding stability to the transept if affected by the weakness of the tower, and furnishing support for flying buttresses to the north-west angle of the crossing and tower itself._

_There would be little object in carrying it out further north than would be requisite to cover one bay of the transept wall. This would make it a possible 22 feet in internal measure. There would be normally a double square on plan, and if fan-vaulted this would give two bays, and two windows to the west and one to the north--three in all._

C.--AS TO THE ITALIAN STYLE OF THE CHAPEL.

SCRIPT

December 4, 1916. "=Abbot Bere ybuilded ye Loretto Chapel faire and large, to the north (side of the) Navis.... Yt was ybuilded by Bere most faire and wonderful in ye newe style brought from Ytaly when he didd go there....="

"=We have said, he was of the Ytalian style, new and very faire, and Bere ybuilded coming from embassadrie in Ytaly.... He wasne like anything else, (but was of the) newe style.="

_Here followed the detailed sketches showing--_

1. =A rectangular chapel of four bays, with a small apse to the east, as a "Cava Virginis."=

2. =Parapets of undulating outline, and others suggestive of the fleur-de-lys, with indications of fruit and flower enrichment.=

3. =Sitting lions, bearing shields, over each division of the bays, mounted on small pillars with "patellae" or plaques, dividing the parapets.=

4. =Heads of angels or cherubs, probably in the cornices.=

5. =Round-headed windows, and vaults with bands of carved fruit and flowers on the groin-ribs.=

August 16, 1917. "=Maestro Francesco de Padua qui me instruxit et capellam cognoscit in Italia ... struebat in modo Italiano.=

"=Francesco de Padua aedificavit. Two would speak of it--he who made it, and I who moved for my fannes and English. We both made him.="

(_Name of the model for this work_)--

"=Capella di Marco at Padua--hym by the Key.="

"=Domenic di Vallera Castiglione aedificavit anno 1497--via St Ursula.="

(_Name of Bere's architect_)--

"=Vecchi--Francesco De Vecchi.="

"=VECCHI di Torcello in Italia.="

EXISTING DATA

(_a_) The Chapel was built just after Bere's embassage to Italy. He was a cultivated and learned man with a knowledge of architecture, as is evident from the quality of his building works. He must have been supported by capable, if not eminent, master-builders and craftsmen.

(_b_) Bere was impregnated with the new ideas, and was the friend of Erasmus. A letter of his to Erasmus is extant. His sympathy with new and more liberal views would be reflected in a wider culture, and the influence of the Italian Renaissance, already affecting English art in minor ways, may well have moved him to become a pioneer in introducing the style which, a half-century later, usurped the place of our native "Tudor" forms. These he used as a master, and had developed them to their highest pitch.

(_c_) The duration of his visit to Italy is at present unknown to us, but the circumstance of the death of Pius III.--if he overstayed that event--would make for delay and give him time to devote to the study of Italian architectural models.

(_d_) The circumstances of his vow are also, so far as we know, not a matter of history; but the vow itself or the intention which clearly implies it is our reading of Leland's note.

The Chapel is undoubtedly a thank-offering. It is built to the honour of Our Lady in the particular aspect of an "Italian" saint of local repute, possessed of the attribute of protection to life and health. The choice of a style and character for the monument designed by Bere would very naturally be consonant with that prevailing locally--_i.e._, Italian.

(_e_) A few fragments of plain moulded work, of Italian character, have been noted amongst the débris of the Abbey. These were hitherto supposed to have belonged to some Elizabethan building, now destroyed, whose remains had somehow found their way into the general mass of Abbey fragments.

WORKING HYPOTHESIS.

_That a Chapel dedicated to an "Italian" Madonna, erected by an Abbot of liberal views, impressed by the newer learning and culture, immediately on his return from a visit to Italy, at a time when the forms of Italian Renaissance were in process of adaptation to Gothic buildings, might well have been influenced in its design by Italian ideas, even to a wholesale extent, and that if an Italian master were employed, as appears by no means an unreasonable idea, an entirely Italian model may have been followed._

_That the type that would evoke most readily the Abbot's artistic sympathies would be a North Italian type, not too far removed from the principles of architectural form to which he had been habituated. An entirely Roman model, on purely classic lines, is for this reason less likely. 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 conceded. Bere could not do this unaided, as an Abbot would not be his own architect._

D.--AS TO THE STYLE OF THE BUILDING AT THE ANGLE OF THE TRANSEPT AND NORTH AISLE OF NAVE.

SCRIPT

Script, June 13, 1911. "=I made that building. All that I didde anywhere is fannes. Ne barrel vault. And under them, three faire windowes of foure lights, with transomes and littel castel-work on the ramps thereof ... and each fanne had twelve ribs, and they were ycoloured red and gold, like my chapel of Edgar....=

"=... Ye roundels of ye volte were golden, and also ye bosses, and ye hollows were bright redde, likewise ye tabernacle of Oure Ladye in the est wall golde and redde; and ye windowes were of glasse yellow in canopies with redde and blewe in ye little lights thereof. Ye floore was of tileis red, with shields and ornaments in yellow likewise."...=

EXISTING DATA

(_a_) As an integral part of the Church the probabilities lie in the direction of the use of Bere's own master-masons for this work, and the choice of the customary English style seems to follow. 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 necessary, since Leland records the fact that Bere strengthened the central tower by the addition of the "St. Andrew's" arches beneath it (see Plate III).

(_b_) The fragments of window-tracery already referred to as having been found on the site are English in character.

WORKING HYPOTHESIS.

_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 crossing, and as a covered approach to the Chapel of the Loretto, erected by Abbot Bere on a site adjoining the north side of the nave, but not attached directly to same, and that this cloister was built in the later English style in which his own masons were expert._

ENVOI

THE LAMPLIGHTER

One by one, along the crowded street
The footsteps falter, and the stillness grows
Oppressive as the sudden hush that falls
In shaded chambers whence a life has flown.
One by one, the ruddy windows fade
To utter darkness, while behind closed doors
The voices cease, and all the shadowy night
Broods o'er a city of the seeming dead;
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 unfamiliar. He that lit
The starry welcome now is seen no more.
His light extinguished and his duty done,
He peaceful sleeps within his silent home.
We see him not; and yet perchance he hears
In dreams our echoing voices as we pass
Athwart his shuttered windows--hears us bless
The light he lighted, gleaming through the night
A welcome to the lost and weary; wakes perchance
To murmur, "All is well," then sleeps again.
So may he sleep in peace until the Sun
From which his flame was borrowed wakes the East
To crimson glory, and his glimmering lights
Merge in the splendour of the breaking Day.

JOHN ALLEYNE.

INDEX AND SYNOPSIS

A

Abbey Church, plans, Figs. 1, 3, 12, 15
its total length, 12, 62, 65, 68, 69

Abbots (see Bere, Breynton, Whiting, etc.)
House, 10 ref. and Fig. 9
head (carved), 99 (Fig. 8)

Aisle to north transept (a cloister-alley), 125, 126

Ale, Johannes and the vat of, 89

Aller, John de, 66

Almoner, J. Bryan (lived over the King's Gate), 95

Altar, the High, 45, 56
screen, etc., 51, 56, 58, 77;
its back, with ancient image of B. V. M., 57
sepulchre under, 65

Altars, side, 43

Ambrosius the Cellarer, 66

Andrew, St., Chapel of, 51
Guild of, 100
arches (under tower), 122, 167, and Plate III.

Apse, semicircular, on Phelps' and Warner's plans, 11, 51, 52, 74
polygonal, 57, 61, 73, 74; Figs. 5, 6, 7, and 12; also Plate II.

Arch to Edgar Chapel (antechapel), 43
to end of Quire, 59
relieving, to the north-west angle of central tower, 121

Arches, like St. Andrew's Cross, under tower, 122, 167; Plate III.

Architect of Edgar Chapel (Richard de Tantonia), 67
of Loretto Chapel (Francesco Vecchi), 144, 145, 154
of St. Mark's, Padua (Domenico di Vallera Castiglione), 146

Arimathea, Joseph of, 33 ref.
Convent of (near Guest Hall), 68

Arthur, King: tomb of, 45, 56, 65

Automatism, discussion of, 22

Awfwold the Saxon, 63, 68

Azure glass (vitrea azurea): in script, 37, 72
discovered, 62, 72

B

Bailey, the Inner and Outer, 91 ref.

Bank, on site of the Loretto Chapel, north side of nave, 113, 144,
146, 160, 161, 162

Bards, writings, 87

Barrel vault, in south chantry, 57

Bell-tower, over north-east angle of cloister, burnt, repaired, and
pulled down owing to bad foundation, 88

Benedict (for Benignus), St.: Church of, 98, 100;
gargoyle of, 99 (Fig. 8)

Bere or Beere, Abbot Richard, 4, 35, 44, 45, 47, 54, 59, etc.
arms of, 98;
carved head of, 99 (Fig. 8)
embassy, 111;
notes on, 120
built St. Benignus' Church, 100
Edgar Chapel, 53
Loretto Chapel, 111, 120, 125, 126, 145, 146
claustrum in angle of transept, leading to Loretto, 119, 121
his signature in script, 53
his influence on those coming after, 47-48

Body of Christ (in symbolic lines on floor of St. Mary's), 147

Bones, the stirring of the dry, 21
of Abbot Whiting (collected and buried), 65
of St. Dunstan (held by Glastonbury), 91

Braineton, or Breynton, John of, Abbot, 48
geomancer to the Abbey, 147

Bryan, John, Almoner, 95

Bryant, Johannes, monk, curator of Edgar Chapel, sculptor, mason,
37, 38, 40, 41, 45, 47, 57, 59, 66
child of Nature, 85-97 _passim_

C

Camel, or Camillus, Thesiger--_i.e._, treasurer to Abbot Bere, 125,
127, 149, 151, 166
house of, 164
path used by, 154
tomb in St. John's, 127

Cancellarius (see Chancellor)

Cannon, MS. of John, 113, 114, 117 (Fig. 11), 124

Cannon, sketch of ruins by, 117

Canterbury, pilgrims from, to shrine of St. Dunstan, 91

Capella St. Edgar (see Chapel)
St. Maria (see Chapel)

Cardinal Wolsey: friend of the Abbey, 91
made Whiting Abbot at Oxford, 101

Castiglione, Domenico, 146

Cava Virginis (the apse of the Loretto Chapel), 129, _c_, _e_, _g_;
130, _h_, _j_, _k_; 139, _d_; text, 143

Cellarer: Ambrosius, 66

Cellars of Refectory, 66
of Guest Hall, 67

Chalice Hill, 69
chapel on path to, 69

Chamber, the Great, 94
over King's Gate, 95
to the east of Edgar Chapel, 63

Chancellorium, _in_ (as a Chancery: the purpose of Christ Church Hall,
as built by Wolsey), 101

Changing-room for the choristers, 68

Chantry (south of Quire), 51
south side of Edgar Chapel, 27 ref.
57 (script), 63;
plan, 64 (Fig. 6)

Chapel of Dunstan, St.: in the west (built by Edgar, and rebuilt by
Radulphus), 91
plans, Figs. 12 and 15
in the north (the corner chapel in Fig. 14), 68

Chapel of Edgar, 35, 43, 44, 47, 51, 53, 55, 63, 70-77 (table), 119, 120
plans of, 34, 36, 64 (Fig. 6), 148_a_ (Fig. 12), 153 (Fig. 15);
Plate II. (p. 56_a_)
elevation of, 81
length determined, 63

Chapel of Our Lady of Loretto (site lost): built by Bere,
111;
described in script as being in Italian style, its _locus_ indicated,
and details given, 125, 126, 129-142, 146;
plans, 152, 153 (Figs. 14 and 15); Plate V. (154_a_)
used as a Chapter House by Bere, during repairs, 126

Chapel of St. Mary, 35, 41, 47, 58, 125 (see Retro-Chapel,
Lady Chapel, etc.)
the older Lady Chapel, 47, 50, 78
minor, in retro-quire, 43, 51
present, on site of the primitive church, at west end: plans,
148_a_ (Fig. 12), 150, 153 (Figs. 13, 15)
sketches of, Figs. 9, 10, 11
sacred geometry on floor of chapel, 147, 148
geometric principles of the plan, 150, 151, Fig. 13 and ref.

Chapel of St. Michael in the graveyard (burial-place of Johannes), 97

Chapel of St. Thomas of Canterbury, 114, and Fig. 14 (this is the
inner chapel shown in Fig. 14, the outer being St. Dunstan)

Chapter House: Edgar Chapel so called in Elizabethan record, 12
Loretto Chapel, so called in Cannon MS., 114, 125, 126
Loretto Chapel used as, by Bere, during repair of, 126

Christ Church Hall, a Chancellorium, 101

Church, Saxon (on site of Edgar Chapel within a fort), 63

Church of Ina, 56
of Turstin, 107
the Great (_temp._ Jocelyn), 87,88

Clock (horloge) of Peter Lightfoot, 87

Cloister, the Great, 68, 96
Little, 67, 68
to north transept, 126 and Plate V.
of the North Wind, 146, 151; Plate V.

Community of 347 monks (thirteenth century), 88

Company, the, 21, 87, 88 (brotherhood, 94)

Coney, drawing by, Plate IV.; ref. to, 112, 114, 123

Convent of Arimathea (the little convent), 68

Court, the Great, 147
by the graveyard, 94

Covered walk (Abbot's), 96
ways (see Passages)

Cross in the Zodiac, 147

Crypt under stairs of Edgar Chapel, 40, 50, 53
under New Hall, 68
under nave, 41

Curator capellae (J. Bryant), 38

D

Deep Place, the, 144, 166

Distances, Mystery of the, 147

Di Vallera: Domenico, 146

Door (in east wall), 53 (see Portus)

Drain, the Great, 66

Drawings of Edgar Chapel, 67
of Loretto Chapel, 128-142
geometrical, on floor of St. Mary's Chapel, 147

Ducange, dict. of mediæval and low Latin quoted, 33 ref.

Dunstan, St.: bones of, 91
chapel in the west, 91;
chapel in the north, 68;
chapel at Edgarley, 106 ref.

E

Eawulf, or Eanwulf, Saxon Earl of Somerton (Yarl of Edgarley) 29,
105, 108

Edgar, King (Saint), 4, 44
Chapel of, 4, 8, 9, 28, etc., Plate II. (see Chapel)
for "Edmund," 56, 59

Edgarley, 106

Elizabeth, Queen, 4, 12, 66

Enigmas, Sacred, on floor of chapel, 148

Erasmus (friend of Bere), 122

Ell (measure), 43 (In the script still unpublished occurs an
authoritative statement that the builder's ell used by the monks was
just over 2 feet 4 inches. This makes it identical with the "pace" as
indicated in the statement of length on p. 68, where 733 feet = 311
"passus.")

Excavation of Bere's chapel, 53, 54;
completed, 55, 59
of apse, 62
plan, 64

F

Fannes (fan-vaulting) in Edgar Chapel, 38, 43, 57
in claustrum of the Loretto, 119, 145
in Quire, 59
Glo'ster, 38, 58

Fishponds, the Abbey, 147

Flat fan-vault in apse, 57

Fort or enclosure (Saxon), 63

Foundations of apse, 43, Fig. 6
of Bere's Chapel, 51, 59;
also Fig. 6 and Plate II.
mystery in the, 147

Four Ways, the, 147

Francesco de Padua (Vecchi), 145, 154

Freeman, Professor, quoted, 11

G

Galfrith, Frater, 87

Gallery over entrance to Edgar Chapel, 43

Gallery under great west window, 88
under the great east window of Quire, 57
under west window of Refectory, 96

Gargoyle, the, 99

Garth, upper and lower on north side of church, 144

Gate, to Chalice Hill, 63
King's, 95
Maudlin, 146-147
of Remembrance, 144
St. John's, 127-144
Water, 147

Gatehouse keeper's lodging (in dismantled Chapel of Dunstan), 91

Gematria of the Holy Name in the Greek, 151 ref.

Geometry, sacred, 147, 148, 150

Gifts, spiritual, 22-25 and flyleaf

Glastonbury as a centre of spiritual life, 20
Abbey (see Abbey)

Gloucester Cathedral cited, 27 ref.

Glo'ster fannes, in Edgar Chapel, 38

Gold and crimson roof in Edgar Chapel, 53, 77

Grave, a martyr's, 65

Graveyard, monks', 94, 96, 97
chapel in the, 97

Groin (see Vaulting)

Guest Hall, 35, 67, 90, 96

Gulielmus, Monachus, 33 (signature), 34, 38, 45, 58, 86

H

Hærewith the Dane, 94

Hall, the Great, 90, 91, 94, 96
built by Wolsey in Oxford, 101

Handrail, double, 43, 75

Hearne, Thomas (eighteenth-century antiquary), quoted, 12, 62

Herlewin, Abbot, 107 ref.

Hollar (ditto) quoted, 12, 62
View of ruins in 1655,
enlarged, 116 (Fig. 10)

I

Ibericus, journey of, 102

Imperator (Cæsar), 108

Ina (King), Church built by, 56

J

Jocelyn (Trotman), Bishop of Wells, thirteenth century, 67, 88

Johannes (see Bryant)

Joseph of Arimathea (or of Marmore), 33 ref.

K

King's Gate and Way, 66

Kirkyard, 96, 97

Kitchen, Abbot's (the "grete" kitchen), 67, 94
little (between the Refectory and Guest Hall), 67

Kitchen Court, 95

L

Lady Chapel at east end (older), 11
with angular end, 47
Monington's, 50, 51 (see Phelps and Warner)

Lady of Loretto, 119

Lapidator (= stonemason) (J. Bryant), 38

Lay-brothers' House, 96

Lay-Chamber, 96

Lead roof on Edgar Chapel, 55

Leland's _Itinerary_ quoted, 4, 9, 111, 123

Life, Universal (mention in script), 97

Lightfoot, Peter (maker of the clock), 88

Linea bifurcata (Joseph of Arimathea's sepulture), 33 ref.

Lions of Arthur's Tomb, 57
of Loretto Chapel, 131, II. _b_; 133, II. _g_; 137, III. _a_;
141, IV. _c_; 142; text, 143, 146 ref. 1

Lobby to Loretto Chapel (with round vaults), 151

Lobinell Hist. quoted, 35 ref.

Lodge over the Chalice Gate, 63

Loretto, Chapel of, 111, 125
documents, 111-118
script, _re_, 119 _seq._
dimensions (40 × 21 feet), 125
excavation of cloister footings (1911), 118

Lory, John (carver of gargoyle), 100

M

Malmesbury, William of, on sacred symbols, 148

Mark, Chapel of St. (in Padua), 146 ref.

Marmore, Joseph of, 33 ref.

Martyr's grave (Whiting's), 65

Martyri, 35. (Not known to whom this refers, unless to one of the two
Edmunds, both of whom were assassinated. King Edgar died a natural
death.)

Maudlin Gate, 146-147

Measures (sacred), 147, 148, 150, 151 ref.

Melchin, Book of, 33 ref.

Memory, cosmic, 20
universal (in script), 97

Merlins, the British, 87

Michael, Chapel of St. (since discovered), 97

Monington, Abbot: lengthened Quire about 1334, 58
modified retro-quire and chapel, 50

Multipartite vaulting (Whiting's work), 35, 38

N

New Hall, 68

North porch, 125, 146
passage through, 125

O

Organs on screen and in chapels, 88, 89

P

Padstow (Cornwall), 103

Padua, Bere's journey to, 120, 121, 143
Francesco de, 145, 154, 166
Chapel of St. Mark in, 146, 166

Panellae (panels), 43
in east window, 57
in Quire, 59

Parapets of Loretto Chapel, 133, II. _e_, _f_; 135, II. _g_; 137, _b_

Parker, James, quoted, 10

Parlour, Monks', 68

Passages, secret, 53, 63, 66

Passage, timber, to Saxon Church, 56
paved, in inner court, 95

Passus (paces), 68, 69
(_a_) Mediæval, of 1 foot 7·44 inches (or 1·62 feet)
(_b_) Romano-British, of 2 feet 4-1/4 inches _circa_
NOTE.--The Greek and Roman foot, on which the last is founded,
appears in these islands in early monuments such as Stonehenge, as
well as in mediæval work. It varies from about 11·52 to 11·74
inches (see Flinders Petrie's _Inductive Metrology_, p. 109 for
English mediæval units; p. 118, Stonehenge (11·54 inches); p. 138,
Rome and Mediæval England (11·52 to 11·74 inches); also synoptic
table, p. 142_a_; England 11·6, England, Italy, and Roman Colonies,
11·525 to 11·68 inches).

Patellae (plaques), in Loretto Chapel, 135, II. _h_

Phædrus (Phocis), voyage of, 103

Pilgrims' processions, 88, 91 Way, 125

Pillars over buttresses (Loretto Chapel), 135, _h_

Polygonal apse, plan published before discovery, 61
foundations discovered, 62, 64 (Fig. 6)

Ponds of abbey, 146

Portus introitus (door in east wall of Edgar Chapel), 35, 53
(door to Loretto Chapel), 126 (west door); 129, I. _e_, _g_;
133, II. _d_; 139, III. _e_, _f_

Priests' houses, 146

Prior's Chapel, 147
Lodgings, 66, 67

Processional path and doors, 56, 58, 65

R

Radulphus (Ralph), FitzStephen, chancellor, and builder of the Abbey
Church, 91, 106, 108
FitzHamon (Norman knight, _temp._ Turstin, 1089 _circa_), 108

Rebus of Abbot Bere, 100

Refectorium, 67, 68
cellars of, 66
misericorde, 96

Reginaldus (_ob._ 1214), 46, 58
Bishop of Wells (twelfth century), 46

Relics, where kept, 144

Ribs of vault to Loretto, carved with fruit and flowers, 141, _b_; 142

Richard de Tantonia (architect of Edgar Chapel), 67

Robert (_anno_ 1334), 48

Rolf, Monachus, 35, 38

S

Saint Andrew, Chapel of, 51
guild of, 100
Bridget, 46
Benedict (or Benignus), 98
Church of, 100
Edgar (King), 35, 44
John's Gate, 127, 144
Mary, Chapel of (see Chapel), 41, 51, 56, etc.
Michael in the graveyard (burial place of Johannes), 97
Patrick, 46
Thomas of Canterbury (site of his Chapel), 114

Schola, the (the Abbey School), 68

Screen, the great (on which was the Quire Organ), 89
behind altar and reredos, 65

Screens in Guest Hall, 90, 91

Script, notes on, 26
errors in, 26-30, 68, 69
"Latin" in, 31

Scriptorium of Abbey, 68

Somerset, Lord, 66

Somerton, Eanwulf, Earl of, 106

Squares (symbolic) in sacred geometry on floor of Lady Chapel, 148, 150
general system of in plan of monastery, 148_a_ (Fig. 12)

Stables of Abbey (near Guest Hall), 67

Stairway to Edgar Chapel, 43

Steps in marble to Edgar Chapel, 43
four or six from Loretto to the transept aisle, 126
four from St. Mary's Garth to the Relics Chapel, 144
four from aisle up to transept, 146, 151
from "vetusta ecclesia" to Ina's Church, 56

Steps from great cloister in south-east corner, XII. down, and IX. up,
to back parts of monastery, 68

Stillington's Chapel at Wells, 44

Stukeley's panorama of ruins, 115 (Fig. 9), 160

T

Taunton, Abbot's bones secretly brought from, 65
Richard de (architect), 67, 69

Thesiger, Camillus, 126, 127

Tintagella settlement, 103

Towers, western, 46

Tower, central, 41, 87
bell, 87, 88

Triangles (symbolic) in floor of Lady Chapel, 148
double, in plan of Lady Chapel, 148

Turstin, Abbot, 106, 108
church built by, 105, 107

V

Vallera di, Domenico, 146

Vault, sepulchral, under High Altar, 65
under halls, 66, 67, 68
under central tower and nave, 41
under stairs of St. Mary's (Galilee), 41

Vaulting (volt), quadripartite, 35
multipartite, 35, 38
fans (old style) at east end of Quire, 38
panelled, in Edgar Chapel (fans), 43, 57
fans in claustrum north side of nave, 119
with gilt roundels, 120
barrel section (to chantry chapel), 57
cracked, under central tower, 121, 122
Italian pattern, to Loretto Chapel, 126, 141, 146

Vecchi, Francesco (di Torcello), 154

Vesica Piscis (sacred symbol, containing the double equilateral
triangle, found in plan of St. Mary's Chapel), 150 (Fig. 13), 151 ref.

Vestibule (Italian), to Loretto Chapel (the cloister open to the north
wind), 146, 151

Vineyards, the Abbey, 146

Virga (a yard), 36, 37

Virgin, ancient statue of (at back of altar-screen), 57
and Child in canopied niche over High Altar, 65

Virginis, Cava (apse, or recess of circular form in the east wall of
the Loretto Chapel, as indicated by script), 128-140, 143

W

Walls at an angle, 40, 41, 44, 51, 59, 64 (Figs. 5, 6, and Plate II.)

Warner quoted, 7, 11, 74
plan of older Lady Chapel, 51, 52

Watchers, the, 93

Watergate, 146-147

Wattlework (Saxon), 63, 65

Ways, the Four, 147

Well of Abbey, filled, 95
chamber in court, 94

Wells, Bishop of, 46, 87
chapel at, 44
Cathedral cited, 44, 88

Wells Lady Chapel, 73

Whiting (Whyttinge), Abbot, 4, 35, 37, 55 (signature), 57, 65, 70,
72, 101

Wild, plan by, 13, 16, 40

Willis, Professor, quoted, 7-12, 15, 16
plan by, 9 (Fig. 1)
of retro-chapel, 51, 53

Window, great east; 57;
originally straight, 47;
with balcony under, 65;
lengthened and rebuilt, 58
great west, with gallery under, 88

Window, transomed, in Edgar Chapel, 37
six, in Great Hall, 90, 91

Window, marked with cross (old shrine of Edgar), 44

Windows, three, in apse of Edgar Chapel, 57
three, in claustrum chapel, north side nave

Wolsey, Cardinal, 91, 101

Wyrcestre, William, quoted, 14, 69
reviewed, 13, 14

Y

Yseuguilt (Yseult), Princess, 103

Z

Zodiac (in the floor of St. Mary's Chapel), 147

BILLING AND SONS, LTD., PRINTERS, GUILDFORD, ENGLAND

THE GATE OF REMEMBRANCE

A series of Seven Musical Impressions for
the Pianoforte, by the English composer

CARLYON DE LYLE,

based upon episodes in the life of Johannes,
the monk of Glastonbury, as given in the
well-known book of the same name, being

"MAGNUS ALBUM," No. 37

Published by SWAN & CO., 312, REGENT STREET,
LONDON, W.

_May be had of all Music-sellers_

Price 2s. net

_First edition, February, 1918_
_Second edition, July, 1918_
_Third edition, March, 1920_

* * * * *

Transcriber's Notes.

Obvious typographical errors have been silently corrected.

Hyphenation has been standardised, but other variations in spelling, punctuation and accents remain as in the original

For the sake of clarity, the advert for The (musical) Gate of Remembrance has been has been moved from the beginning to the end.

The "Table of Veridical Passages" and "Table of Data and Constructive Argument" are three column double page spreads in the original, linking Script, Existing Data and Working Hypothesis. These sections are now sequential to conform with width restrictions.

Footnote 6 refers to a non-existent flyleaf.

Italics are represented thus _italics_ and bold thus =bold=.

End of Project Gutenberg's The Gate of Remembrance, by Frederick Bligh Bond