III. _b_, More parapets, this time partly of a Florentine pattern. Whether these are meant for a more detailed study of the undulations previously shown, or are some in a special position, does not yet appear. The little "angels" seem to be connected with them. III. _c_, Probably meant for one of the heads of the side-windows in the Chapel. There is clearly a semicircle at head, and there appears some sort of filling like open scroll-work. No English precedent of this date is known to the writer. [Illustration: PLAN F.] DESCRIPTION OF PLAN G. III. _d_, Another sketch of the "Cava," with the description of the treatment of its recess: "Golden stars on azure, at the back of the Virgin's Hollow"; and it proceeds: "Ad orientem, in cava Virginis Mari(a)e Lorettae quod ... ad ecclesiam ... via claustra ad eccl^m ... ad orientem ... ad ecclesiam" (To the east, a covered way, or cloister, leading to the church). III. _e_, Again a plan of the east end of the Chapel, with the door marked "portus," and a line going east. III. _f_, The "via claustra" shown from the Chapel to the "ecclesia." [Illustration: PLAN G.] DESCRIPTION OF PLAN H. IV. _a_, "Chapel is forty (in) feet by twenty." Then follows an elevation of one side showing the round heads of the windows connected by a string-course, and the writing "forty feet, four parts." IV. _b_, Sketch of a rounded vault, its groin carved along the whole length. Described thus: "Volt of fruit and flowers painted very cunningly. Ye ribs of volts ycarven so." IV. _c_, Small sketch of one of the sitting lions at the angle of the Chapel, with one crenelle of the parapet adjoining. Described thus: "Ye Leones cornerwise, and thre(e) between. The partitions were 10 feet, forty in length and twenty wide," with round vaults: ribs carven with fruit and many colours. [Illustration: PLAN H.] [Illustration: PLAN I. IV. _d_, Another sketch of a sitting lion.] REVIEW. It was with a sense of astonishment that, after so great a lapse of time, this interesting communication, so voluminous in detail, and, so apparently explanatory of doubts and difficulties in connection with the obscure problem of the Loretto Chapel, should have presented itself unsought, unexpected, 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 islands, and probably without parallel in Northern Europe.