This statement is now sufficiently explicit. It is possible to form a plan (see Figs. 15 and 16). The little cloister alongside the wall of the transept forms a western aisle to the same, covering one bay, whose width is known to have been 22 feet nearly. At this point it merges into a lobby or vestibule, at or near the foot of a fair-sized turret which stands at the north-west angle of the transept. This lobby has doors on all sides--(1) south, from the cloister communicating with the nave; (2) north, to the upper garth, and the path used by Camel the Purser, who lived in High Street; (3) east, and up the steps through the transept wall, into the transept itself; and (4) west, into the short corridor of 10 feet leading to the Loretto Chapel. [Illustration: FIG. 15.--THE NORTH TRANSEPT, SHOWING THE "CLAUSTRA" ALONG THE AISLE, THEN THE LOBBY, WITH ITS FOUR DOORS, AND THE LORETTO CHAPEL TO THE WEST.] [Illustration: FIG. 16.--GLASTONBURY ABBEY: COMPLETE PLAN, SHOWING ALL THE PRINCIPAL FEATURES MENTIONED IN THE SCRIPT.] A final question was asked, and the result is interesting, as the question was a mental one, asked by F.B.B., not written nor communicated to J.A. by any ostensible means. F.B.B. formulated the question in his mind thus: "What was the surname of the Paduan architect Francesco?" Answer: "_Vecchi._--_Francesco di Vecchi._"[60] [60] A name unknown to us in this connection.--F.B.B. A letter received by F.B.B. from an Englishman living in Venice (dated April 19) gives the following extract from the "Curiosita Veneziane" (Giuseppe Tassini, Venezia, 1887): "_Vecchia_ ... Stefano della Vecchia. Il cui padre Venturino era stato approvato cittadino originario il 29 Octobre 1629 apparteneva alla famiglia Della Vecchia, la quali venne dal territorio di Bergamo, ed era detto da principio, Cornovi. "... Un Antonio di questa famiglia il cui figlio Zaccaria fu _Vescovo di Torcello_, comperi in 1565 un nobile palazzo sulla Fundamenta della Madonna dell'Orto." This not being quite as clear as was wished, the question was repeated, and the reply came as follows: "VECCHI _di Torcello in Italia_." [Illustration: PLATE V. CONJECTURAL RECONSTRUCTION OF THE NORTH TRANSEPT, WITH THE "CLAUSTRUM" ATTACHED On the left, under the turret, is the open vestibule, leading to the Chapel of the Loretto (on extreme left). _To face page 154._] CONCLUSION So ends the "Loretto Chapel" script, with a series of precise and categorical statements, offering no means of escape from the final alternative of truth or falsehood, fact or fiction. This situation will be clear to the reader, as it is to the writer of this narrative, who, for the reasons now about to be given, entertains no misgivings as to the course he has taken in publishing it.