The whole chapel of the Apparition is the chapel of the Latin convent of the Franciscan Friars, and is fitted up with seats as a choir for them. Their dwellings are immediately in contact with the northern and western sides of it, as the Plan shews. They took possession of this locality in 12571, but were not fully established until 1342, when permission for their residence was obtained of the Sultan, at the intercession of Robert, king of Sicily, and his queen. The Greeks had previously established themselves in the large church, of which they have retained their hold to the present time2.

But to return to the square vestibule of this chapel. On its East side was a small chapel of St Mary Magdalen, fitted up in what appears to have been originally a doorway (17), and has in the late repairs been made to return to that purpose. Next to this follows an arch (18), which opens to a long corridor (21) running Eastward and in contact with the North transept of the great Church, but evidently belonging to an earlier period, for it has pillars and arches on its Southern side, the spacing and arrangement of which are totally at variance with those of the greater building with which it is in contact. This appears at once by the plan, and there can be little doubt that this is the remains of a cloister which bounded the open area upon

which the Crusaders' choir and central cupola was afterwards erected. This cloister leads to a small, low, dark apartment (23), wherein our Saviour is reported to have been confined during the preparations for the crucifixion, whence it is called the Prison of Christ. The earliest writer that notices this prison is Sæwulf (A. D. 1102), who, enumerating the Holy Places which are to be seen in the atrium of the Church, mentions the "prison where our Lord was confined, according to the Syrian tradition;" and the next is Epiphanius, a Syrian monk, whose description of the Holy Land is of uncertain date, but apparently about the end of the twelfth century. This prison however is not alluded to by any other authors of this period. In the sixteenth century and afterwards it becomes one of the ordinary stations. It is needless to add that there is not the slightest ground in Scripture, or even in probability, for supposing that such a prison was employed.

It is of an irregular form, nineteen feet long, and in width sixteen feet at the West end, and eighteen at the East. It is only eight feet in height3, is three steps below the level of the corridor1, has no window, and is described as being excavated in the rock :-I presume only the lower part of it, which, as Zuallardo tells us, seems to have been intended for a reservoir of water. Its roof is supported by two rude pillars which divide it into three aisles as it were, and an altar is fixed against its eastern wall.

The southern chapels, (65, 62, 61), which stand directly opposite to the Chapel of the Apparition, are in

3 La volta è alta da terra palmi undici. (Berno. 31.)
* Cotovicus, p. 161.

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number three, and these are placed in a series; they have polygonal Greek apses, and their doors were so arranged that in the original state of this Church, as Sæwulf describes it, a person standing in the last or most southern chapel could see through all the five chapels in order from door to door, reckoning in the five the Rotunda, as well as the three southern chapels, and the northern Chapel of the Apparition. This account is perfectly consistent with the plan, which shews, supposing the doors to be now open, that a straight view might be obtained in the manner described1.

The middle of these chapels (62) is named the Church of the Trinity both by Sawulf and the writer in Beugnot, and both mention the baptismal font which it contains; the latter adding that all the women of the city were married in this Church, and all the children baptized there. Afterwards it became the Chapel of St Mary Magdalene, and is thus mentioned by W. Wey in 14472, and by Saligniaco, Breydenbach, Quaresmius, and others. It is now the parish-church of the Greeks, and called the Church of the Ointment-bearers, that is to say, of Mary Magdalene and her companions3. In the Pilgrim's Guide it is marked as the "Church of the Resurrection." The font (63) is indicated in the Plan in the latter volume.

The Chapel to the south (61) is termed by Sæwulf the Chapel of St James, as also in the Greek plan in the Pilgrim's Guide. It appears to be only parted off from the chapel of St Mary Magdalene, and is therefore not mentioned by many writers. Quaresmius describes the latter chapel as having on each side altars of St Nicolas and St Andrew, and adds, that some have held that St James, the first bishop of Jerusalem, called the brother of our Lord, celebrated mass and was consecrated here.

The remaining chapel (65) of this group, which lies between the chapel of St Mary Magdalene and the south wall of the Rotunda, is, in fact, the lower story of the campanile of the church. Sewulf mentions it as the Chapel of St John, and in connexion with the Chapel of St Mary of the Apparition, which is placed in a similar manner on the north side of the Rotunda. He supplies a key to the arrangements by saying, that even as S. Mary and S. John stood on either side of our Lord during his passion, so are their chapels placed on each side of the church. It is also called the Chapel of St John the Evangelist, and of the Forty Martyrs, in the Pilgrim's Guides. Other writers term it simply the campanile.

This campanile, which seems to be gradually falling to decay, was a noble tower of five stories. Unfortunately, the drawings which are given by Breydenbach, Zuallardo, Bernardino, and Le Brun, differ so absurdly from each other in many respects, that it is scarcely credible that they are intended for the same object. The three lower stories still exist, and have been sketched by Roberts and other modern artists, from whose representation it appears that the arches of the windows are pointed. The lower story has been just described as the Chapel of St John, with a polygonal apse; the next story had on the sides that were free from buildings a single pointed arch, the space of which was occupied by three subordinate arches and a quatrefoil opening over them in the usual Romanesque manner. This arch is shewn in the modern sketches, but is walled up, so that the description of the filling-up is, in fact, conjecturally supplied from Bernardino and Zuallardo; the third story1 rises clear of the roof, and has two plain pointed windows on each face, which still remain: the eastern face has shafts. The fourth and fifth stories have fallen down, but were standing in 1678, when Le Brun's sketch was made. The fourth had two large arches on each face, each arch being subdivided into two, which rested on a single shaft in the middle, and had a quatrefoil over. The fifth story had each face divided into three arches, of which the side ones were panels only, and the middle was open as a window, and was subdivided by a shaft like the arches of the fourth story. Breydenbach (1483) represents the tower complete with a corbel-table, a parapet rising and falling in steps, and the whole surmounted with a leaden octagon dome, having gables on each face. But whether this is supplied from his fancy, or whether the roof really existed in his time, it is impossible to say. The sketches that succeed Breydenbach's exhibit a gradual degradation. The roof