seems to be some confusion between this chapel and the neighbouring Chapel of Adam, to which the same dedication is assigned'. The lower story (53) of the porch is converted into a chapel of the fourth-century saint called Maria Egyptiaca.

Having now described the chapels of the mezzanine floor, it remains to examine the vaults below them. Of these, the southern vaults (51, 52) were apparently never used as chapels; but the northern vault (47) has been already mentioned as the Chapel of Adam. A little consideration will shew that this chapel is placed immediately beneath the western brow of the rock, near the margin of which above, is the so-called foot-hole of the Cross. This is best seen in the section, Fig. 10; and in the general plan of the Church, Plate 2, the position of this hole is marked with a circle. The chapel has an apse at its eastern extremity, and the apse is described by all travellers, ancient and modern, as being hewn out of a rock and not constructed of masonry. Moreover, there is a fissure in the face of it, which also appears in the rocky surface above, close to the south side of the foot-hole. This fissure is of course appealed to as having been formed when "the rocks were rent" at the Crucifixion. It is easy to see that this projecting rock must have been artificially squared on its western face, which contains the apse, and also on its northern and southern faces; so that if the buildings were

To a much later period belong two similar stations, which are, or were, marked in the pavement by circular stones, the one in the south apsidal chapel (5) of the Rotunda, said to be the spot where Mary Magdalene and others "beheld where He was laid," the other in the aisle of the Rotunda

(68), opposite the Stone of Unction, where the "acquaintance and the women stood afar off beholding." (Qua resmius, T. 1. p. 496.) They are not mentioned by any early writer.

This is exhibited by means of a hole left for the purpose in the pave

ment.

removed, it would now appear like a wedge, rising gradually from the east; and bounded by these artificial vertical surfaces on the three sides of its western extremity. This shall be examined presently, when the description of the buildings has been concluded. In the middle ages, the term Calvary was applied to the entire surface of this hill, extending from the place of Crucifixion to the Chapel of St Helena and of the Invention; but the term Golgotha was limited to the spot immediately below the western brow of Calvary, which we are now considering, or at least only included in addition the upper edge of this brow, where the Cross was planted. The chapel is said by Quaresmius to have its vault decorated with mosaic work, and its pavement with marble slabs and tesselation. There is a small altar in the apse. Bernardino denominates it the Chapel of Godfrey, from one of its most remarkable characteristics, namely, that it was chosen as a sepulchral chapel by the first Crusading kings of Jerusalem3, who thus chose their resting-place at the foot of their Saviour's Cross. The tomb of Godfrey de Bouillon, the first king, stood at the entrance of the chapel (48) against the north pier, and

The expressions made use of by Will. of Tyre shew that, in his time, the term Golgotha was restricted to the lower ground immediately in front of the Rock upon which the Cross was fixed, to which the term Calvary was appropriated. King Baldwin...“ sepultus est inter prædecessores suos piæ recordationis Reges sub Monte Calvariæ ante locum qui dicitur Golgotha." W. Tyr. Lib. x111. p. 851; also Lib. 11. p. 816. Sawulf also mentions "Mons Calvaria ..subtus est locus qui Golgotha dicitur." The dedication or title of this

chapel is somewhat uncertain. Arculfus alludes to it, but gives it no name; but Epiphanius tells us that "Beneath Calvary is the church and tomb of Adam," and Quaresmius calls it the Chapel of Adam. The name has reference to a strange, but early, tradition that Adam was buried under Mount Calvary. This tradition is mentioned and condemned by Jerome, (Comm. in Matth. Lib. 1v. c. 27,) and other early ecclesiastical writers. But the pilgrims Breydenbach, Zuallardo, and Cotovicus, not

the tomb of Baldwin I. (49), his brother and successor, exactly similar to it, against the south pier. Other kings were entombed against the south wall of enclosure of the choir. But these sepulchral monuments were subsequently defaced and injured by the Charizmians in 1244, as already described; and by the Greeks1 because they commemorated Latin sovereigns; and it seems that, in the late restoration, they have been wholly destroyed or obliterated, from a similar motive 2.

In the pavement of the South transept there is a remarkable stone (50) fixed, not in the middle of the transept, but rather opposite to the middle of the present entrance-door. This, which appears simply to have been an ordinary marble slab, probably the

only say that the head of Adam was found here, but some (as Bernardino) would have us believe that it is still to be seen in the fissure of the apse. In the Greek Pilgrim's Guide it is termed the Chapel of St John Baptist, and of Adam. Breydenbach, the Count of Solms, (1483,) and others, denominate this the Chapel of the Virgin Mary and St John. Zuallardo, the Chapel of St John the Evangelist and of the Unction; and Cotovicus, the Chapel of St John the Evangelist. Remembering the prominent position which the Virgin and St John occupy in all mediæval representations of the Crucifixion, in which they are always placed one on each side of the Cross, we need not be surprised to find a chapel dedicated to them immediately at the foot of the Cross.

Quaresmius, 483.

2 See De Géramb's Pilgrimage, which contains a good account of the fire and its consequences. The best representation of the two monuments

of Godfrey and Baldwin is given by Zuallardo. They were alike, with the exception that the first had twisted columns, and the second, plain, and the design consisted simply of a roofshaped stone of fine porphyry, with vertical gable ends, and ornamented on its edge with carving and moldings. The inscription was placed on the sloping surface. The stone is supported upon four dwarf columns, two feet six inches in height, which rest on a base or plinth of marble, about a foot high, of the same horizontal dimensions as the upper stone, that is to say, eight feet by four. Within the chapel, on the right hand of the entrance, is a sarcophagus of white marble, which the Greeks say is the tomb of Melchisedech. The screen-wall, which contained the door of this chapel, projected into the south transept, so as to enclose the tombs of the kings, as shewn by the dotted lines in Plate 2.

covering of a grave, from its dimensions (about six feet by three3), has been raised to the dignity of the Stone of Unction, upon which they say the Lord's Body was laid when it was taken from the Cross and anointed. It is said to be a green-coloured stone, but a slab of white marble has been cemented upon it, to protect it from the depredations of the pilgrims, and borders of mosaic work set round it, with an iron railing and candlesticks. It is the first object that meets the eye upon entering the church.

The earliest mention of the place of Unction is by Sawulf, who says that "close to the place of Calvary is the church of Sancta Maria in the place where the Lord's Body, when taken down from the Cross, was wrapped up in a linen cloth with spices." He fixes this church or chapel in the atrium of the Rotunda on the East side, to distinguish it from those on the West side.

This church of St Mary therefore must be the small oratory over the place of Unction which is mentioned by William of Tyre, and also the quadrangular church of St Mary which Arculfus places in contact with the right (South) side of the Rotunda. As the Crusaders found this station established as one of the Holy Places, they probably did not essentially alter its position, and we may infer that the Church of St Mary stood on the site of the present South transept. The place is first mentioned as a stone (a black stone) by Rudolph von Suchem in 13364. But it seems that a purplish stone, said to have been employed for the same purpose, had been long preserved at Ephesus, from whence it was conveyed to Constantinople by the Emperor Manuel

Palmi otto lungo e quattro largo. (Bernardino, p. 32.)

Reyssbuch der Heil. L. p. 844.

(c. 1150)1. The present stone is probably a pavingstone originally laid over some spot of the rock that became reputed as the "locus Unctionis," and subsequently the stone itself became covered up with another stone to preserve it2.

The South or principal entrance-front of the Church, which is, as we have seen, the wall of the South transept, has been so repeatedly drawn and engraved of late years by competent artists, that its appearance has become familiarised to us all. It is a pointed Romanesque composition, which derives a peculiar character from its being attached to a flat-roofed building. The lower story is occupied by a wide double doorway with detached shafts supporting carved and molded arches, with a sculptured hoodmold. The outer order of voussoirs has a radiating ornament, which occurs, amongst other examples, in the Church of the Martorana in Sicily. The second order of voussoirs is richly molded, and the inner shafts carry a transom ornamented with sculpture. The western door (56) is the only one that remains open at present, the eastern (55) has been walled up, apparently ever since the Mohammedans expelled the Crusaders.

In the upper story are two rich windows, of similar decorations to the doorways below. But their arches

1 Nicetas, Lib. VII.; Quaresm. p. 493; Du Cange Constantinopolis Christiana, p. 81, Lib. IV. He placed it in the church of the Pantocrator at Constantinople, and near his own sepulchre.

2 The place, according to Quaresmius, was in the sixteenth century still ornamented with a rich mosaic work, and the stone itself was of a greenish colour. Breydenbach does not allude

to the Unction, but in stead mentions a place, marked with a white stone, where the Mater Dolorosa sat, with the dead Body of her Son in her bosom taken from the Cross. But his cotemporary, Fabri, describes, in his peculiar way, his horror and remorse at discovering, upon his first entry into this Church, that he had inadvertently trampled upon the stone of Unction.