A limited excavation was undertaken in the Roman reservoir beneath the medieval King's Bath which lies in the centre of Bath. The reservoir had been partially cleaned in 1878 but the lower filling remained in position. Structural details were recovered, sufficient to show the different stages in the reservoir's construction: part of its vaulted roof, added later, was also found. The finds included coins, pewter curses, silver and pewter vessels and other trinkets dedicated to the goddess Sulis Minerva. The subsequent development of the site from the medieval period to the nineteenth century is briefly noted. Future work on the temple precinct beneath the Pump Room is outlined.

The third and fourth seasons of excavations at St. Oswald's Priory, Gloucester, have led to the discovery of two further pre-Conquest building phases, including evidence of a separate building to the east of the ‘New Minster’ founded by 909. It has also been established that the church occupies the site of a late Roman cemetery.

Part of a decorated standing stone cross was found built into the early tenth-century church, and a report is provided on a carved slab from an early tenth-century context. A summary of the evidence from the Saxon grave-yard is given. The parish of the ‘New Minster’ and Free Chapel Royal is plotted and its origins discussed.

In July 1978 the main burial vault of the Roper family in the medieval chantry chapel of St. Nicholas at St. Dunstan's church, Canterbury, was opened to enable a complete record of its contents to be made by members of the Canterbury Archaeological Trust. This marked the 500th anniversary of the birth of the martyr Sir Thomas More (related by marriage to the Roper family), whose head was believed to be contained in the vault.

Innumerable panels of Flemish glass of the late sixteenth/early seventeenth centuries survive in England and on the Continent. This paper describes and catalogues over seventy glass-paintings, deriving from the Mannerist-influenced religious paintings of the Netherlandish artist Marten van Heemskerck (1498–1573), found in parish churches and secular buildings in this country. Thomas Kerrich, F.S.A., compiled an incomplete catalogue of the engravings of Heemskerck's work from which the glass-paintings were copied. Published posthumously in 1829, it now forms part of the list of glass-paintings in this paper.

Baroque artists were so concerned at the changeability of contemporary fashion that they employed Roman, Arcadian and informal dress in portraits in an attempt to be timeless.

St. Paul's is a post-Reformation cathedral, built on a pre-Reformation plan; designed for Anglicans, re-planned for Evangelicals, and then re-decorated for Anglo-Catholics. Hence the complexity of its architectural history. This article examines Wren's unfinished legacy, and discusses the many schemes to complete the cathedral's decoration, beginning with Sir James Thornhill and ending with Sir William Richmond. Central to its theme are the decorative proposals produced between 1870 and 1874 by William Burges (1827–81). Public outcry prevented the implementation of Burges's plans for a full-scale programme of marble and mosaic decoration. Nevertheless, his schemes formed the basis of the cathedral's eventual refurbishment during the 1890s.

The Society's library has grown considerably in size and stature during the 270 or so years of its existence. Reflecting as it does the tastes of the Fellows, many of whom have been bibliophiles both as collectors and writers, it has inevitably acquired by various means a large number of early printed books. Exactly how many was revealed when a shelf list of those published before 1700 was prepared in 1967. Of those fifty-one are incunabula, and they were thought to be of sufficient interest to be published in this extended list for the benefit of Fellows in general and bibliophiles in particular.

The three bronze fragments from Lezoux belong to a particular type of cult-wagon manufactured in central Italy in the seventh century B.C. Their presence in Lower Auvergne, together with other largely contemporary Italo-Etruscan bronzes, suggest that they are a result of a commercial exchange in return for tin ores. Such trade links between France and central and northern Italy were close and continuous in the centuries preceding the foundation of Massalia by the Phocaeans in c. 600 B.C. The cult-wagon from Lezoux is a particular central Italian creation drawing on a variety of Urnfield decorative techniques and symbolic motifs from eastern and central Europe. Whether or not the wagon was used at its ultimate destination for the cult practices intended by its creators remains open to debate.