AT THE END of Sir Thomas Malory's Morte Darthur (completed 1469–70; published 1485) [hereafter Morte], after the wrack and ruin of Lancelot and Mordred's respective civil wars and the internecine strife in the wake of the Grail Quest, Guinevere, hearing that Arthur has died, seeks refuge in an abbatial convent at ‘Amysbyry’, or Amesbury. She takes vows there to become a Benedictine nun, wearing ‘whyght clothys and blak’ (2.929), and is eventually elected abbess and ruler, ‘as reson wolde’ (2.930). After an uncertain amount of time, she encounters her former lover Lancelot and turns him away, enjoining him to adopt a religious vocation in light of his sin, and while their parting is sorrowful, provoking ‘lamentacyon as they had be stungyn wyth sperys’ (2.934), the queen dies repentant. Malory's rendering of Guinevere's final years is poignant, leaving little doubt as to the authenticity of the queen's devotion, and his version of events is the one that has become perhaps most canonical in the centuries since its composition. The Morte, however, is an exceedingly late medieval account, and its treatment of Guinevere, at odds with a huge majority of the preceding pan-European Arthurian tradition, is derived in large part from Malory's principal English source for the latter part of his text, the anonymous fourteenth-century stanzaic Morte Arthur [hereafter sMA]. Guinevere's moral rehabilitation at Amesbury, in fact, is a detail seemingly original to the sMA, and although scholars have offered fruitful examinations of the textual convent in reference to the Benedictine monastery and later dependent Fontevrault priory located in the historical town of Amesbury, the site's particular associations and resonance within the Arthurian literary tradition have gone unacknowledged in any substantial detail. Amesbury is an important site of transformation in the Brut tradition that descended from the earliest dedicated chronicle account, Geoffrey of Monmouth's Historia Regum Britanniae (History of the Kings of Britain) [hereafter Historia] (c. 1136–38), and the fact that the poet of the sMA, and later Malory, utilizes Amesbury as the location of Guinevere's redemption strongly suggests an intertextual link from within the established Brut tradition that introduces a thematic valence of mourning turned to celebration for the queen in these later texts.