The nave he had drawn was high, impossibly high. But a cathedral had to be a dramatic building, awe-inspiring in its size, pulling the eye heavenward with its loftiness. One reason people came to them was that cathedrals were the largest buildings in the world: a man who never went to a cathedral could go through life without seeing a building much bigger than the hovel he lived in.

Unfortunately, the building Tom had drawn would fall down. The weight of lead and timber in the roof would be too much for the walls, which would buckle outward and collapse. They had to be propped up.

For that purpose Tom drew two roundtopped archways, half the height of the nave, one on either side. These were the aisles. They would have curved stone ceilings: since the aisles were lower and narrower, the expense of stone vaults was not so great. Each aisle would have a sloping lean-to roof.

The side aisles, joined to the nave by their stone vaults, provided some support, but they did not reach quite high enough. Tom would build extra supports, at intervals, in the roof space of the side aisles, above the vaulted ceiling and below the lean-to roof. He drew one of them, a stone arch rising from the top of the aisle wall across to the nave wall. Where the support rested on the aisle wall, Tom braced it further with a massive buttress jutting out from the side of the church. He put a turret on top of the buttress, to add weight and make it look nicer.

You could not have an awesomely tall church without the strengthening elements of aisles, supports and buttresses; but this might be difficult to explain to a monk, and Tom had drawn the sketch to help make it clear.

He also drew the foundations, going far underground beneath the walls. Laymen were always surprised at how deep foundations were.

It was a simple drawing, too simple to be of much use to builders; but it should be right for showing to Prior Philip. Tom wanted him to understand what was being proposed, visualize the building, and get excited about it. It was hard to imagine a big, solid church when what was in front of you was a few lines scratched in plaster. Philip would need all the help Tom could give him.

The walls he had drawn looked solid, seen end on, but they would not be. Tom now began to draw the side view of the nave wall, as seen from inside the church. It was pierced at three levels. The bottom half was hardly a wall at all: it was just a row of columns, their tops joined by semicircular arches. It was called the arcade. Through the archways of the arcade could be seen the round-headed windows of the aisles. The windows would be neatly lined up with the archways, so that light from outside could fall, unobstructed, into the nave. The columns in between would be lined up with the buttresses on the outside walls.

Above each arch of the arcade was a row of three small arches, forming the tribune gallery. No light would come through these, for behind them was the lean-to roof of the side aisle.

Above the gallery was the clerestory, so called because it was pierced with windows which lit the upper half of the nave.

In the days when the old Kingsbridge Cathedral had been built, masons had relied on thick walls for strength, and had nervously inserted mean little windows that let in hardly any light. Modern builders understood that a building would be strong enough if its walls were straight and true. Tom designed the three levels of the nave wall-arcade, gallery and clerestory-strictly in the proportions 3:1:2. The arcade was half the height of the wall, and the gallery was one third of the rest. Proportion was everything in a church: it gave a subliminal feeling of lightness to the whole building. Studying the finished drawing, Tom thought it looked perfectly graceful. But would Philip think so? Tom could see the tiers of arches marching down the length of the church, with their moldings and carvings picked out by an afternoon sun… but would Philip see the same?

He began his third drawing. This was a floor plan of the church. In his imagination he saw twelve arches in the arcade. The church was therefore divided into twelve sections, called bays. The nave would be six bays long, the chancel four. In between, taking up the space of the seventh and eighth bays, would be the crossing, with the transepts sticking out either side and the tower rising above.

All cathedrals and nearly all churches were cross-shaped. The cross was the single most important symbol of Christianity, of course, but there was a practical reason too: the transepts provided useful space for extra chapels and offices such as the sacristry and the vestry.

When he had drawn a simple floor plan Tom returned to the central drawing, which showed the interior of the church viewed from the west end. Now he drew the tower rising above and behind the nave.

The tower should be either one and a half times the height of the nave, or double it. The lower alternative gave the building an attractively regular profile, with the aisles, the nave and the tower rising in equal steps, 1:2:3. The higher tower would be more dramatic, for then the nave would be double the size of the aisles, and the tower double the nave, the proportions being 1:2:4. Tom had chosen the dramatic: this was the only cathedral he would ever build, and he wanted it to reach for the sky. He hoped Philip would feel the same.

If Philip accepted the design, Tom would have to draw it again, of course, more carefully and exactly to scale. And there would be many more drawings, hundreds of them: plinths, columns, capitals, corbels, doorcases, turrets, stairs, gargoyles, and countless other details-Tom would be drawing for years. But what he had in front of him was the essence of the building, and it was good: simple, inexpensive, graceful and perfectly proportioned.

He could not wait to show it to someone.

He had planned to find a suitable moment to take it to Prior Philip; but now that it was done he wanted Philip to see it right away.

Would Philip think him presumptuous? The prior had not asked him to prepare a design. He might have another master builder in mind, someone he had heard of who had worked for another monastery and had done a good job. He might scorn Tom’s aspirations.

On the other hand, if Tom did not show him something, Philip might assume Tom was not capable of designing, and might hire someone else without even considering Tom. Tom was not prepared to risk that: he would rather be thought presumptuous.

The afternoon was still light. It would be study time in the cloisters. Philip would be at the prior’s house, reading his Bible, Tom decided to go and knock at his door.

Carrying his board carefully, he left the house.

As he walked past the ruins, the prospect of building a new cathedral suddenly seemed daunting: all that stone, all that timber, all those craftsmen, all those years. He would have to control it all, make sure there was a steady supply of materials, monitor the quality of timber and stone, hire and fire men, tirelessly check their work with his plumb line and level, make templates for the moldings, design and build lifting machines… He wondered if he really was capable of it.

Then he thought what a thrill it would be to create something from nothing; to see, one day in the future, a new church here where now there was nothing but rubble, and to say: I made this.

There was another thought in his mind, hidden away in a dusty corner; something he was hardly willing to admit to himself. Agnes had died without a priest, and she was buried in unconsecrated ground. He would have liked to go back to her grave, and get a priest to say prayers over it, and perhaps put up a small headstone; but he was afraid that if he called attention to her burying place in any way, somehow the whole story of abandoning the baby would come out. Leaving a baby to die still counted as murder. As the weeks went by he had worried more and more about Agnes’s soul, and whether it was in a good place or not. He was afraid to ask a priest about it because he did not want to give details. But he had consoled himself with the thought that if he built a cathedral, God would surely favor him; and he wondered whether he could ask that Agnes receive the benefit of that favor instead of himself. If he could dedicate his work on the cathedral to Agnes, he would feel that her soul was safe, and he could rest easy.