In the summer of 1994, John and I visited Chalgrove, Oxfordshire. Following the descriptions by Elsie, Jane, and Leonora, we had no trouble finding St. Mary's Church. The organist and a soprano soloist were going in to practice, and let us in. We found the large plaque to Robert Quatremaine and relatives almost immediately, noting its attendant cherubs and other figures which we had not seen described. However, it was on the west wall of the church near the tower, not on the east wall. Since Jane had visited more than twenty years earlier, the walls of the church had been cleaned to reveal fourteenth century paintings, and the memorial had been moved from the St. James Chapel in the process.
The Vicar (latest in a continuous series dating from 1087, according to a list on the wall) came in while we were there and showed us the guest register. Hearing our name and our interest he said, ``another one!'' He was right; there were Quartermans and Quatremaines in the book from all over the world, including Australia. The Vicar recommended we go see John W. Steel-Clark who knew all about the family and the village. After signing the register, we did so.
Knocking on the appropriate door, we were greeted by a distinguished elderly gentleman, whom we presumed to be the recommended genealogist. We were wrong. The genealogist's father called upstairs for his son, who came down, established that we were Quartermans of some sort, and talked to us at length. While he went back upstairs for a selection of material, we had tea with his mother, who is a Quatremain descendant, and who was pleased to discover possible relatives from far away, even if they would be only about eighth cousins.
The church itself is properly called St. Mary-the-Virgin and is named in honor of the mother of Jesus. Half the paintings (on the left) tell the life of Jesus, and the other half (on the right) tell the Golden Legend, which was a medieval cycle of stories about the life of Mary. The paintings in this church, which were obscured by deliberate overpainting, apparently at the Reformation, and only rediscovered in the nineteenth century by the Rev. Robert French Laurence are reputed to be the most complete example of paintings of this type in Europe.