On the details of English intercourse with Germany it is unnecessary to dwell. There is plenty of evidence to show that a close connection existed between the two countries, which cannot but have had influence on the progress of art in England. That progress must have been practically at a standstill during the long epoch of Danish invasion. The date at which we may most reasonably expect an architectural revival to be general is that period, the last thirty to forty years of the tenth century, when so many monasteries were rebuilt or newly founded, and the monastic life re-established. This revival was strongly influenced by the monasteries of the Netherlands, which lay in the direct current of architectural progress between Germany proper and England. To this date at earliest, then, may be assigned the earliest parts of the church at Barton-on-Humber, and possibly the tower at Hough. We cannot go further back without deserting probability. At the same time, if we limit this work to the latter half of the tenth century on the one hand, we are not precluded from allowing that it may be later. Barton-on-Humber lay in the very path of the Danish invaders who established their power in England between 1002 and 1014. The base of operations of the heathen Swegen was at Gainsborough; there he died, and there he was said, though wrongly, to have been buried. The older parts of the church at Barton show no sign of the ruin which we might expect to have thus befallen them. Perhaps the church was left roofless by Swegen, but restored and completed, with the upper stage added to the tower, towards the middle or after the middle of the eleventh century. But it is also equally probable that the whole lower structure may be a rebuilding under the Christian Canute of a church ruined by his father; and that, after an intermediate stage in which the church may have taken the form shown by Professor Baldwin Brown, the tower was heightened by a storey. The oldest Saxon fabrics in Lincolnshire need not, therefore, be earlier than the eleventh century. It will be noticed that of these Barton gives us a centralised plan, while Hough presents a plan which certainly is not in keeping with that of the usual western tower. The head of the second group, Stow, is another experiment in “central” planning. The remaining anomalies of plan, Broughton and Waith, belong, in the matter of technique, to the third group, in which the western tower predominates overwhelmingly. The German features of the third group already have been described. But they are less marked than those of earlier groups, and the buildings are open to influences, especially decorative influences, of quite another kind.