When in 1563 John Shute published his “First and Chief Groundes of Architecture” he described himself as “Paynter and Archytecte,” but little is known of him in either capacity and his fame rests mainly on the publication of this excellent book on the Orders. Stephen Harrison, the designer of some fine triumphal arches for erection in London in 1603, “in honor of the High and mighty prince James, King of England,” described himself as “Joyner and Architect.” The latter word was evidently coming into use in England as a supplementary qualification. In June 1566 Queen Elizabeth laid the foundation-stone of the first Royal Exchange in London, known as “Britain’s Burse,” and the name of the architect employed by Sir Thomas Gresham was one Henry de Pas or Paschen, a native of Antwerp. It was not until 1570 that an English architect transmitted his name to posterity as the author of a notable example of domestic architecture. In the Soane Museum there is a plan of Kirby Hall (Plate XIV) on which John Thorpe wrote the words “Whereof I layd the first stone 1570”; and though Thorpe’s career and attainments have been the subject of acute discussion, he may be regarded as one of the first to emerge from obscurity. Afterwards came the Smithsons, father and son, Inigo Jones, Webb, Wren, and a succession of well-known architects. In addition to the names or architects arising from the depths of history there are other reminders of identity. On the exterior of Moreton Old Hall (Plate XXIII)is an inscription referring to William Moreton, MDLIX, and one, “Rycharde Dale, Carpeder, made thies windous by the Grac of God.” On the building known some years ago as “Nantwich Old Town Hall” (Plate XLIV) were the words “Richard Dale, Free-Mason, was the master carpenter in makinge this buyldinge, Anno Domini 1611”; and in the Victoria and Albert Museum is a beam of carved elm dated 1638 with the words, “I was set upp right and even per John Sommersett.” Such examples only whet our appetite for still earlier records of native workers. They existed in great numbers in spite of the fact that England in the sixteenth century was the home of many Italian artists who influenced the work of the day. Torrigiano arrived about 1510, and he found ample patronage, like many of his fellow-countrymen.