I agree with Mr. Westlake in finding the work of more than one hand in the windows. Two there are certainly, and possibly four. The east window is certainly by a different, and, I think, an older hand than the west, and the windows of the north aisle, though they may be by the same hand as the west windows, are certainly by a different one to the Apostles opposite them, which are the poorest windows in the church. I think the differences are greater than could be accounted for by any development that might take place in the same man's style during the execution of the windows. The west windows are the work of a different temperament to the east windows. The forms are fuller, stronger, and more rounded, and show a much stronger sense for the decorative placing of a line. There is no record to tell us who these men were, and there has been much discussion as to whether they were Englishmen or Flemings. Indeed the wildest theories have been advanced as to the origin of the windows. They have been attributed to Dürer, without the slightest internal or external evidence except the presence of an A which does not resemble his signature. Another story which, though not heard of, I believe, till the eighteenth century, has obtained wide credence, is that they were captured at sea, bound for Rome, by Edward Tame, and the church built to contain them; but the most casual examination of the windows ought to convince any one that they were made for the church and not the church for them.[19] As to the question of the English or Flemish authorship of the windows, it is true that Flemish details crop up here and there both in architecture and the costumes; but this is not surprising, for the style, new then to England, was largely based on Flemish art, and on the other hand the English characteristics are in excess of the Flemish. [Sidenote: Barnard Flower.]