Lying in the midst of a pleasing but tame countryside the little village of Fairford has nothing to recommend it to the seeker after the unusual but the windows of its parish church. This glass is not only historically famous, but also very complete and beautiful. On the outer side of the little church door we are still in the midst of the commonplace, nothing rises above the level of the unimportant; once inside that modest portal, what a change do we not experience! Around us on every side and above in the clerestory opens out a complete series of windows--harmonious, excellent, delightful! And to add unneeded supplement to the charm that meets the eye, our ears are regaled with the strange tale of how these lovely panels found themselves here, and why they so perfectly fit the church. This latter query is answered most simply--the church was built to provide embrasures for these treasures. The records state that Richard Tame caused the building to be erected and finished in 1493 expressly for this glass, which had been captured at sea from a Dutch vessel. From the same source we also learn that his son, who died in 1534, completed the building--a rather anomalous statement for, if it was finished in 1493, it would not seem to have needed a further completion by the son. It is to the windows themselves one must turn for some explanation of this seeming contradiction. Although but little comment has hitherto been made upon the subject, the writer was struck by the lack of any similarity between the figure-and-canopy windows in the western half of the church (including the clerestory), and those around the eastern half. The former show a conscientious following of Perpendicular conventions and a careful attention to the proper use of colours, but the latter enjoy an easy victory in style, combination of hues and general artistic appreciation of the possibilities of glass. The sexton relates the usual legend about Albrecht Dürer having designed this latter series, but it is probably no truer here than elsewhere in England, for it is the customary tale one hears about German glass. There is no doubt, however, that in composition and style it differs noticeably from anything made north of the Channel. While the figure-and-canopy work is clearly of the fifteenth century, it must be admitted that if the windows in the eastern part of the church be likewise of that period, then they certainly represent an early manifestation of a style that did not generally prevail until the sixteenth century. May not this very difference help to explain the second "completion" of the church? Suppose we credit Richard Tame with having secured the canopy windows for the edifice he completed in 1493, and leave to his son the honour of having added the series showing later attributes when he finally finished the structure in 1534. The first windows may have been captured in the way reported in the legend, and the later ones secured in some