The next carver is a figure at Wellingborough, Northamptonshire. This is locally known as the Wellingborough shoemaker, but nearly all local designations of such things are wrong, and this is no exception. Elsewhere in speaking of this sedate figure, I have conjectured he may be cutting something out of leather, and not making shoes. However, I have since arrived at Miss Phipson's conclusion: the figure can only be that of a carver. He is fashioning not a leather rosette, but a Tudor rose in oak, to be afterwards pinned with an oak pin in some spandrel. He is rather a reserved-looking individual, but a master of his craft, if we may suppose he has "turned out" the two eagles at his right and left. [Illustration: A PIECE OF FINE WORK, WELLINGBOROUGH.] No doubt there were several ways of building churches, or supplying them with their art decorations. Some masons would be attached to a cathedral, and be lent or sent here and there by arrangement. Others would be ever wandering, seeking church work. Others might come from abroad for particular work, and return with the harvest of English money when the work was done. For special objects there were depôts. It is an acknowledged fact that the black basalt fonts of Norman times were imported from Flanders. There are occasionally met other things of this material with the same class of design, evidently from the same source, such as the sculptured coffin-lid at Bridlington Priory, given on a following page. I have not seen it noted, but I think it will be established that "brasses," so much alike all over the country, were mostly ready-made articles also from Flanders. From the stereotyped conventionality of the altar-tomb effigies, they also may be judged to be the productions of workshops doing little but this work, and probably foreign.