The higher mind of the middle ages loved to see inner meanings through outward forms; or, at least, it was a fashion which manifested itself most strongly in the latter half of the twelfth century, to adapt these outward forms to inward meanings by comparisons and moralisations; and under the effect of this feeling certain figures were at times adopted, with a view to some other purpose than mere ornament, though this was probably an innovation upon mediæval art. The tongue lolling out, taken originally, as we have seen, from the imagery of classic times, was accepted rather early in the middle ages as the emblem or symbol of luxury; and, when we find it among the sculptured ornaments of the architecture especially of some of the larger and more important churches, it implied probably an allusion to that vice--at least the face presented to us was intended to be that of a voluptuary. Among the remarkable series of sculptures which crown the battlements of the cloisters of Magdalen College, Oxford, executed a very few years after the middle of the fifteenth century, amid many figures of a very miscellaneous character, there are several which were thus, no doubt, intended to be representatives of vices, if not of virtues. I give two examples of these curious sculptures. [Illustration: _No. 99. Gluttony._] [Illustration: _No. 100. Luxury._] The first, No. 99, is generally considered to represent gluttony, and it is a remarkable circumstance that, in a building the character of which was partly ecclesiastical, and which was erected at the expense and under the directions of a great prelate, Bishop Wainflete, the vice of gluttony, with which the ecclesiastical order was especially reproached, should be represented in ecclesiastical costume. It is an additional proof that the detail of the work of the building was left entirely to the builders. The coarse, bloated features of the face, and the "villainous" low forehead, are characteristically executed; and the lolling tongue may perhaps be intended to intimate that, in the lives of the clergy, luxury went hand in hand with its kindred vice. The second of our examples, No. 100, appears by its different characteristics (some of which we have been unable to introduce in our woodcut) to be intended to represent luxury itself. Sometimes qualities of the individual man, or even the class of society, are represented in a manner far less disguised by allegorical clothing, and therefore much more plainly to the understanding of the vulgar. Thus in an illuminated manuscript of the fourteenth century, in the British Museum (MS. Arundel, No. 91), gluttony is represented by a monk devouring a pie alone and in secret, except that a little cloven-footed imp holds up the dish, and seems to enjoy the prospect of monastic indulgence. This picture is copied in our cut No. 101. Another manuscript of the same date (MS. Sloane, No. 2435) contains a scene, copied in our cut No.