102, representing drunkenness under the form of another monk, who has obtained the keys and found his way into the cellar of his monastery, and is there indulging his love for good ale in similar secrecy. It is to be remarked that here, again, the vices are laid to the charge of the clergy. Our cut No. 103, from a bas-relief in Ely Cathedral, given in Carter's "Specimens of Ancient Sculpture," represents a man drinking from a horn, and evidently enjoying his employment, but his costume is not sufficiently characteristic to betray his quality. [Illustration: _No. 101. Monkish Gluttony._] [Illustration: _No. 102. The Monastic Cellarer._] [Illustration: _No. 103. Drunkenness._] [Illustration: _No. 104. A Strange Monster._] The subject of grotesque faces and heads naturally leads us to that of monstrous and grotesque bodies and groups of bodies, which has already been partly treated in a former chapter, where we have noticed the great love shown in the middle ages for monstrous animated figures, not only monsters of one nature, but, and that especially, of figures formed by joining together the parts of different, and entirely dissimilar, animals, of similar mixtures between animals and men. This, as stated above, was often effected by joining the body of some nondescript animal to a human head and face; so that, by the disproportionate size of the latter, the body, as a secondary part of the picture, became only an adjunct to set off still further the grotesque character of the human face. More importance was sometimes given to the body combined with fantastic forms, which baffle any attempt at giving an intelligible description. The accompanying cut, No. 104, represents a winged monster of this kind; it is taken from one of the casts from French churches exhibited in the Kensington Museum. [Illustration: _No. 105. Rolling Topsy Turvy._]