which strikes the demons with evident consternation. Nothing can be more _bizarre_ than the horse's head upon human legs in armour, the parody upon a crawling spider behind it, the skull (apparently of a horse) supported upon naked human legs, the strangely excited animal behind the latter, and the figure furnished with pilgrim's hood and staff, which appears to be mocking the saint. Another print--a companion to the foregoing--represents the still more complete discomfiture of the _magus_. The saint here occupies the right-hand side of the picture, and is raising his hand higher, with apparently a greater show of authority. The demons have all turned against their master the magician, whom they are beating and hurling headlong from his chair. They seem to be proclaiming their joy at his fall by all sorts of playful attitudes. It is a sort of demon fair. Some of them, to the left of the picture, are dancing and standing upon their heads on a tight-rope. Near them another is playing some game like that which we now call the thimble-rig. The monkeys are dancing to the tune of a great drum. A variety of their mountebank tricks are going on in different parts of the scene. Three of these playful actors are represented in our cut No. 156. [Illustration: _No. 156. Strange Demons._] Breughel also executed a series of similarly grotesque engravings, representing in this same fantastic manner the virtues and vices, such as Pride (_superbia_), Courage (_fortitudo_), Sloth (_desidia_), &c. These bear the date of 1558. They are crowded with figures equally grotesque with those just mentioned, but a great part of which it would be almost impossible to describe. I give two examples from the engraving of "Sloth," in the accompanying cut (No. 157). [Illustration: _No. 155. St. James and his Persecutors._] [Illustration: _No. 157. Imps of Sloth._] [Illustration: _No. 158. The Folly of Hunting._] From making up figures from parts of animals, this early school of grotesque proceeded to create animated figures out of inanimate things, such as machines, implements of various kinds, household utensils, and other such articles. A German artist, of about the same time as Breughel, has left us a singular series of etchings of this description, which are intended as an allegorical satire on the follies of mankind. The allegory is here of such a singular character, that we can only guess at the meaning of these strange groups through four lines of German verse which are attached to each of them. In this manner we learn that the group represented in our cut, No. 158, which is the second in this series, is intended as a satire upon those who waste their time in hunting, which, the verses tell us, they will in the sequel lament bitterly; and they are exhorted to cry loud and continually to God, and to let that serve them in the place of hound and hawk.