There was another series of subjects in which animals were introduced as the instruments of satire. This satire consisted in reverting the position of man with regard to the animals over which he had been accustomed to tyrannise, so that he was subjected to the same treatment from the animals which, in his actual position, he uses towards them. This change of relative position was called in old French and Anglo-Norman, _le monde bestorné_, which was equivalent to the English phrase, "the world turned upside down." It forms the subject of rather old verses, I believe, both in French and English, and individual scenes from it are met with in pictorial representation at a rather early date. During the year 1862, in the course of accidental excavations on the site of the Friary, at Derby, a number of encaustic tiles, such as were used for the floors of the interiors of churches and large buildings, were found.[30] The ornamentation of these tiles, especially of the earlier ones, is, like all mediæval ornamentations, extremely varied, and even these tiles sometimes present subjects of a burlesque and satirical character, though they are more frequently adorned with the arms and badges of benefactors to the church or convent. The tiles found on the site of the priory at Derby are believed to be of the thirteenth century, and one pattern, a diminished copy of which is given in our cut No. 54, presents a subject taken from the _monde bestorné_. The hare, master of his old enemy, the dog, has become hunter himself, and seated upon the dog's back he rides vigorously to the chace, blowing his horn as he goes. The design is spiritedly executed, and its satirical intention is shown by the monstrous and mirthful face, with the tongue lolling out, figured on the outer corner of the tile. It will be seen that four of these tiles are intended to be joined together to make the complete piece. In an illumination in a manuscript of the fourteenth century in the British Museum (MS. Reg. 10 E iv.), the hares are taking a still more severe vengeance on their old enemy. The dog has been caught, brought to trial for his numerous murders, and condemned, and they are represented here (cut No. 55) conducting him in the criminal's cart to the gallows. Our cut No. 56, the subject of which is furnished by one of the carved stalls in Sherborne Minster (it is here copied from the engraving in Carter's "Specimens of Ancient Sculpture"), represents another execution scene, similar in spirit to the former. The geese have seized their old enemy, Reynard, and are hanging him on a gallows, while two monks, who attend the execution, appear to be amused at the energetic manner in which the geese perform their task. Mr. Jewitt mentions two other subjects belonging to this series, one of them taken from an illuminated manuscript; they are, the mouse chasing the cat, and the horse driving the cart--the former human carter in this case taking the place of the horse between the shafts.