[30] Mr. Llewellynn Jewitt, in his excellent publication, the _Reliquary_, for October, 1862, has given an interesting paper on the encaustic tiles found on this occasion, and on the conventual house to which they belonged. [Illustration: _No. 55. Justice in the Hands of the Persecuted._] [Illustration: _No. 56. Reynard brought to Account at Last._] "The World turned upside down; or, the Folly of Man," has continued amongst us to be a popular chap-book and child's book till within a very few years, and I have now a copy before me printed in London about the year 1790. It consists of a series of rude woodcuts, with a few doggrel verses under each. One of these, entitled "The Ox turned Farmer," represents two men drawing the plough, driven by an ox. In the next, a rabbit is seen turning the spit on which a man is roasting, while a cock holds a ladle and bastes. In a third, we see a tournament, in which the horses are armed and ride upon the men. Another represents the ox killing the butcher. In others we have birds netting men and women; the ass, turned miller, employing the man-miller to carry his sacks; the horse turned groom, and currying the man; and the fishes angling for men and catching them. In a cleverly sculptured ornament in Beverley Minster, represented in our cut No. 57, the goose herself is represented in a grotesque situation, which might almost give her a place in "The World turned upside down," although it is a mere burlesque, without any apparent satirical aim. The goose has here taken the place of the horse at the blacksmith's, who is vigorously nailing the shoe on her webbed foot. [Illustration: _No. 57. Shoeing the Goose._] [Illustration: _No. 58. Food for Swine._] Burlesque subjects of this description are not uncommon, especially among architectural sculpture and wood-carving, and, at a rather later period, on all ornamental objects. The field for such subjects was so extensive, that the artist had an almost unlimited choice, and therefore his subjects might be almost infinitely varied, though we usually find them running on particular classes. The old popular proverbs, for instance, furnished a fruitful source for drollery, and are at times delineated in an amusingly literal or practical manner. Pictorial proverbs and popular sayings are sometimes met with on the carved misereres. For example, in one of those at Rouen, in Normandy, represented in our cut No. 58, the carver has intended to represent the idea of the old saying, in allusion to misplaced bounty, of throwing pearls to swine, and has given it a much more picturesque and pictorially intelligible form, by introducing a rather dashing female feeding her swine with roses, or rather offering them roses for food, for the swine display no eagerness to feed upon them. [Illustration: _No. 59. The Industrious Sow._]