The design to caricature, which is tolerably evident in the subjects just given, is still more apparent in other grotesques that adorn the borders of the mediæval manuscripts, as well as in some of the mediæval carvings and sculpture. Thus, in our cut No. 65, taken from one of the borders in the Romance of the Comte d'Artois, a manuscript of the fifteenth century, we cannot fail to recognise an attempt at turning to ridicule the contemporary fashions in dress. The hat is only an exaggerated form of one which appears to have been commonly used in France in the latter half of the fifteenth century, and which appears frequently in illuminated manuscripts executed in Burgundy; and the boot also belongs to the same period. The latter reappeared at different times, until at length it became developed into the modern top-boots. In cut No. 66, from the same manuscript, where it forms the letter T, we have the same form of hat, still more exaggerated, and combined at the same time with grotesque faces. [Illustration: _No. 66. Heads and Hats._] Caricatures on costume are by no means uncommon among the artistic remains of the middle ages, and are not confined to illuminated manuscripts. The fashionable dresses of those days went into far more ridiculous excesses of shape than anything we see in our times--at least, so far as we can believe the drawings in the manuscripts; but these, however seriously intended, were constantly degenerating into caricature, from circumstances which are easily explained, and which have, in fact, been explained already in their influence on other parts of our subject. The mediæval artists in general were not very good delineators of form, and their outlines are much inferior to their finish. Conscious of this, though perhaps unknowingly, they sought to remedy the defect in a spirit which has always been adopted in the early stages of art-progress--they aimed at making themselves understood by giving a special prominence to the peculiar characteristics of the objects they wished to represent. These were the points which naturally attracted people's first attention, and the resemblance was felt most by people in general when these points were put forward in excessive prominence in the picture. The dresses, perhaps, hardly existed in the exact forms in which we see them in the illuminations, or at least those were only exceptions to the generally more moderate forms; and hence, in using these pictorial records as materials for the history of costume, we ought to make a certain allowance for exaggeration--we ought, indeed, to treat them almost as caricatures. In fact, much of what we now call caricature, was then characteristic of serious art, and of what was considered its high development. Many of the attempts which have been made of late years to introduce ancient costume on the stage, would probably be regarded by the people who lived in the age which they were intended to