Among the most popular subjects of satire during the middle ages, were domestic scenes. Domestic life at that period appears to have been in its general character coarse, turbulent, and, I should say, anything but happy. In all its points of view, it presented abundant subjects for jest and burlesque. There is little room for doubt that the Romish Church, as it existed in the middle ages, was extremely hostile to domestic happiness among the middle and lower classes, and that the interference of the priest in the family was only a source of domestic trouble. The satirical writings of the period, the popular tales, the discourses of those who sought reform, even the pictures in the manuscripts and the sculptures on the walls invariably represent the female portion of the family as entirely under the influence of the priests, and that influence as exercised for the worst of purposes. They encouraged faithlessness as well as disobedience in wives, and undermined the virtue of daughters, and were consequently regarded with anything but kindly feeling by the male portion of the population. The priest, the wife, and the husband, form the usual leading characters in a mediæval farce. Subjects of this kind are not very unfrequent in the illuminations of manuscripts, and more especially in the sculptures of buildings, and those chiefly ecclesiastical, in which monks or priests are introduced in very equivocal situations. This part of the subject, however, is one into which we shall not here venture, as we find the mediæval caricaturists drawing plenty of materials from the less vicious shades of contemporary life; and, in fact, some of their most amusing pictures are taken from the droll, rather than from the vicious, scenes of the interior of the household. Such scenes are very frequent on the misereres of the old cathedrals and collegiate churches. Thus, in the stalls at Worcester Cathedral, there is a droll figure of a man seated before a fire in a kitchen well stored with flitches of bacon, he himself occupied in attending to the boiling pot, while he warms his feet, for which purpose he has taken off his shoes. In a similar carving in Hereford Cathedral, a man, also in the kitchen, is seen attempting to take liberties with the cook maid, who throws a platter at his head. A copy of this curious subject is given in cut No. 71, and the cut No. 72 is taken from a similar miserere in Minster Church, in the Isle of Thanet. It represents an old lady seated, occupied industriously in spinning, and accompanied by her cats. [Illustration: _No. 72. An Old Lady and her Friends._] [Illustration: _No. 73. The Lady and her Cat._]