of his keeper, the ass escaped from his stable, and, rushing to a pond at no great distance, threw himself into it. Water--and running water especially--was believed to destroy the power of witchcraft or magic; and no sooner was the ass immersed in the water, than he recovered his original form of a young man. He told his story, which soon reached the ears of the pope, and the two women were seized, and confessed their crimes. The carving from Lyons Cathedral appears to represent some such scene of sorcery. The naked woman, evidently a witch, is, perhaps, seated on a man whom she has transformed into a goat, and she seems to be whirling the cat over him in such a manner that it may tear his face with its claws. There was still another class of subjects for satire and caricature which belongs to this part of our subject--I mean that of the trader and manufacturer. We must not suppose that fraudulent trading, that deceptive and imperfect workmanship, that adulteration of everything that could be adulterated, are peculiar to modern times. On the contrary, there was no period in the world's history in which dishonest dealing was carried on to such an extraordinary extent, in which there was so much deception used in manufactures, or in which adulteration was practised on so shameless a scale, as during the middle ages. These vices, or, as we may, perhaps, more properly describe them, these crimes, are often mentioned in the mediæval writers, but they were not easily represented pictorially, and therefore we rarely meet with direct allusions to them, either in sculpture, on stone or wood, or in the paintings of illuminated manuscripts. Representations of the trades themselves are not so rare, and are sometimes droll and almost burlesque. A curious series of such representations of arts and trades was carved on the _misereres_ of the church of St. Spire, at Corbeil, near Paris, which only exist now in Millin's engravings, but they seem to have been works of the fifteenth century. Among them the first place is given to the various occupations necessary for the production of bread, that article so important to the support of life. Thus we see, in these carvings at Corbeil, the labours of the reaper, cutting the wheat and forming it into sheaves, the miller carrying it away to be ground into meal, and the baker thrusting it into the oven, and drawing it out in the shape of loaves. Our cut No. 86, taken from one of these sculptures, represents the baker either putting in or taking out the bread with his peel; by the earnest manner in which he looks at it, we may suppose that it is the latter, and that he is ascertaining if it be sufficiently baked. We have an earlier representation of a mediæval oven in our cut No. 87, taken from the celebrated illuminated manuscript of the "Romance of Alexandre," in the Bodleian Library at Oxford, which appears to belong to an early period of the fourteenth century.