Majour, near Nismes, the original type of which had evidently been some burlesque figure of Saturn eating one of his children. The classical mask doubtless furnished the type for those figures, so common in mediæval sculpture, of faces with disproportionately large mouths; just as another favourite class of grotesque faces, those with distended mouths and tongues lolling out, were taken originally from the Typhons and Gorgons of the ancients. Many other popular types of faces rendered artificially ugly are mere exaggerations of the distortions produced on the features by different operations, such, for instance, as that of blowing a horn. The practice of blowing the horn, is, indeed, peculiarly calculated to exhibit the features of the face to disadvantage, and was not overlooked by the designers of the mediæval decorative sculpture. One of the large collection of casts of sculptures from French cathedrals exhibited in the museum at South Kensington, has furnished the two subjects given in our cut No. 95. The first is represented as blowing a horn, but he is producing the greatest possible distortion in his features, and especially in his mouth, by drawing the horn forcibly on one side with his left hand, while he pulls his beard in the other direction with the right hand. The force with which he is supposed to be blowing is perhaps represented by the form given to his eyes. The face of the lower figure is in at least comparative repose. The design of representing general distortion in the first is further shown by the ridiculously unnatural position of the arms. Such distortion of the members was not unfrequently introduced to heighten the effect of the grimace in the face; and, as in these examples, it was not uncommon to introduce as a further element of grotesque, the bodies, or parts of the bodies, of animals, or even of demons. [Illustration: _No. 95. Grotesque Monsters._] [Illustration: _No. 96. Diabolical Mirth._] [Illustration: _No. 97. Making Faces._]