The mediaeval cathedrals and churches of Europe admirably exhibit this combination of art with craft. Craft was needed to design and construct permanent buildings to protect worshippers from the inclemency of the weather; art was employed not only to decorate such buildings, but it dictated to craft many points in connection with their design. The builders of the mediaeval churches endeavoured so to construct their works that these might, as a whole and in their various parts, embody the truths, as they believed them, of the Christian religion: thus the cruciform shape of churches, their orientation, etc. The practical value of symbolism in church architecture is obvious. As Mr F. E. HULME remarks, "The sculptured fonts or stained-glass windows in the churches of the Middle Ages were full of teaching to a congregation of whom the greater part could not read, to whom therefore one great avenue of knowledge was closed. The ignorant are especially impressed by pictorial teaching, and grasp its meaning far more readily than they can follow a written description or a spoken discourse."(1) (1) F. EDWARD HULME, F.L.S., F.S.A.: _The History, Principles, and Practice of Symbolism in Christian Art_ (1909), p. 2. The subject of symbolism in church architecture is an extensive one, involving many side issues. In these excursions we shall consider only one aspect of it, namely, the symbolic use of animal forms in English church architecture. As Mr COLLINS, who has written, in recent years, an interesting work on this topic of much use to archaeologists as a book of data,(2a) points out, the great sources of animal symbolism were the famous _Physiologus_ and other natural history books of the Middle Ages (generally called "Bestiaries"), and the Bible, mystically understood. The modern tendency is somewhat unsympathetic towards any attempt to interpret the Bible symbolically, and certainly some of the interpretations that have been forced upon it in the name of symbolism are crude and fantastic enough. But in the belief of the mystics, culminating in the elaborate system of correspondences of SWEDENBORG, that every natural object, every event in the history of the human race, and every word of the Bible, has a symbolic and spiritual significance, there is, I think, a fundamental truth. We must, however, as I have suggested already, distinguish between true and forced symbolism. The early Christians employed the fish as a symbol of Christ, because the Greek word for fish, icqus, is obtained by _notariqon_(1) from the phrase <gr 'Ihsous Cristos Qeou Uios, Swthr>--"JESUS CHRIST, the Son of God, the Saviour." Of course, the obvious use of such a symbol was its entire unintelligibility to those who had not yet been instructed in the mysteries of the Christian faith, since in the days of persecution some degree of secrecy was necessary. But the symbol has significance only in the Greek language, and that of an entirely arbitrary nature.