and were unsuitable to the gravity of a religious house. Hugo, of St. Victor, objected even to the natural designs of sheep and oxen; “It may be well,” he said, “that monasteries should have paintings for the edification of those who are not delighted with Scriptural subtleties, but for monks themselves a horse or an ox is more useful in the fields than in a picture.” These landscape subjects were, however, exceptional; far more frequently the monastic paintings were of a character described in their annals as “solemn pictures.” They were pathetic representations of the Sacred Passion, accompanied with pious verses, not without a reference to the part of the convent where they were fixed. Thus, in the lavatory, the monks were bid not to wash their hands only, but their hearts also; in the refectory, to remember the gall and vinegar which Our Lord received on the Cross; and in the cloister, to think how the fashion of this world flees past us with noiseless step. The great abbey of St. Denis, in France, was covered all over with carvings and paintings, its very doors being sculptured with the mysteries of the Passion and Resurrection; while within the cloister was a whole series of paintings, historical and mystical, some of the latter exceedingly quaint, such as that which represented St. Paul turning a mill, and all the prophets of the Old Testament bringing a sack of corn to be ground in it; figuring thereby his gift in the interpretation of the Sacred Scriptures of the Old Law.