The 29th vol. of the _Archæologia_ contains an interesting "description of a monumental effigy of Richard Coeur de Lion, recently discovered in the cathedral of Notre Dame at Rouen," by Alfred Way, Esq., who, with his usual precision, has noticed what he very properly calls "some singular details" beneath the figure of the lion crouching at the king's feet; among these details is "the head of _a rabbit_[1] peeping out of its burrow, and, a little above, a dog warily watching the mouth of the hole." Mr. Way adds: "I have met with nothing among the accessory ornaments of monumental sculpture analogous to this; and though convinced that what in itself may appear a trifling detail, _was not placed here without design_, I am quite at a loss to conjecture what could have been its import." [Footnote 1: Mr. Way says _a hare_ or rabbit, forgetting that the hare does not burrow.] The same symbol or device, well known to all lovers of ancient wood-engraving, appears in some of the earliest specimens of that art. It is found in an impression of one of the oldest known playing-cards, representing the knave of diamonds, now in the print-room of the British Museum, of which a fac-simile is inserted at p. 214. of Chatto's _History of Playing Cards_. Another instance of this device occurs (without the dog) in an old woodcut, dated 1418, discovered a few years ago at Malines, of which a copy appeared in the _Athenæum_ of Oct. 4, 1845. And a third example is contained in that celebrated and unique woodcut of St. Christopher, dated 1423, in the possession of Earl Spencer, copies of which may be found in Janson's _Essai sur l'Origine de la Gravure_, and in Ottley's work. Being as fully convinced as Mr. Way that the symbols he observed on the effigy of Richard at Rouen were _never introduced without design_, but that they were meant to convey some esoteric signification, I have for many years consulted both books and friends to obtain an explanation of this allegorical device, but without success. As a last resource, I address myself to the "N. & Q.," in hopes, from their having now obtained so wide a circulation, that I may receive through their medium, and the kindness of a more learned correspondent, a solution of this enigma. P.S.--In addition to the above _four_ instances of the device of _a rabbit_ occurring in ancient sculpture and wood-engraving, a French writer, M. Th. Gautier, in the feuilleton of _La Presse_ of the 27th September, 1851, describes the Madonna of Albert Durer as being "presque toujours accompagnée _d'un lapin_," derived (in his opinion) from a "vague ressouvenir du panthéisme Germanique." SYMBOL. IS WYLD'S GREAT GLOBE A PLAGIARISM FROM MOLENAX? (Vol. v., p. 467.)