Of a more homely and personal character are the frequently occurring panels bearing, in well-cut figures and letters, dates, mottoes, and inscriptions; four are exemplified by the accompanying drawings from Zutphen (page 115) and Haarlem (pages 114 to 116). Equally symbolic of pride of home are the carved coats-of-arms which keep green, by visible sign, the memory of the builder and the honour of his house. One such armorial decoration from Workum, dated 1644, is illustrated on page 115. All these little enrichments, so constantly seen, are more than mere examples of craftsmanship; they essentially express the sentiments of the man who caused the stones to be laid. Things to be observed in everyday life naturally furnished subjects for carvings in stone. The forces of Nature, greatly influential in Holland--that is to say, water and wind and all that resulted therefrom--were turned to for inspiration. Decoratively treated water, with ships, windmills, and other appliances relevant to human convenience or suggestive of enterprise, were especially favoured. A windmill from Sneek, high in relief and painted black, red, gold and white, together with a ship from Haarlem appearing in an oval panel surrounded by a scrollwork frame, are illustrated (page 115). Interesting is the wall-panel at Franeker (page 114), with a scene from local history depicted upon it; there is much spirit shown in the carving of the men and horses, while the water, drawbridge, and distant houses are well managed. The house known as "Inde Steenrotse," situated on the Dwars Quay at Middelburg, dated 1590, is noteworthy for its large panels in high relief. It was built by a wealthy mason. Five of the carved subjects portray various episodes connected with the working of stone and two are here given (page 116); others, higher up the building, represent biblical scenes from the Book of Exodus. The mosaic decorations are of unusual interest, for they are of a kind more or less peculiar to this country. They were formed by inlaying small pieces of brick and stone set together to make repeating patterns or panels. As was customary, materials were used with just regard for their suitable adaptability to purpose; not employed unreasonably, or strained to accomplish that for which they were not fitted. The units were simple and results legitimate. This ornamental work was principally used to enrich the arched spaces over window-heads; less frequently it appears in bands carried horizontally across the buildings.