but, after the custom of mediæval art, he has introduced the scenery, costume, and architecture of his own time. Erase the bears, which stand for the whole tribe of outlandish beasts, and we have a very pretty bit of English mountain scenery. The stags are characteristic enough of the scenery of mediæval England. The hermitage on the right seems to be of the ruder sort, made in part of wattled work. On the left we have the more usual hermitage of stone, with its little chapel bell in a bell-cot on the gable. The venerable old hermit, coming out of the doorway, is a charming illustration of the typical hermit, with his venerable beard, and his form bowed by age, leaning with one hand on his cross-staff, and carrying his rosary in the other. The hermit in the illustration hereafter given from the "History of Launcelot," on page 114, leans on a similar staff; it would seem as if such a staff was a usual part of the hermit's equipment.[103] The hermit in Albert Dürer's "St. Christopher." already mentioned, also leans on a staff, but of rather different shape. Here is a companion-picture, in pen and ink, from the "Morte d'Arthur:"--"Then he departed from the cross [a stone cross which parted two ways in waste land, under which he had been sleeping], on foot, into a wild forest. And so by prime he came unto an high mountain, and there he found an hermitage, and an hermit therein, which was going to mass. And then Sir Launcelot kneeled down upon both his knees, and cried out, 'Lord, mercy!' for his wicked works that he had done. So when mass was done, Sir Launcelot called the hermit to him, and prayed him for charity to hear his confession. 'With a good will,' said the good man." [Illustration: _Hermits and Hermitages._]