Further puppets hang ready for use on the panels of the pulpit. In Plate I. they are caricature representations, from pictures of the Old Masters, of Adam and Eve (suggested by Albert Dürer), of Peter with his Key, and Paul in a black periwig armed with two swords and elevated by high-heeled shoes (travestied from Rembrandt), and of Moses and Aaron. In Plate II. these scriptural puppets are exchanged for the superstitious images of Mrs. Veal’s ghost (see the writing on the book), who, according to Defoe, appeared the day after her death to Mrs. Bargrave {91} of Canterbury, September 8, 1705; of Julius Cæsar’s apparition, starting at its own appearance in the looking-glass; and of that of Sir George Villers (_sic_), not “Villiers” as Ireland has it, whose appearance to an officer at Windsor, charging him to warn his son, the Duke of Buckingham, of his approaching assassination, is recorded by Lord Clarendon and Lilly the astrologer. In the foreground, on the right, we have in both plates a most remarkable mental thermometer, the bulb of which is inserted in a Methodist’s brain. In Plate I. the mercury stands at “low-spirits”; in Plate II. at “lukewarm.” In the first a dove surmounts the whole; in the second the Methodist’s brain rests upon “Wesley’s Sermons,” and “Glanvid” (an evident misprint for “Glanvil”) on “Witches.” The lettering, too, is altered, and, in place of the inscription in the top division, is a picture of the Cock Lane Ghost, of which Walpole wrote—“Elizabeth Canning and the Rabbit Women were modest impostors in comparison of this.” The whole is surmounted by a figure of the Tedworth drummer immortalised by Addison. {92} In the adjoining pew a nobleman, as can be seen by the decoration half concealed by his coat, makes love to a girl, who discards a heavenly for a very earthly affection, point to which is given by the quotation from Whitfield’s hymn which can be read on the paper hanging over the adjacent clerk’s desk. The “mixed expression of religious hypocrisy and amorous desire” on the girl’s face is marvellously expressed. The other occupant of the pew is a repentant thief, as may be seen from the “T” branded on his cheek. In the first account of the plate given in the _Catalogue of Prints and Drawings in the British Museum_, the suggestion that the felon sniffs at a bottle of spirits held in the hands of the image is obviously incorrect. He is dropping his tears into the bottle. In Plate II. a less aristocratic and somewhat more decently behaved pair of lovers occupy the pew. The puppet held by the man is clearly a repetition of the Cock Lane Ghost, only bearing in its hand a lighted candle in place of a hammer. What the meaning of this is I fail to understand. Of the two other occupants of the pew one is weeping and the other asleep. {93} A winged devil whispers evil thoughts into the sleeper’s ear.