As in language the grotesque is sometimes produced by inadvertency and misconception, so in ornament not all the grotesque is of set purpose, and here the consideration of the less development of the less idea has its chief example. As original meaning became lost, the real merit of earnestness decreased, and the grotesque became an art. Moreover, the execution of Gothic ornament is excellent in proportion to its artistic easiness. Thus the foliate and florate designs are better carved than the animal forms, and both better than the human. With the exception of little else besides the Angel Choir at Lincoln, and portions of the Percy Shrine at Beverley, there is nothing in Gothic representation of sentient form really worthy of the perfect conceptions of architecture afforded by scores of English churches. It may, of course, be considered that anything but conventional form is out of place as architectural ornament; on the other hand, it must not be ignored that conventionality is a growth. It is only to be expected, therefore, that where the artist found character beyond his reach he fell readily into caricature, though it is a matter for surprise to find such a high standard of ability in that, and in the carved work generally. We find no instances of carving so low in absolute merit as are the best of the wall-paintings of the same periods. The sources from which the artists obtained their material are as wide as the air. A chief aim of this volume is to indicate those sources, and this is done in some cases rather minutely, though not in any exhaustively. The point of view from which the subject is surveyed is that the original detail of the temples entirely consisted of symbols of worship and attributes, founded chiefly upon astronomical phenomena: that owing to the gild organization of the masons, the same forms were mechanically perpetuated long after the worship of the heavenly bodies had given way to Christianity, often with the thinnest veil of Christian symbolism thrown over them. To this material, descended from remote antiquity, came gradually to be added a multitude of designs from nature and from fancy. [Illustration: HARPY, EXETER.] [Illustration: RAGE AND TERROR, RIPON.] Definitions of the Grotesque.