The Scriptural subjects in carved work may be compared with the wall paintings which in a few instances have survived the reforming zeal of bygone white-washing churchwardens. The comparison is infinitely to the advantage of the carvings. These paintings are in distemper and were the humble inartistic precursors of noble frescoes in the continental fanes, but which had in England no development. To what extent there was merit in the mural decoration of the English cathedrals cannot well be stated. Such examples, as in a few churches are left to us, are simply curiosities. Though changing with the styles they are more crude than the sculptures, and the modern eye in search of the grotesque, finds here compositions infinitely more excruciatingly imbecile than in any other department of art-work of pretension. [Illustration: BAPTISMAL SCENE, GUILDFORD.] At the same time when they are considered in conjunction with the most perfect of the paintings of their period they are by no means so low in the scale of merit as at the first thought might be supposed. Outside the present purpose of looking at them as unintentional grotesques they are very valuable specimens of the English art of painting of dates which have, except in illuminations, no other examples. Those of St. Mary's, Guildford, are very quaint. The first selected from the series is a representation of Christ attending the ministration of St. John the Baptist. St. John has apparently taken down to the river bank a classic font, in which is seated a convert. The Baptist himself, wearing a Phrygian cap (probably Saxon), is turning away from the figures of Christ and the man in the font, and is apparently addressing a company which does not appear in the picture. Just as the font was put in to make the idea of baptism easily understood, so, we may suppose, the curious buttons on thongs, or whatever they are, were shewn attached to St. John's wrist, to indicate that he is speaking of the "shoe-latchets." The waters and bank of the Jordan are indicated in a few lines. [Illustration: CASTING OUT OF DEVILS, GUILDFORD.] The other selection is still more bizarre. It evidently portrays Christ casting out devils. The chief point of interest in this painting is the original conception of the devils. Anything more vicious, degraded, and abhorrent, it would be difficult to produce in so few lines. Roughly speaking, they are a compound of the hawk, the hog, and the monkey; this curious illustration is an excellent pendant to the marks made upon early Satanic depictions on a previous page. The faces are Saxon, except in the case of the man with the sword, who is a distinct attempt at a Roman. The artist had evidently in his mind one who was set in authority. The churches of the Midlands are rich in wall-paintings.