In the twelfth century, the abuse increased; songs of the most indecent and offensive character were sung in the midst of the mock services; puddings were eaten, and dice rattled on the altar, and old shoes burnt as incense. [Illustration: DANCING FOOLS, BEVERLEY MINSTER.] This observance, so evidently an expedient parody of the old-time festivals, is traceable in England, and said to have been abolished about the end of the fourteenth century. The carvings in Beverley Minster, here presented, are supposed to refer to the Feast, and at any rate give us a good idea of the mediæval fool. There were innumerable classic dances. The Greeks send down the names of two hundred kinds. A dance with arms was the Pyrrhic dance, which was similar in some of its varieties to the military dance known as the Morris. The Morris was introduced into Spain by the Moors, and brought into England by John of Gaunt in 1332. It was, however, little used until the reign of Henry VII. There were other vivacious dances, called Bayle, of Moorish origin, which, as well as various kinds of the stately Court dance, were used by the Spaniards. It is difficult, from general sources, to ascertain the dances in vogue in old England. A drawing in the Cotton MSS. shews a Saxon dancing a reel. The general inference is, however, that the Morris (of the Moors or Moriscoes) was the chief dance of the English, and perhaps it is that in which the saltatory fools of the carving are engaged. [Illustration: AN ABJECT OBJECT. WINCHESTER COLLEGE CHAPEL.] Probably the extraordinary monstrosity shewn in the annexed block had an actual existence. There are fairly numerous accounts of such malformities in mediæval times, and it was a function of mediæval humour to make capital out of unfortunate deformity. This poor man has distorted hands instead of feet, and he moves about on pattens or wooden clogs strapped to his hands and legs. There is little meaning in the side carvings. The fool-ape, making an uncouth gesture, is perhaps to shew the character of those who mock misfortune. The man with the scimitar may represent the alarm of one who might suddenly come upon the sight of the abortion, and fearing some mystery or trap, draw his blade. In a sense this is a humourous carving--yet there is a quality for which it is much more remarkable, and that is its element of forcible and realistic pathos. [Illustration: A MYTHOLOGICAL EPISODE, YORK.] Two reliefs from York Minster are presumably scenes from classic mythology, from, in regard to the costumes, a Saxon point of view. One may be supposed to be the rape of Ganymede. Oak leaves are an attribute of Jupiter, as is also the eagle which bore Ganymede to Olympus. The other may be Vulcan giving Venus "a piece of his mind." [Illustration: MARITAL VIOLENCE, YORK.]