If these readings are correct these two carvings are among the very few instances of representations of circumstantial detail of the Olympian mythology. Most of the church references to mythology have more connection with the earlier symbolic meanings than with the later narrative histories into which the cults degenerated. Other examples are in the references to Hercules in the sixteenth century stalls of Henry VII.'s Chapel, Westminster. There is in mediæval art several examples remaining of what may be called topsy-turveyism, in which two figures mutually lent their parts to each other in such a way that four figures may be found. An excellent example of this is at New College, Oxford, in which, though the four figures are so apparent when once seen, the two (taken as upper and lower), are in a natural and ingenious acrobatic position. The grotesque head at the base is put in to balance the composition, and perhaps to prevent the trick being discerned at once. [Illustration: A CONTINUOUS GROUP OF FOUR FIGURES, OXFORD.] The grace of the free if somewhat meagre Corinthian acanthus as used in Early English work is often rendered more marked by the introduction of an extraneous subject. Thus at Wells the foliate design is relieved by the ungainly figure of a melancholy individual, who, before retiring to rest, pursues an examination into his pedal callosities, or extracts the poignant thorn. Or can it be that we have here a reminder of the Egyptian monarch, Sómarája, mentioned in the Hindoo accounts of the Egyptian mythology, who was dissolute and outcast, and who, to shew his repentance and patience, stood twelve days upon one leg? [Illustration: A PILGRIM'S PAINS, WELLS.] This discursive chapter would not be complete without a reference to the alleged impropriety of church grotesques. Though it is not to be denied that in the wide range of subjects a considerable number of indecent subjects have crept in, yet their proportion is small. Examination would lead to the belief that upon the whole the art of the churches is much purer than the literature or the popular taste of the respective periods. Though there may be sometimes met examples of grossness of humour and a frank want of reserve, such as in the annexed drawing from the chapel of All Souls, Oxford, yet these are rarely of the most gross or least reserved character. [Illustration: A POSTURIST, ALL SOULS, OXFORD.] It may be well to note, in this connection that the literature from which we draw the bulk of our ideas as to mediæval life, are foreign, and that, although English manners would not be remotely different in essentials, yet there would be as many absolute differences as there are yet remaining to our eyes in architecture and in art generally. The Pig and other Animal Musicians. [Illustration: APE AS PIPER, BEVERLEY.]