In the Christian adoption of pagan attributes, the pig was apportioned to St. Anthony, it is said, variously, because he had been a swine-herd, or lived in woods. The smallest or weakling pig in a litter, called in the north "piggy-widdy" (small white pig), and in the south midlands the "dillin" (perhaps equivalent to _delayed_), and is elsewhere styled the Anthony pig, as specially needing the protection of his patron. [Illustration: MUSIC AT DINNER, WINCHESTER.] A common representation of the pig musician is a sow who plays to her brood. At Winchester, the feast of the little ones is enlivened by the strains of the double flute. At Durham Castle, in a carving formerly in Aucland Castle Chapel, the sow plays the bagpipes while the young pigs dance. At Ripon, a vigorous carving has the same subject, and another at Beverley, in which a realistic trough forms the foreground. [Illustration: SOW AND BAGPIPES, DURHAM CASTLE.] [Illustration: PIGS AND PIPES, RIPON.] The "Pig and Whistle" forms an old tavern sign. Dr. Brewer explains this as the pot, bowl, or cup (the _pig_), and the wassail it contained. The earthenware vessel used to warm the feet in bed is in Scotland yet called "the pig," and to southern strangers the use of the word has caused a temporary embarrassment. If this explanation is not coincident with some other not at present to hand, the carving of the pig and whistle in the sixteenth century carving in Henry VII.'s chapel shows that the corruption of the "pig and wassail" was accepted in ignorance as far back as that period. [Illustration: PIG AND WHISTLE, WESTMINSTER.] But too much stress is not to be laid upon the pig as a musician, for at Westminster the bear plays the bagpipes, just as at Winchester the ape performs on the harp. In the Beverley Minster choir an ape converts a cat into an almost automatic instrument by biting its tail. [Illustration: APE AS HARPIST, WESTMINSTER.] Compound Forms. [Illustration: ATHOR, CHICHESTER.] In nearly every church compound forms are met which in a high degree merit the designation of grotesque. Few religions have been without these symbolic representations of complex characters. If the Egyptian had its cat-headed and hawk-headed men, the Assyrian its human-headed bull, the Mexican its serpent-armed tiger-men, so also the Scandinavian mythology had its horse-headed and vulture-headed giants, and its human-headed eagle. Horace, who doubtless knew the figurative meaning of what he satirizes, viewed the representations of such compounds in his days, and asks-- "If in a picture you should see A handsome woman with a fishes tail, Or a man's head upon a horse's neck, Or limbs of beasts of the most diff'rent kind, Cover'd with feathers of all sorts of birds Would you not laugh?"[6]