Sense of humour grew with the centuries, and by the time that the Gothic style of architecture arose, appreciation of the ludicrous-in-general (_i.e._ that which is without special reference to an established phase of thought) is traceable as a characteristic of, at least, the Teuton nations. It must be admitted that the popular verbal fun of the middle ages is not always easy to grasp, but it cannot be denied that where understood, or where its outlet is found in the graphic or glyphic arts, there is allied to the innocent coarseness and unscrupulousness, a richness of conceit, a wealth of humour, and a delicate and accurate sense of the laughable far beyond Greek wit or Roman jocularity. It is to the embodiments of the spirit of humour as found in our mediæval churches that our present study is directed. It may be as well to first say a little upon those comicalities which may be styled 'grotesques by misadventure.' This is a branch of the subject to be approached with some diffidence, for it is in many cases difficult to discriminate between that which was intended to be grotesque, and that which was executed with serious or often devout feelings, but for one of several causes often presenting to us an irresistibly comic effect. The causes may be five. First, the varying mechanical and constructive incompetency of the artists to embody their ideas. Second, the copying of an earlier work with executive ability, with strong perception of its unintentional and latent humour, but without respect to, or without knowledge of, its serious meaning. Third, the use of symbolic representation, in which the greater the skill, often the greater the ludicrous effect. Fourth, the change of fashion, manners, and customs. Fifth, a bias of mind which impelled to whimsical treatment. Consideration of the causes thus roughly analysed will explain away a large proportion of the irreverence of the irreverent paintings and carvings which excite such surprise, and sometimes disgust, in the minds of many modern observers of ecclesiological detail. It will be seen that the placing of carvings in any one of these five classes, or in the category of intentional grotesques, must, in many cases, be a mere matter of opinion. For the present purpose it will not be necessary to separate them, except so far as the plan of the work does it automatically. Many ecclesiastical and other seals afford familiar instances of the 'comic without intention,' parallel to what is said above as to carvings. The Carvers. [Illustration: LINCOLN, _14th cent._]