As with the misericorde, so with its subjects. At Exeter we have seen (page 4) the tail of the harpy made into a trefoil ornament, while she grasps a trefoil-headed rod (just as among Assyrian carvings we should have met a figure bearing the sacred three-headed poppy). At Gayton (page 87) we have the three-toothed flesh-hook; at Maidstone is another. Chichester Cathedral and Chichester Hospital have each three groups. Beverley Minster has three fish interlaced, and three hares running round inside a circle. In Worcester Cathedral there are three misericordes, in each of which there are three figures, in which groups the number is evidently intentional. Three till the ground, three reap corn with sickles, three mow with scythes. [Illustration: TRINITY OF MOWERS, WORCESTER.] From them as being unusual in treatment, even in this stiff Flemish set, is selected the trinity of mowers. Groups of three in mowing scenes is a frequent number. Doubtless this carving is indicative of July, that being the "Hey-Monath" of early times. One of the side supporters or pendant carvings of this is a hare riding upon the back of a leoparded lion, perhaps some reference to Leo, the sign governing July. The three mowers do not make a pleasing carving, owing to the repetition and want of curve. Other instances of triplication in Gothic design might be given, particularly in the choice of floral forms in which nature has set the pattern. This section, however, is chiefly important as a convenient means of incorporating a record of something further of the fundamental beliefs of the world's youth, connected with and extending the question of the remote origin of the ideas at the root of so many grotesques in church art. The Fox in Church Art. [Illustration: PREACHING FOX, CHRISTCHURCH, HAMPSHIRE.] The Fox, apostrophized as follows: "O gentle one among the beasts of prey O eloquent and comely-faced animal!" as an important subject in mediæval art, has two distinct places. There is a general impression that there was a great popular literary composition, running through many editions and through many centuries, having its own direct artistic illustration, and a wide indirect illustration which, later, by its ability to stand alone, had broken away from close connection with the epic, yet possessed a derivative identity with it. Closer examination, however, proves that there is indeed the Fox in its particular literature with its avowed illustrations, but also that there is the Fox in mediæval art, illustrative of ideas partly found in literature, but illustrative of no particular work, and yet awaiting a key. Each is a separate and distinct thing. Among the grotesques of our churches there are some references to the literary "Reynard the Fox," but they are few and far between; while numerous most likely and prominent incidents of Reynard's career, as narrated in the poem, have no place among the carvings.