Another kind of meditation under the same aggravated affliction is afforded by making fantastic pictures out of the stains of damp and tracks of snails on the wall, which often (in village churches especially) supply the young with a permanent subject of contemplation in “the doctor with his boots,” the “old lady and her cap,” and the huge face which would be quite perfect if the spectator might only draw an eye where one is missing, as in the fresco of Dante in the Bargello. Occasionally, the sunshine kindly comes in and makes a little lively entertainment on his own account by throwing the shadow of the preacher’s head ten feet long on the wall behind him, causing the action of his jaws to resemble the vast gape of a crocodile. All these, however, ought perhaps to be counted as things of the past; or, at least, as very “Rural Recreations of a Country Parishioner,” as A. K. H. B. might describe them. It is not objects to distract and divert the attention which anybody can complain of wanting in the larger number of modern churches in London. But, if our thoughts are wont to wander off into fantastic dreams when we are bored, they have likewise a most unfortunate propensity to swerve into byways of triviality no less misplaced when, on the contrary, we are interested to excess, and our attention has been fixed beyond the point wherein the tension can be sustained. Every one has recognized the truth of Dickens’s description of Fagin, on his trial, thinking of the pattern of the carpet; and few of us can recall hours of anguish and anxiety without carrying along with their tragic memories certain objects on which the eye fastened with inexplicable tenacity. In lesser cases, and when we have been listening to an intensely interesting political speech, or to a profoundly thoughtful sermon (for even _Habitans in Sicco_ may sometimes meet such cases), the mind seems to “shy” suddenly, like a restive horse, from the whole topic under consideration, and we find ourselves, intellectually speaking, landed in a ditch.