SymbolismofAnimalsandBirds 10225079

SY M BO L I S M
A N I M A L S A N D BI RD S
R E P RE S E N T E D IN E NGLIS H
C H U RC H A RC H ITEC T U RE
A RT H U R H . CO L LINS , M A. .
LO N D O N : S I R I S A A C P I TMA N S O NS ,
L TD .
No . 1 A ME N C O RN E R ,
E C . 19 13
P RI N TE D BY SIR I S AA C PIT MA N
SO NS, LTD .
,
L ON DON , B AT H
YO R K 191 3
252 6 9
C O N T EN T S
CHAP .
S O U R CE S OF A N I MAL S Y M B O L I S M
II . T HE A PE ,
A ss, B E AVE R , B E AR , B OA R ,
C A ME L , I XX% E LE PHAN T
III . THE FO X , G OA T ,
H A RT AND A N TE L O PE ,
H YE NA .
IV . T HE HE D GE H O G
LA M B L I O N , ,
THE o x PI G PA N TH E R S A LA M A N D E R
, , ,
VI . THE S HE E P T I G E R VVHA L E A N D F I S H
, , ,
W O LF 94
VI I . T HE C HA RA D R I U S , C O C K A N D H E N ~
,
D O VE 1 14
VI I I . T HE EA G LE G O O S E PE A C O C K PE L I CA N
, , , ,
R AV E N
IX . THE BA S ILI SK OR C O C KAT R I C E AND
C E N TA U R
T HE D RA G O N S E RPE NT OR
XI . T HE G R I FF I N
H Y D RA A N D C RO C O D I LE
, ,
M A N T I CH O R A M E R M A I D O R S Y R E N
XII . THE .
5HT HN X TE R R E B O L E N
5
U N I C O RN , ,
S E R R A R E M O R A A N D P H CE N I X
,
XI I I . C O NCL US HHV
TA B L E OF P H O T O G RA P H S
INDE X
L IS T OF B O O KS L A RG E L Y
C O N SUL TE D
C hristian S ym b olism in G r at Britain and Ir land By e e .
J R omilly A l l
. en .
A nimal S ym b olis m in Eccl siastical A rchit c t ur By e e e .
E P Evans (H i n man )
. . . e e .
N o rman T ympana and L in t ls By C E K ys r (S toc k ) e . . . e e . .
S acr d and L g ndary A t

e By M J am son (L ongman )
e e r . rs . e . .
Blac k T o urnai F o nts in England By C H Ed n . . . e .
F o nts and F o nt C ov rs By Fran c is Bond (O xfor d ) e . .
Cal ndar of t h P ray r Book By J am s P ark r

e e e . e e .
Encyclop dia Bri tannica ae K I th E d A rticl on . n . e
P hysi o logus .
Early D rawings and Illuminations Bri t is h M us um in e .
B y W d G ray Birch and H nry J nn r

. e e e e .
D ictionary f A rchit ctur articl o n A nimals

O e e , e .
W J and G A A udsl y
. . . . e .
T r asury M agazin
e J un and J uly 1 9 1 1 articl s e , e , , e on
N atural H is t o ry in t h Psal m s B y Can o n H orsl y ”
e . e
G uid to Early C hristian and Byzan t in A ntiquiti s in t h

e e e e
British M us um e .
Epistl s o f S J ohn Essay on t h R lation o f Chris t ianity

e . . e e
t o A rt B y B p W stc o tt
. . e .
S YM BO L I S M OF
A N IM A L S AN D BI RD
R E PR E S E N T E D IN E N GL I S H
A RC H IT E C T U R E
C H A P TE R I
S O U RC E S OF AN I MA L SY MBO L I S M
NO student o f o u r ancient ch u rches c an fail
to have n oticed how frequently anima l s an d
other representation s o f natural history are
t o be found carved therein The question will
.
naturally occur : are these sculptures or ,
paintings mere grotesqu e creations O f the

,
.
artist s fancy o r have they rather some m ean

’
ing which patient investigation w i ll discover

for us P I t is only during the last few years
that a satisfa c tory answer to these questions
has been di scovered ; though no doubt o u r
grandfa thers suspected that these a n imal
ca rvings were n ot m erely freaks o f fa ncy .
O wing to a marked similarity in sub j ects

O f far different dates and at far distant
,
S YAI B O L I S M OF A NIMA LS IN
places they may have felt that there was

,
some link t o bin d them together This link .
has now been foun d in the natural history

b ooks of the M iddle A g e s which were in more
,
co mm on circulati o n than any other book ,
save of course the Bible

, ,
.
S uch books are usually called B estiaries .
They are to b e foun d in every great l ibrary ,
an d can be studied by those W h o have the

patience an d requisite kn owledge .
L et u s un derstan d first W hat a typical

B estiary is like an d then w e may try t o solve
,
the m o re di fficult p roble m of its origin A .
B estiary may treat O f about thirty or forty

animals and birds real or mythical I t may
,
.
be adorned by illuminated miniatures O f each

animal treated an d w ill give a description
,
of i ts supposed habits and appearance A gain .

,
the writer may have s o me tale t o tell ab o u t

the animal But last ( an d not l east for this
.
,
is the pr o minent feature o f the B estiaries )

are given the religious an d moral lessons
which the animal s b ehaviour can teach
’
.
F ew books have entered more than the

B estiaries into the common life of E uropean
nations H e n c e we may un derstand that the
.
sculptors wh o b e a u t i fi e d our churches were

n o t S l o w t o make u s e O f such familiar material .
2
E NGLISH CH UR CH A R CHI TE C T UR E
I n thu s l aying the B estiaries under contri

b u t i o n the builders of a church would be able
,
t o carry o u t an important obj ect — the i n

struction of al l future worshippers The parson .
was there t o instru ct through the ears of his

congregation whi l e the sculptures w o uld
,
instru c t stil l m ore effectively through the

eyes .
N O l ess an authority than H orace has

spoken in favour of the eye as a medium of
instruction
tant
S e g n i u s i rr i a n im o s m ss
d e i a p e r a re m u
ua
% m q e ua sunt o cu l i s s u b j e ct a fi d e l ib u s
”
—
.
A 1 s P o e ti c al
f -
L ine 1 8 0 1 8 1
. s -
.
An d what is more most m odern teachers,
will agree with hi m .
The original B estiary ( generally called th e

P hy s i o l o gu s ) w a s produced in a far l ess .
scientific age than ours N o one knows w h o .
wro t e the P hy s i o l o gu s an d there is no clue

to be traced fro m the title which simply ,
m eans T he N aturalis t But owing t o its .
doctrina l an d linguistic peculiarities it has

been assigned t o an A lexan drine source .
P rofessor L a n d has S hown that most of the

animals mentioned in the B estiaries are to be
foun d in E gypt or may be seen there occasion
,
ally H e has also drawn attention t o the f act

.
S YIl I B OL I S M OF A NIMA LS IN
that the technical terms o f A lexan drine

literature are to be foun d in the P hys i o l o gu s .
The date O f the original P /zy s z o l og u s is u n

'
certain for the original M S is o f course lost

,
.
, ,
.
But the versi o ns of B estiaries are t o be read

in about a dozen E uropean languages per
haps the earliest of all belongs to the fifth
century The early naturalists whether G reek
.
, ,
R oman or A lexan drian were n o t scientific

, ,
.
TO them the classification an d orderly t reat

ment of our experts would have presented n o
interest The R omans showed considerable
.
ingenuity in training pets or wild animals an d ,
their O fficials Were most active in Obtaining

wild beasts to grace their triumphs or to
a fford amusement to the degraded popu l ace
in the amphitheatre But their authors in
.
,
d ealing with the habits of wild ani m als ,
showed n o results o f careful Observation .
M ore accustomed as they were to record

’
scraps O f folk lore or untrustworthy travellers
-
tales they never concerned themselves with

,
the truth or falsity of details which to us are

more important than wide an d general o b s e r
v a ti o n s
. E v e n the sober an d accurate J ulius
C aesar imagines that a kin d of unicorn exists
in G aul .H e soberly states too that elks , ,
have n o j oint s t o their legs with the result,
6
that they c a rL n ever li e down but have t o ,
take their rest by leaning against trees .
F rom t his c ircumstance an ingenious method

of capt u re had been dev ised by the ‘ '
natives .
T h e same remarks as to want Of scientific

accuracy apply genera ll y speaking t o the
, ,
G reeks with the exception o f A ristotle .
A l exandria the birthpla c e o f the B estiari e s

,
was an empori u m Of the l earning and super

s ti ti o n s of the world ; the meeting p l ace
of E ast and West G reek R oman J ew, , , ,
E gyptian in fa c t of scholars an d traders

,
fro m al l par t s I t was the A lexandrin e

.
s c holars w h o translated the Ol d T estament

i nto the G reek o f the S e ptuagint with ,
whi c h o u r early C hristian writers are so

familiar .
A l exandrine scho l arship and theo l ogy had -
many pecu liarities S o m e there were who

.
tried to recon c i l e an d combine the teachi n g

Of G reek philosophers with the teaching o f
C h rist . O thers again prominently O rigen
, , ,
interpreted the Bib l e an d even the natural ,
history of the Bible in a mystical o r symbolic

,
sense T he result was that the plain literal

.
m eaning was discredited When the current .
methods of natural history came in c o nta c t

9
2
S YM B O LIS M'
O F A NIMA LS IN
with the current meth o ds of Biblical inter

r e ta t i o n the fortunes o f the former were
p ,
assured T he P hy s i o l ogu s was produced by

.
these t w o tendencies combined .
The trans l ation s of the P hy s i o l ogu s entered

int o all the p opular l itera t ures o f E ur o pe an d ,
s o it c ame ab o ut that animals fro m the E ast
are represented in the churches o f the West ,
t o instruc t medi aeval congregations

T he p a m t i n g s i n t he catacombs a t R ome
were a n o t h e r s o u r ce o f influence o n ecclesias
-
tical art Though s ome early C hris t ians held

.
a ll painting an d scul p t ure in abh orrence an d ,
protes t s a gains t their use were made by pr o

minent F athers o f the C hurch yet at R ome , ,
at any ra t e art was held i n h i gh h o nour

,
by C hristians fr o m the very firs t A bout .
fifty O f these ca t acombs are said to exist ,
th o ugh many are n o l o nger expl o red They .
c onsist o f corridors and chambers cut o u t

from the tufa which forms the subsoil near
R om e . T he dead were buried i n niches
along the corridors or in t he chambers the ,
walls an d roofs o f which were stuccoed and

covered with paintings T hese paintings
.
were quite frankly pagan in influence th o ugh ,
hallowed by the presen c e o f C hristian i deas .
A s time goes o n they degenerate but during ,
10
S YJl [ B O L I S M
/
OF A NIMA LS IN
But an o ther an d even m ore important

,
reason is given for the symboli c nature o f

early art I t is stated t o be due t o the intel
-
.
lectual tendencies of the time S ymb olism .
w a s as it were in the air

, ,
.
N O one believed in the O l d O fficial re l igion

j ust before or after the time O f C hrist and in ,
their weariness o f it all turned t o the newl y

conquered E ast where they found some o f
,
j
the relief they needed in the m y s t i ci s m a n d

allegory an d bold theories as t o the origin
,
o f the U niverse S O common there What w as .
Obvi o us was n ow di scoun t ed ; whi l e tha t

whi ch symb o lised something deeper than
itself was m ore satisfac t ory t o t he m in d .
A s C hristianity grew it made its appeal to

me n j ust through t hat symbolis m t o which
they were growing accustom e d .
'
A questi o n which we might n a t ural l y ask

is this : Did the architects an d p reachers Of
the M iddle A ges belie v e in the existence of
all those strange animals such as dragons ,
an d centaurs of whi ch they made practical

,
use P Did they believe in the current folk l o re -
which they voiced an d depicted % P roba bly

they were credulous enough B ut on the .
,
wh o le we may say that the truth o f the

,
st o ry was j ust what they did n ot tr o uble

14
about any m ore than so m e clergymen are

,
pa rti c ular abou t the abso l ute truth o f the

stories they te l l children from th e pulpit .
T he app lica t ion the lesson is the thing

, ,
T his statement might be prove d by references

t o early F athers such as S A ugus t ine and .
S B asil an d also t o writers of the M id dl e A ges

.
,
.
I t is n ot v ery di ffi c u l t t o see their p oint o f

view when we remember that t o most earl y
C hristians all nature was full o f types of C hrist
and C hristianity To l augh at su c h ideas is
.
easy bu t for a ll tha t i t m ay be that we ha v e

, , ,
fa l len into the opposite errors .
There is surely a sense in which a C hristian

m ay A sk the beas t s an d they shall teach
thee and the fowls of t he air an d they shall
, ,
”
tell thee ( J o b xii .
We are trying to be wiser than o u r M aster

if we will n o t l earn from the fowl s o f the air ,
and the l i lies o f t h e fi e l d o r even the ox fallen

,
in to the pit an d the hen clucking t o her

,
chickens .
A ll versions O f the B estiaries are teeming

with a surprising number o f errors even where ,
tru stworthy information might ha v e been

Obtained I gn orance an d credulity a re res
.
p o n s i b l e fo r many but ,
n o t for all mistakes ,
.
The P hy s i o l o g u s was never a classical w o rk ,
17
S YM B O LISM OF A NIMA LS IN
with a received text which was j ealously

g u arded B u t a d di ti o n s from many sources
.
'
such as we cannot trace migh t be made by ,
the compiler of any version an d if subseque nt

writers t oo k a fancy to these ad d iti o ns they ,
would accept the m without criticism o r

hesitation A great deal Of confusi o n w a s due
.
t o mistranslations o f the names o f vari o us ,
Biblical animals o r t o a natural desire to ,
identify the fabulous an i mals derived from

th e classics with o thers mentioned in the
Bibl e Y et th e B estia ries will not enable u s
;
to identify all the beast s an d birds which are

represented in o u r churches for in many ,
cases the carvings are so rough o r S O far ,
fe t c h e d a n d fancifu l that w e c ann ot t e ll what

was the artist s intention Y e t we are sure
’
’
that Where inve s tigation an d comparison

,
enab l e u s t o fix fo r certain the identity o f the '
animal the rel i gious moral o r doctrinal

,
‘
less o ns attached wil l generally be found in
o ur B estiaries o r more easily still in o u r
,
B i bles .
%
To t a k e j ust two examples Where a little

u .
p ra c tice has enabled us t o i dentify the .
“ ”
A gnu s D ei or , L amb o f G od as I t
stands o r re c li n e s holding a L o n g C r o ss in
.
I t s f o re p a w s , we shall be able t o fin d in the

18
C H A P TE R II
TH E A PE , Ass, BEA VE R B E A R , ,
BO AR ,
C AME L ,
DOG E L E P HA N T
,
TH E greatest di fficulty presented by the stu dy

O f ecclesiastica l zoology is n ot S O much t o ,
di scover the interpretations o r symbo l ic mean

ings o f the various anima l s , but to find o u t
for cer t ain what anima l s the car v ings before
u s r epresent
‘
S o m e like the l ion o r the centaur may

, ,
easily b e recognised bu t m any anima l s ,
cann ot b e iden tified with the result that their

,
in terpretation is lost t o us . I n t h e fil a t t e r case

a stu dy O f the original M S o f a B estiary will .
sometimes yield ast onishing results For in the .
B estiaries we S hall be able not on ly t o read

the animal s name but t o see a picture o f it
’
di splaying some characteristic or habit which ,
as likely as n ot is also depi cted in architecture

,
.
I t will be f o un d impossible t o arrange the

animals and birds treated of in th i s b ook in a
scientific order but o n the wh ole the alpha
,
b e t i c a l order which we have ad o pted will be

m o st convenient for reference .
O ur m e tho d w ill b e to write first about

22
su ch animals , and afterwards such birds as

.
really exis t even though their habits have

,
been m uch misrepresented by ancient authors

and afterwards again we will deal with those
that are fabulous an d mythical I n practice
%
.
,
however it wi ll be foun d hard to keep the

,
rea l an d the fabulous separate I n a book of .
this size it wil l not be possible to deal wit h

a ll the creatures mentioned in the various
B estiaries but o u r aim wi ll be t o say what
,
we c an about those which are frequent l y

represented o r l ike l y to be rep resented more
, ,
o r l ess in our E ng lish ar c hitect u re

,
We .
sha ll begin with the ape .
A ccor di ng t o M r R o m i l ly A l l en there are

.
,
no representations o f the ape in o u r churches

dating fro m before the thirteenth century .
I t is p robab l e that this state m ent needs

qu a lifi c ation .
A n y o n e who has tried t o de c i p her the carv

ings O f the bea u t i fu l N orm an C hurch o f
Barfrest o n in K ent will have been struck
, ,
by the monkey l ike characteristics o f s o me of

-
the m . S ome years ago the writer thought

that he n oticed a small carving o f a monkey
o n the T ransiti o nal N orman d oo r o f C hirt o n ,
in Wiltshire an d his suppositi o n has bee n

,
confirmed by the answer which the residen t

25
3
I OF
S YAI B O L I S IV A NIMA LS IN
clergyman gave t o his en q uiry about the

matter I n la t er ti m es the ape is so m etimes
.
,
carved t o g e th e r w i t h other animals o n the

,
.
stalls o f our l arger churches I t is t o b e seen .

,
f o r instance o n the misericords of L inco l n and

,
B rist o l C athedrals I n such cases stories of

.
,
the type o f ZE s o p s Fa bl e s were no doubt in

’
the mind of the artist at the time

We read a good deal about the ass in the
O ld T estament where it is m entioned abo u t
,
fifty times un der names which denote ei t h er

its enduran c e or its ru ddy colour B esi des
.
.
being used for agri cu l t ure and for b u rdens ,
the ass used t o bear O fficia l digni t aries u p on

its back By ridi ng thus m ounted in t o J eru
.
sale m o n P al m S unday O ur L ord n o t on ly ,
revived the hu m ble pageantry of t he B ook Of

J u dges ( c p J u dges v 1 0 x 4 xii
. but
.
,
.
,
.
also fulfilled the M essianic prophecy o f

Z echariah T he scen e of the entry into
.
J erusa l em upon an ass is occasionally trea t ed

in N orman scu l pture as for instance o n the
, , ,
N o rman font Of West H addon N or t hamp t on ,
shire I n this exa m ple a man is shown O ffering

.
O ur L ord a pa lm .
T he ass an d the ox together are to be seen

on carvings of the N ativity o r the adoration ,
of the M agi O n F incham fon t N orfolk the

.
, ,
26
S YM B O LISM OF A NIMA L S IN
and thus effe c t its es c ape S O the man o f Go d .
is t o se p arate fro m h imse l f t he works of the

flesh and by throwing them to t he de v il t o
, ,
sa v e his sou l a li v e .
I n a sp l en di d E nglish B es t iary o f t he ,
thirteenth century in the British M useum

( H arl .4 7 5 1 ) t h e hunters are depicted with
their prize w hile t he beaver is a l lowed t o
,
es c ape .
Th e bear O ften figures in N or m an archi

%
tecture where i t is p robabl y a symbo l o f t he

,
'
de vi l S u ch for e x a m pl e i s the in t erpre t ation

.
, ,
whi c h S Au gustine gi v es in his ser m ons

.
,
when he ex p lains the S i gn i ficance o f D avid s ’
co m bat wi t h t he l i o n a n d t he bear T he best

v
.
exam pl es w e kn ow of are c ar v ed o n the south

door O f t he exquisi t e N or m an chur c h o f
B arfreston H ere are t wo bears ( o r possibly
.
a bear and ano t her ani m al ) disc u ssing with

e v id e nt relish the contents o f a hi v e of honey .
B elow this is a stil l m ore curious medallio n .
A bear is pl aying the harp w hilst a naked ,
human figure is con t orting itse l f t o the

m usic with both han ds an d fee t u p on the
,
groun d A ntiquaries have been m uc h p u zz l ed

.
by this : What does it a l l mean % TO the

present w riter the si m plest interpretation
see m s the best I t m eans that t he de vil is
.
30
l uring his victim to destruction by bodily

and sensua l deligh t s .
T he bear is some t i m es to be found muzz l ed

o n N or m an corbels H ere t o o the application
.
, ,
is obvious T he de vil when m uzzled cann o t

.
do m u ch har m .
T he wi l d boar is t o b e seen o n N orman

t y m pana n otably a t S N icholas Ip swich
,
.
, ,
an d A shford in D erbyshire
,
I n the latter .
exa m ple the boar is attacking a con v ention

alised tr ee fro m one side while a li on is on ,
th e other side I t is j ust possible that we ha v e

.
here an al l usion to P sal m l xxx 1 3 where it .

,
is sai d of the V ine brought o u t o f E gypt that ,
the wi l d boar o u t of the wood doth root it

up an d the wi l d beasts o f the field de v our
”
it. I f this inter p retation be correct then the ,
m eaning of the sculpture would be that the ,
power Of e vil is trying to uproo t an d destr o y

the power of C hris t .
T he boar is foun d o n a m ost curio u s early

s c ulp tu re at C lifton H ampden C hurch O xon , ,
whi c h M r C E K eyser says represents a

. . .
h u nting scene with hun t er an d houn ds I t .
l o o k s a s though the hunter were in a state o f

'
mo rta l terror as he clings t o the t ail o f the

foremost ho u n d U n der the b o dy Of t h e boar
.
is the head o f a man who has been a l ready ,
33
killed . P erhaps
the whole body was there
o nce but the fragmentary nature o f the
,
sculpture p revents o u r ascertaining this I f .
’
M r K eyser s inter p retation which w e ha v e
.
,
followed is correct the houn ds are unusually

, ,
large far large r than th e m an

,
.
A t Tutbury S taffordshire, and L i t t l e L ang

,
ford Wiltshi re are other representation s o f a

, ,
“
b o ar hunt T wo wild boars fa ce o n e a nother

.
'
on a perpen dicular screen at H eadcorn ,
K ent .
T he camel , an d similar beasts are fr e ,
q uently re presented i n man u scripts o f all

countri es in the British M u seu m and else
where We have seen a c a m e l c ar v ed o n o n e
. .
Of the fine sixteenth c en t ury b ench ends of -
S efton L ancs ; where a rider is Sea t ed o n

,
‘
his back an d bran dishes a shor t sword o r

, ,
scimit a r .
A bactria o r camel like animal is drawn -
on the famous early fourteenth century map

of the world in H ereford C athedral This .
unique composition w hich is scat t e red ,
thickly over with represent ati o ns o f animals

fro m the B estiaries with their appropriate ,
insc riptions was the work Of a preben dary o f

,
the cathedral w h o gives his name as R ichard

,
de H a l di n g h a m an d de L affo r d .
34
S YM B O LISM OF A NIMA L S IN
pr o bably by the P arliamentarian army which ,
turned the church into a stable and even ,
baptised a h o rse in the font .
O n e of the m ost de lightful specimens of

n atural carving is o n an arch stone O f Bar
freston south door A bi t o f E nglish l andscape

.
i s indicated by a tree in front o f which t w o

,
h o un ds are running t o the right whi l e the ,
obj ect Of their p u rsuit a hare has doubled

, ,
back to the l eft an d is escaping .
T here are few carvi n gs of the elephant

before 1 200 though the head o f one is car v ed
,
under the string co u rse at the west end o f

the N orman church of Ki l peck A m an has .
’
been caught in the animal s trunk .
The elephant is o n e of the anima l s dea l t

with at length in the B estiaries I t is said t o .
be so str o ng that it can carry a tower fu ll o f

armed men on its back an d therefore i t is o f
,
great service in ba t tle T he B estiaries Often

represent it with the tower which sometimes
,
c ontains the men w h o are fighting with their

enemies .
The elephan t was said t o l ive 200 years ,
while the female a c cording to medi ae val

,
authors r equires two years to bring forth

,
its young . When the ti m e arrives for the

e l e p ha n t s t o p air t hey g o t o a region in t he
,
38
neighb o urh o od O f P aradise whe r e the man ,
d r a g o r a grows O f t h i s plant they eat When

. .
the mother is about t o b ring forth her young ,
she goes into a pond until the water t ouches

her breast an d there gives them birth A s
,
.
“
the P sal m ist says : S ave me O Go d fo r , ,
the waters are co m e in t o my soul M ean .
whi l e the m ale keeps watch against the

dragon which seeks to de v our the newly
,
born elephant I f the male discovers the

.
dragon he kills hi m by stamping o n him

,
with his feet T he c o mbat o f the elephant

.
an d the dragon is O ften drawn in old manu

scripts . S o m etimes the dragon wounds the
elephant as the l a t ter crushes him d o wn ;
,
sometimes the dragon manages t o coil himself

r o un d the ele p hant s body ’
.
T he elephants are in an absurd way typical

Of A dam an d E v e who ate of th e forbidden ,
fruit an d also ha v e the drag o n for their

,
enemy I t was supposed that the elep hant

.
( m u ch like the elks o f J ulius C aesar ) used t o

sleep by l eaning against a tree T he hunters .
would co m e by n ight an d cut the trunk ,
through D own he would come r o aring

.
he l plessly N one o f his frien ds w o uld be able

.
t o help him until a sma l l elephant sh o uld

,
co m e and lever hi m up with his trunk This .
41
4
S YM B O LISM OF A NIMA LS
s m a ll
elephant was symbolic o f J esus C hrist ,
Who came in great humi li ty t o res c ue the

“ ”
human race which had fallen through a tree .
The B estiaries have a good deal t o say

about the mandragora o r man drake which , ,
the elephant eats in P aradise I t is a plant .

,
lumin ous at night which is shaped j ust l ike ,
a human being When people wish t o Obtain

’
the man drake they have to be v ery carefu l

,
l
for it will flee at the sight Of an un c lean man .
First it s head m u st be touched with iron

,
.
T hen the earth is scrape d away wi t h an

ivory s t a ff until the han ds an d feet o f the
,
plant ap p ear N ext the plan t has t o be tied

.
’
t o a dog s neck an d meat is thrown t o the ,
d o g in s u ch a w a y that when he tries t o

, ,
catch the m eat he m ust j erk the m andrake ,
up .
T he mandr ake is really a plan t o f the same

genus as the bel ladonna I t has yellow fruit .
about the size o f a p l um with a p e c uliar ,
sweet tas t e T he p o p ular tradition referred

.
,
t o in the Bible that the mandrake is an ,
aphro di siac stil l survives I n P a l estine T here

,
.
is a representation o f i t o n the m ap o f the

world in H ereford C athedral ( as m entioned
above) with the ins c ription :
,
M andragora
”
h erba m i ra b i l i t e r v ir tu osa .
42
sh o wn with his eyes cunningly closed an d he ,
has caught a third bird in one paw .
% uite as frequently t he fo x is represented

’ ’
as preaching in a monk s or friar s habit t o
geese an d other creatures as o n the stalls of ,
’
Beverley M inster S M ary s Beverley an d ,
.
,
E ly C athedral G enerally such carvings are

.
acc o mpanied by o thers which represent R e y

nard devouring his flock o r p a y i n g the penalty ,
'
of his crimes o n the scaffold : from which

ordeal he sometimes emerges alive to try —
again
A t Worcester C athedra l there are carved
on a misericord foxes running in an d o u t of
holes S J ohn the E vangelist stan ds near by
. .
with his G ospel in his han d an d his eagle at ,
his feet H ere we can see an allu si o n t o o u r

.
S aviour s words
’
F o xes have holes ,
etc ,
.
,
in S M att viii 20 I t has been suppose d that

. . . .
the Obj ect O f this par ticular carving is t o

in duce him who sees it to choose between
good an d evil .
’
The carvings o f the f o x in friar s garb are
un d o ubtedly satirical T O the friars Of the .
thirteenth century a great revival of religion

was due They mixed with the people in fair
.
an d market an d won many t o C hrist by their

,
preaching an d self denying l ives But alas -

.
, ,
46
in the fourteenth c entury and sti l l more in ,
the fifteen t h their zeal declined until they

, ,
beca m e the veritable forerunners of the mo

dern tramp an d the terr or o f good housewives
,
who l ived near t he m ain roads Fo r such .
reas o ns as these and also for their restless

,
an d innovating spirit t he begging friars were ,
much disliked by the Secular an d m onastic

clergy whenever the l atte r built their
c h u rches they wou l d n o t forego t heir o pp o r
,
t u n i t y of paying O ff Old scores if they

wan ted s u bj ects fo r the misericords .
T he goat o f the B estiaries is fon d of the

high mountains I t can te ll from a long dis
.
t an c e whether men are merely harmless

travellers or hunters co m ing t o destroy it
,
.
I t is thus typica l Of C hrist the far seeing S o n ,

-
o f Go d Who foresaw the deceit of the devil

, ,
an d H is O wn betrayal by J u das .
S o far as we kno w the di vision of the sheep

,
an d the goats on the J udgment D ay ( c p .
M att xx v 3 2) is n o t represented in E nglish

. .
architecture ; but examples o f th e goat are

t o be seen o n the capitals of the chance l arch
of A del ( Y orks ) on the j ambs O f a doorway
at E ly C athedral an d probably with other
,
animals on the tympanum of the n o rth door

of Bart o n S egrave N o rthants ,
.
4s
The B estiaries comment in an extraordinary

“
manner on P salm x l ii 1 L ike as t he hart.
,
desireth the w a t e rb r o o k s so l ongeth m y sou l ,

”
after T hee O G od
,
.
We are content with the n a tu ral a n d Obvi o us

interpretation n ot S O the P hy s i o l o gu s T he .
P hy s i o l o g i ts says that t he hart a n d dragon

are at enmity When the former sees t he
.
,
latter it goes and fills its stomach with wate r

at the nearest s t rea m whi l e t he dragon flees ,
for refuge into a c l eft of t h e rocks T hen .
co m es t he har t and b l ows t he wa t er down

,
in t o the hole w h ere the dragon is S O as t o ,
dr own i t ou t T he dragon is fina l ly dispa tc hed

.
by the hart s fee t T his abs u rd story o f t he

’
.
hart m akes it typica l o f o u r redemption b y

J es u s C hrist .O ur L ord foll owed the devi l
into the lower p l aces Of t he earth and by , ,
pouring b l ood and water from H is S ide dro v e ,
away the devil by the w a t ers of regeneration .
T his story is probab l y carved in wood o n the

pulpit o f F orrab u ry C ornwall though i n th i s
,
'
case the dragon is m ore like a four l egged -
beast or devi l H ere we see t he har t a t the

.
top o f t he carving hurrying as fast as it can

, ,
while below is the c l eft Of the rock an d o n ,
either side o f t he c l eft are t h e h ead and .
hindquarters o f the de vi l wh o is looking o u t

50
t hen what was formerly of use can help him

n o m ore This scene is often repr e sented in
.
medi aeval manuscripts as e g in the i ll u m i , ,

. .
,
nate d P salter O f I sabella o f F rance I n the .
thirteenth c entury Bestiary in the British

M useum ( called H arl a hunter has .
been attacking the antel o p e with axe an d

horn There is a woun d in the a ntelope s
.
’
side with the life blood g u shing o u t as the

,
-
,
ani m al fal l s in dea t h .
T he hyena can general l y b e recognised in

archite ctu re by his being re p resented as
devouring a h u man car c ase o r so m ething t hat ,
looks like a p lan t or tree A t A ln e there is an .
inscribed exa mp le O f the l atter .
I n the thirteenth century B estiary i n the

-
B ritish M useum ( Vit D 1 ) t he hyena has a . .
cat s head an d curious ban ds or straps rou n d

’ ‘
its ne c k and body I t is devouring a pl a nt

. .
I n other MS S it has p rised o ff the lid of a

.
sepulchre an d is devouring a corpse

,
.
The B estiaries say that i t is like a bear ,
with the neck o f a fox and that it has the ,
power o f changing i t s s e x f T he hyena is t hus

symb olic o f nameless vi ce an d also of the
'
double min ded man A cha ra ct eristic o f th e

-
.
hyena is that he is wont t o inhabit to m bs ,
an d devour the dead b o dies W e see him .
54
thus o c cupied on a rafter in t he roof o f o n e

Of the c l oisters of H ereford C athedral T h e .
hyena is sup p ose d to have in his eye a stone ,
which when it is placed u n der a man s

,
’
ton g ue wi l l give him the gift o f prophecy

,
.
S o m etimes this anima l imitates the human

voi c e and lures S hepherds to their destruction
,
by c all ing their na m es a t night .
S ir Wal t er R aleigh in his H i s to ry of th e

Wo rl d affir m s that the hye n a is the Offs p ring
o f a d o g an d a c at an d t hat it c ame int o
,
exis t en c e firs t j us t after the D e l u ge I t wo u ld

,
.
n o t ha v e been to l erate d in the ark
B oth a t A lne an d at H ereford the hyena s ,

’
fl o ri a t e d tai l is very no t iceable We have seen

.
no other anima l car v ed wi t h such a tai l as his .
I t was the tail t h a t enab l ed us t o recognise

hi m o n one o f the N or m an c apita l s under
the t ower O f A lton parish c h u r c h H ants , ,
where the carving is very S i m i l ar t o that o f

A l ne tho u gh there is no inscription
,
.
B esides his being a sy m bol o f i mp urity an d

i ns t abi lity the h abit o f p reying o n corru p tion
,
makes the hyena to be a type o f the J ews ,
who preferred t he dry bones of the l aw to the

li v ing G os p el T here is no beast with a less
.
enviable m eaning .
Fo r on c e the B estiaries have got h o ld o f a

57
5
fragment of the truth The hyena which is

.
,
comm o nly foun d in P a l esti n e seldom attacks

,
living animals except un der pressure of severe

hunger H e is the most cowardly o f a l l beasts
.
of prey When even carrion i s unattainable

.
,
the hyena has been known to take a skeleton

that the vultures have picked clean an d t o ,
crush the bones with its powerful j aws so ,
that it may extract the marrow I t is a

.
solitary animal and as it makes night hideous

,
by its cries the hyena is naturally an Obj ect

,
Of superstiti o us dread throughout the

countryside .
58
particularly from the R evelation o f S J ohn .

,
where the symbo lism is met with more than

a score o f times I t was f o r this L amb
.
that the O ld T es t a m en t sacrifices were a

preparation .
O ur artistic represen t a t i ons have their pr o

t o t y p e in al m os t every detail in the pain t ings ,
sarcophagi an d m o saics O f the e arly R o m an

,
churches an d catacombs .
There as here in E nglan d we m ay see t he

sacred A nima l nimbed with the l ong cross ,
o f the R esurrection beside I t B u t of co u rse

.
, ,
there are many examples in which the A gnus

has n o nimbus as e g in a medallion be t ween
, ,
. .
,
t w o e v angelistic symbols a t A s t on H ereford , ,
a t Ki l peck C h u rch an d a l so on perpen dicu l ar

,
fonts such as tha t Of S o u t h fl e e t K ent ,

.
The banner which flies from the cross in

this and many other examp l es is like the
, , ,
long cross a token o f v ictory over death

,
.
O r it may be symbolic Of the victory o f the

L amb over the B east m entioned in R ev ,
.
xvii 1 4
. .
T he early R oman examples have how e ver , ,
a piece o f symbolism which is l a ckin g in o u r

churches fo r the L amb is someti mes S hown
standing o n M ount Z ion with four ri v ers o f
P aradise issuing forth from the base ( c p .
62
R e v xiv 1 xxii
. .
,
. T hese four ri vers w ere
hel d to be sy m bo lic of the four evangelists .
I n other early exa m p l es t he L a m b is placed

in t h e cen t re with the A post l es ranged as
,
S heep o n either S ide .
T he L amb wi t h t he cross is the earl ies t

s ym bo l ic repr esen t a t ion O f the C r uc ifixion .
A l l earl y C hristians dis liked t o represent the

’
act u al s c ene Of O ur L ord s P assion partly ,
o u t o f fear of ri di c u l e pa rt l y because they

,
shrank fro m representing t h e slavish way in

whi c h O u r L ord was ki ll ed but chiefly ,
be c a u se o f that l a u dab l e reser v e which is a ,
charac t eris t ic O f a ll early C hristian art .
A S time went on however reser v e gra

, ,
du a ll y gave place t o realis m T he L amb came .
to be represented o n the C ross as at Wi rk s ,
wor t h D erbyshire fro m which it was a short

, ,
step d eter m ined by a co u nci l hel d at C o n

,
s t a n t i n o pl e in 683 to p l ace the actual figu re

,
of O ur L ord upon the C ross O ne of the ver y .
earl iest extant examples of C hris t H imself

o n the C ross is c arved on an ivory casket o f
the fifth c entury in the British M useu m E ven .
here there is n o true realism O ur S aviour .
has H is eyes o pen an d J udas has hanged

,
himself on a tree hard by .
O f the interesting S lab at Wirksw o rth

65
S YM B O LISM O F A N I IV
I A LS IN
to which we have j ust allu ded Bish o p ,

“
Westcott says as foll o ws : The S lab was
found s o me years a go buried under the floor
o f the chancel T he work is ru de and was
.
pr o bably executed by some E nglish sculptor

O f the ninth o r tenth century but the design ,
is o f a much earlier date and may reasonably ,
be referred to an I talian artist of t h e sixth o r

seventh century O n the centre of a
.
plain G reek cross is l ai d the figure O f a de a d

L amb A s far as I can l earn the conception
.
,
is uni q u e T he drooping head and the bent

.
l egs of the victi m tell of death with eloquen t

force ; an d un der this l i m ited aspec t it is
perhaps allowable t o p resen t for contempla
tion the dead C hrist N O o n e I think can
.
, ,
rega r d I t withou t feeling t hat we have l ost

greatly by substi t uting a literal representation
”
for such a symbol .
O n the N orman tympan a o f P arwich and

H ognaston D erbyshire the A gnus Dei seems
, ,
to be incongruously assor t ed with a crowd o f

wild beas t s birds an d serpents I n the latter
,
.
case the beasts are accompanied by an

ecclesiastic with his pastoral sta ff The .
symbolism of this association has constantl y

puzzled arch aeo l ogists I t see m s t o the writer
.
,
however t hat a s u ggestion Of M rs J ameson

,
.
.
66
S YM B O LISM OF A NI MA LS IN
I n the H eref o rd in a p t a ni a n di the li o n is

alm o st in distinguishable fr o m the leopard ,
s o that in s o me cases it is probable t hat the

latter is i nten ded The l ion is Often typical
.
o f J esus C hrist the L i o n of the tribe O f J u dah

,
( p
c . G en xlix .9 H o s v
. 1 4 R
,
ev V
. . By ,
. .
referring t o the last passage we read that O ur

L ord is also symbolised by the L a m b in the
next verse with a di fferent purpose : the
,
L amb representing what was gentle and

o bedien t in the perfec t character o f H im Who
was sacrificed for us while the L ion is
rather a type Of C hrist s power an d might ’
an d all that was kingly an d maj estic in H im .
M rs J ameson n otes that in paintings of the

.
saints the presen ce o f the lion symbolises

’
solitu de o r perhaps the manner of the saints
,
death Three prin cipal characteristics Of the

.
lion are recorded in the B estiaries .
( )
1 When he is pursued by hunters he is
able to e fface the tracks O f his feet with his
tail S O the L ion o f the tribe o f J u dah
.
c o ncea l ed H is G o dhead from all w h o did not

seek H im aright .
The li o n was supposed t o S leep with hi s

( )
2
eyes open This I s a type o f the wakefulness
.
O f C hrist s G odhead whilst H is human body

’
was w rapt in the sleep o f death P salm cxxi 4 . .
70
is also qu o ted in this connecti o n B ehold ,
H e that keepeth I srael S hall neither S lu mber

”
n o r S leep .
A lion is carved on E ardisley font H ere ,
fo r d s h i re with o n e eye open

,
L i o ns are als o
.
carved on the east front o f B arfrest o n with

'
pr obably a symb olic meaning of thi s character .
( )
3 There was a fable that the lioness
brought for t h her cubs dead A fter three
.
days the male li o n would c o me and howl

over the cubs an d quicken t h em by his breath
,
.
S O the A lmighty F ather o n the third day

recalled to life H is o nly begotten S on and ,
one day will quicken us t o gether with H im .
The li o n is th us a symbol o f the R esurrecti o n

“
Of J e s us C hrist Who was H imself the first
,
”
fruits of them that S lep t .
T he lion was taken as a type of S M ark .

,
because it was felt that he am ong the E van

g e li s t s dealt especially with the R esurrection
o f C hrist ,
and with H is Kingship .
T his symbolism is o f course original l y

, ,
derived from the R evelati o n where the four

,
l i v ing creatures were held in C hristian tradi

tion from the secon d century onwards t o
represent the four E vangelists A ccording t o
.
more modern commentators the f o ur living ‘
“
creatures ( wr o ngly translated beasts ) are best
73
6
regarded as representatives o f created life in

its vari o us aspects in the midst O f which G od
,
sits enthroned ( Dr G ibs o n ) Then there is

. .
the evil S ignificance of t h e lion as well W e .
get this on a N o rman f o nt at S ta fford where ,
li o ns are carved with the W o l d s D i s c re tu s

‘ ’
”
n on es S i n o n fugis ecce leones .
The lion has an evil meaning when he is

S h o wn as being subdued by some hero such ,
as S ams o n or D avid I t is someti m es di fficult

.
t o recognise which hero O f the t w o is r e p r e

sented except that when D avid is killing
,
the lion a c rook o r harp o r l amb is sho w n

, , ,
as well ; whereas when S amson i s intended

he may sometimes be recognised by the l ong
hair o f the N azarite as o n the N orman
,
tympanum O f S tretton S ugwas H ereford ,

.
S amson is n o doubt re p resented o n the

interesting N orman font o f D arenth K ent , ,
with what is m eant for a j awbone whereas ,
it see m s t o come fro m the thigh O f an ass .
A t D arenth the lion has a human face .
I t is unc ertain which Of the tw o is carved

o n a capital of the south d o or O f I ffl e y fo r ,
we are unable to decipher the Obj ect in the

top l eft han d c o rner
-
A t I ffl e y an d at B arfreston t o o t he l ion , ,
is sh o wn with wi n gs The m atter w o u l d be

.
74
S YM B O L I S AI OF A NIMA LS
the bear as a type of C hrist when H e d e s c e n ,
ded int o hell and delivered the souls o ut O f

,
the j aws o f S atan .
The m o st curi o us tympanum o f C harney

Basset in B erks is pr o bably a very con
’
v e n t i o n a l example o f D aniel in the lion s den
I f this is s o the li o ns are carved in an unusual

,
manner being m o re like g ri ffi n s than lions

,
The fact that these beasts are represen t ed

with wings d o es n ot add any di fficul t y t o the
view that they are li o ns .
Daniel in the lion s den is a l so carved on

‘ ’
a tympanum at S h a l fl e e t I sle o f Wight an d , ,
is commonly foun d in qui t e earl y work o n t he

C o ntin ent .
M de C aumont imagined that the man

.
between tw o m o nsters is expressive of t h e

p o wer O f the F aith O f C hrist to conquer what
evil .
78
C H A P TE R V
TH E o x, P I G, PA N T H E R ,
S ALA M AN D E R
WE have remarked before that the an d ox
the ass are generally represented together o n

pictures an d carvings o f the N ativity an d of
the A doration Of the M agi .
T he o x or rather the winged ca l f is a

, ,
sy m bol of S L uke the E va ngelist be c ause

.
,
the calf was a sacrificial animal an d S L uke ,

.
deals especially With the side Of C hrist s life ’
an d work which proclaims H is P riesthood

the P riesthood O f H im Who was at the same
time the P erfect S acrifice S uch for instance .
, ,
is the meaning that S J erome gi v es to the .
ca l f. T he man ( S M atthew) the lion ( S .

,
.
M ark ) the calf ( S L uke ) an d the eag l e

,
.
,
( S
. J ohn ) are generally represented together .
T his symbolism begins rather unco mmonly

on monuments of the fourth century The .
eagle an d the man are placed uppermost as

o n the N orman west door o f R ochester _
C athedral where they support O ur L ord in

,
glory and on the s o uth door o f %uening t on

,
C hurch G los where they attend the C orona ‘
, ,
tion O f the V irgin O n the N o rman tympanum

.
81
S YAI B O L I S AI O F A N I IV
I A LS IN
Of E lkst o ne , G l o s the A gnus D ei takes that

,
place t o the right o f the glorified S avi o ur

, ,
which w o uld naturally be taken by S .
M atthew ; while the symbol o f the latter is

tucked away int o the bottom c o rner .
O n this tympanum the E vangelis t s have

inscribed scr o lls .
The A st o n tympanum t o which we have ,
already allu ded in c o nnectio n with the

A gnus presents some di fficul ty
,
Mr C . . .
K eyser thinks that the beasts which rest with

their paws o n the aureole surrounding t he
sacred symbol are an o x an d a gri ffin I t is .
possible that the g ri ffin l ike anima l is t he -
eagle o f S J ohn whi l e t he ox represents S

.
,
.
L uke S uch at l east s eems t o be the view

.
taken by M r R omilly A llen I t is di fficult

. .
,
however t o decide what animals are carved

,
on the extreme edge O f the tympanum .
They are n ot likely to be other sy mb ols o f the

E vangelists but they seem rather like a lion
,
hunting a gri ffin on each S ide The symbol .
ism O f this w o uld be the power of good t o

destroy evil .
Carvings O f the d o mestic pig are n ot so

c o mm o n as we should expect fr o m o u r
familiarity with it When we have a pi g like — .
animal represented it is pr o bably a wild boar .
82
in the B estiaries C uriously enough ancient

.
,
authors t ook its derivation t o be from the

G reek w o rd w a ( all ) because it was thought
y
,
t o have all manner of characteristics an d t o ,
be decked with all manner o f colours .
I t was symbolic o f J esus C hrist the S aviour

O f a ll
. A cc o rding to the Old stories the ,
panther is o f a tame an d gent l e di sposition ,
being l o ved by all c reatures excep t the dragon .
Three days after eating a li t tl e food ( o f an

ar o matic description probably ) i t emi t s a
sweet smell fr om its mou th which is attracti v e
,
to a ll beasts O ther animals are even hea l ed

.
’
o f their diseases by the p anther s brea t h .
T he dragon is afraid of the sme ll as i t ,
nearly kills him T here is a good representa

.
tion of the panther in a four t eenth century -
—
Bestiary in the British M useum a ll manner
of beasts are drawn coming to him while ,
below there is an illustration O f two dragons

hiding their heads in the holes o f the earth .
T he panther s S weet breath is to remin d m en

’
o f the sweet influen ce of J esus C hrist Wh o is ,
t o draw all men unto H im an d de li v er them ,
fr o m the p o wer o f the dragon .
A s the panther retires t o its lair an d S l ee p s

f o r three days after food it was naturally ,
a type O f O ur L o rd s s o j ourn in P aradise

’
.
86
O f H i m the P sa lmi st S poke 0 how °
S w ee t are T h y w ords un t o m y throat yea , ,

”
sweeter than h one y un t o my m o u th T he .
dragon is sy m bo lic o f the de v i l .
T he v arious co l ours of the p anther were

he l d to signify th e v arious attrib u tes o f G od .
Fo r H O S V 1 4 w hich t he A uthorised V ersion

. .
,
ren ders ,
I will be un t o E p hrai m as a l ion ,
”
an d as a young lion t o the ho u se o f J u dah ,
the S e p tuagint gives : I a m as a panther

t o E phrai m an d as a l ion t o the house o f
,
”
J u dah . With this possib l e ex c eption the ,
panther is n o t m entioned in t h e Bib l e .
O n t he N or m an door at A l ne t here is a
”
beast inscribed P a n th e ra to w ards w hich
,
a winged dragon is l ooking ins t ead of fly m g ,
away as usua l -
.
I n a book on the T ourn a i fon t s b y M r C ecil .
H E den it has erroneous ly been s t a t ed that

.
a sala m ander is car v ed o n t he m arble font at

Winches t er T he ani m a l whi c h has been t aken
.
fo r a salamander is real l y a lion .
T he sala m ander in the H ereford m a pp a

m n n di is m ore like a lizard wi t h two wings
and two l egs and c u rious s p o t s down its
,
back .
T he inscription there is S a l a rn a n dra dra co n

,
”
ve n e n o s a a poison ous serpent o r dragon
,
.
89
7
With such a descript i on we may well be sur

“
prised that the symbolism O f the salaman der

i s s o metimes g o od yet s o it is
,
l
A L atin B estiary ( o 1 200) in o ne Of the S how

.
cases o f the B odleian L ibrary O xford dilates , ,
o n its supp o sed fi r e resistin pr o perties for

g
-
,
it w a s t h o u g h t that it could pass thr o ugh fire

unharmed . A n o ther p o int from the same
B estiary is that it infects fruits with pois o n
when it t o uches them S O that all who eat the ,
fruit die .
I n S 1 0 3 524 British M useum the sa l am an

.
, ,
der is up a tree in fecting the fruit Tw o people .
are near one is eating the fruit an d the other

succu m bing to the effects .
A ccording to M r E P E vans the sa l a

. . .
,
m ander is a small frog l ike reptile which -
c a n secrete poisonous fluid enough t o e x t i n
guish a c o al We have hea r d of n o certain

.
architectural example of the salamander ,
th o ugh M r F rancis B on d m ention s several

.
f o nts which are reported t o have the sala

mande r o n the m I t is quite possible that the
.
mutilated lizard o n the font at L o s w i t h i e l

was intended f o r o n e .
This little rep tile was considered t o be a

type o f the righte o us m an w h o is n o t
c o nsumed by the fires o f temptati o n .
90
C H A P TE R V I
THE S HE E P ,
T I GE R , W H A L E A N D FIS H ,
WO L F
IN o ld R oman churches sheep were types O f

the A p o stles as they gathered ro un d the
,
A gnus Dei They are r e presented in bas

.
relief under the vault o f the apse of these

churches S ometimes C hrist will be depicted
.
with a lamb in H is arms and surrounded ,
by sheep as o n early paintings an d engraved

,
gems in the cataco m bs .
H ere the S heep wi ll o f c ourse signify the , ,
flock of C hrist A n example with somewhat

.
the same meaning perhaps may be seen o n

, ,
a N orman capital let into the wall o f some

almsh o uses in H eref o rd A ram is on o n e side .
o f the Go od S hepherd an d a sheep on the ,
o ther We should know more for certa i n the

.
symbolism O f this capital if we c o uld identify ,
the l o ng alm o st fi s h shaped Obj ect which is

,
-
,
held in O ur L o rd s righ t hand an d the ro u n d

’
—
o bj ect in O ur L o rd s left hand i t may be a
’
fish an d a loaf which H e is holding in which ,
case the referen ce would be to the miracles

o f the loaves an d fishes A s we shall see .
94
N o t much can be made o u t o wing to the

“
mutilati o n but the inscripti o n
,
A r i e s pe r
co r n n a ( R am by the h o rns ) p o ints to the
sacrifice o f I saac o n M ount M o riah wh ich ,
w a s divinely averted by the ram caught in a
thicket b y its horns The H an d O f the F ather

.
or Dextra D ei can sti l l be di stinguished as

coming o ut of t he clou d .
This subj ec t is treated rather frequently

o n the ancient crosses of I reland .
I t is curious t o read that the tiger o f the

B estiaries is a sort O f serpent which I S S O ,
fier ce th at i t can be approached by n one T he

-
.
hunt ers wish to carry O ff the tiger s cubs for ’
which purpose they devise the following plan .
H aving ascertained that the tigress has left

her lair they place mirrors in the path by
,
which she is likely to return O n seeing her .
beauty in a mirror the tigress f o rge t s all

,
about her cubs and remains transfixed with

,
admiration for a long while T he hunters then .
g o and take away the cubs at their leisure .
I n the thirteenth century B estiary in the

-
British M useum ( H a rl 4 7 5 1 ) the t igre s s is

.
sh o wn actually l o oking in the mirror an d the ,
hunter carrying O ff the cubs .
The moral is as f o llows The tigress r e pre

sents us C hristians an d the cubs are our
,
98
penetrate thr o ugh the whale s thick hide an d ’
he w o uld plunge int o the water t o ease himself ,
with the result that the ship w o uld S ink and ,
the sail o rs would be dr o wned This scene is .
Often depicted in its vari o us parts in the

B estiaries .
The interpretation o f the st ory is not di ffi

cult The whale is the devil t h e sea is the
.
,
w o rld an d the ship with its freight O f human

‘
s o uls signifies o urselves The de v il by his .

,
deceptive appearance lures us t o destruction

‘
an d eternal loss .
The whale has ano ther rem arkab l e charac

t e ri s t i c L ike the panther he has a sweet
.
,
breath when he o pens his mouth but unlike ,
the panther s the whale s breath has a bad

’
,
’
int erpretati o n When the latter o pens his

.
j aws and the Odour comes f o rth S hoals o f

, ,
fish c o me an d enter the huge j aws which

suddenly cl o se o n them an d prevent their ,
escape .
S O the gat es o f hell will o n e day close o n

heedles s s o uls an d hope of escape will be,
g o n e for ever .
I n the carving at A lne the ship an d the ,
sail o rs are represented but the whale itself ,
has been o mitted The remains o f the i n s c ri p .
”
tion ,
a s p ido S h o w what the artist intended
, ,
1 02
S YIlI B OL I S M OF A NIMA LS IN
o r with the teaching t o be drawn from the

miracle O f the Draught O f F ishes .
I n o ne O f the side chapels in H eref o rd

C athedral is a small S hield carved with a cross .
O n the sides O f this cross are five raised circles

o r d o ts representing loaves while un de rneath
,
are three fishes all facing one way This is a .
representation o f one of the miracles o f the

l o aves and fishes which has always been
,
held in the C hristian C hurch to have an

application t o t he H o l y C ommunion and the
L ast S upper .T hus S A ugustine thus
.
,
D r L i dd o n in his B amp t on lectures We

. .
“
quote the words o f the latter The per :
manent significance o f tha t ex t raordinary

scene at B ethsaida J ulias is never rea ll y
understood until O ur L ord s great discourse
,
’
in the synagogue of C apernaum which imme ,
d i a t e l y f o llows it is read as the spiritual

,
expositi o n O f the physical miracle which is ,
thus seen to be a commentary palpab l e to ,
sense upon the vital e fficacy o f H oly

,
C om munion . C f S J ohn vi
. . .
The subj ect of the miracle o f the l o aves

an d fishes is someti m es treated in the c a ta
c o mbs and o n ancient I rish cr o sses O n the
,
.
N orman font o f N orth G rimston Y o rks are , ,
represented C hrist an d H is t welve A post l es

1 06
unable t o m o ve its head from one S ide t o the

o ther The wolf s mate could have cubs only
.
’
during a thunderstorm i n M ay O ther curious .
characteristics may be remarked in the way

the wolf hunts f o r f o od I t will appr o ach .
—
the sheep folds by night against a wind so ,
that the dogs may n o t scent it and if it makes ,
any accidental noise with its f e et it will bite ,
the o ffending member sev e rely .
I n the 1 4 t h C e nt Bestiary i n t he British

.
M useum ( S IO 3 5 4 4 ) the wolf is draw n biti ng

.
its paw A d o g is giving the al ar m from a

.
fold which c o ntai ns three shee p a nd a ma n ,
is sou ndi ng a horn fo r help j us t b ehind .
I t was thought that the wolf would m ake

a man l ose his voice if it sees him with his
mouth open but if the man sees the wo l f
,
with its mouth shut then the latter can ,
o pen its mouth n o more When hungry it .
fills its st o mach with a ball Of clay which i t ,
disg o rges with the aid o f its paw when fo o d is

f o rthc o ming .
A lbertus M agnus in his work on animals

, ,
s tates tha t when the wolf is m oving amongst

undergrowth it licks its paws till they are
s o ft an d slippery so that n o ne may hear its
,
appro a ch an d also that the wolf will put its

,
paw t o its m outh ( much as small boys d o we ,
1 10
C H A P TE R V I I
THE C H A RA D RI U S ,
COC K AN D HE N , DO VE
IN the V ulgate and S eptuagint versi o ns of
D eut xiv 1 8 the J ews were forbidden to eat
. .
the flesh O f the charadriu s am o ng other

birds L iddell an d S cott write o f the C hara
.
—
drius as being a stone curlew or thick kneed ,
bustard which is very greedy The sight O f it

,
.
was supposed by the G reeks to cu r e the j aun

dice I n the B estiaries this bird is drawn like
.
a white thrush or plover though in some ,
cases it is represented as a huge bi rd with

curly feathers and long neck as in the
,
mutilated B estiary in the British M useum

( V it D. .
The charadrius was thought to be foun d

in the courts o f kings When the frien ds o f a .
sick pers o n wished t o know whether he w o uld

rec o ver o r n ot it w a s held t o be the thing
,
to g o an d f etch a charadrius which would ,
inf o rm the m of the prospects of the patient ,
by its actions I f the patient were about t o

.
die the charadrius w o uld turn away but if

, , ,
o n the contrary he were destined t o li ve

, ,
1 14
hours O f service in h o nour o f S P eter The . .
white c o ck in this auth o r signifies the man o f

holy life E arly writers say that the cock is
.
significant of vigilance and liberality I t is .
significant o f the latter because it d o es n ot ,
devour all it fin ds in the way o f fo o d but ,
calls f o r the hens t o come an d share We s ee .
the cock acc o mpanied by its mate Carved on

what was originally a perpen dicular bench end -
at F orrabury C ornwa l l
,
.
T he clergy s a ys a medi aeval poet are n ot

, ,
t o keep all their l earn i ng to themse l ves but ,
imitating the c o ck t o d istribute it t o their

,
congregation .
T he cock is genera l l y re p resented however , ,
in connection with S P eter who denied O u r .

,
L ord before the cock crew twice ( S M ark .
xiv. M rs J ameson gives a picture which

.
represents S P eter s repentance from a

.
’
sarcophagus Of the third century where she ,
un derstan ds the cock to be a general emble m

o f human weakness an d repentance .
The most interesting examples t hat we

know of are from S P eter s C hurch R o w l e.
’
s to ne H ereford where almost every con

, ,
c e i v a b l e place on the south door an d chancel
arch capitals is occupied by carvings of cocks .
I n the chancel too there are two c o mplete

, ,
1 18
S Y M B O LISM
’
OF A NIMA LS IN
make u s think so for S P e t e r s clothes are

,
.
’
disposed rather l ike wings .
O n a bench end at S efton L ancs the cock

-
, ,
is represented on t op o f the pillar t o which

O ur L o rd would be b o u n d with a rope for H is
sc o u rging A poppy head at C umnor B erks
.
, ,
S h o ws a cock carved t o gether with o t her

emblems of the P assion .
A n amusing device is carved in severa l

‘
’
places on Bishop A l cock s C hapel in E ly
C athedral T wo cocks each with a c l aw on
.
,
’
the ground face o n e another while a bishop s
, ,
mitre an d a circ u lar Obj e c t like a globe are ,
placed between the m .
The globe is being grasped by each o f the

c o cks with a claw J ohn A lc o ck w a s Bishop
.
Of E ly between 1 4 8 6 and 1 501 .
The dove appears in the catacombs with

a varying significance S ometimes it r e pre .
sents the sou l Of the departed C hristian .
S imilarl y M rs J ameson remarks that in

.
pictures of dying m artyrs a cl ove is shown

issuing from the m outh .
M ore frequen t ly when the dove bears an

,
Olive branch in its beak it is connected with ,
N oah an d the ark an d its significan c e is as

,
follows J ust as the do v e co u l d find n o rest

.
fo r t he sole o f her foo t save in t he ark so t he ,
1 22
nimbus an d the former is clad in a camel skin

,
-
with the head an d l egs hanging down almost

to the B aptist s feet M r F rancis B on d n o t es
’
. .
that S J ohn is similar l y clad in a carving Of

.
the B aptism on a sarcophagus at the L ateran .
I n many MS S of all dates the H oly Tri nity

.
are symbo li sed by t w o nimbed man like -
figures with a dove stan ding between them

on a n o rb which is held i n the hands o f the
,
F irst an d S econ d P ers o ns .
S ometimes Three Figures like men are

represented wi th a d ove o n t he shoulder o r
,
the head O f the O ne in t he centre .
T his symbolism may possibly ex p lain the

m eaning Of the Bird which in R omilly
A llens b oo k is described as holding a circular
’
disc o r l oaf between t w o E cc l esiastics T he .
sa m e author illustrates rather similar I rish

examples from the cross at N igg an d t w o Of
, ,
the crosses at K ells O n the cross O f S aints

.
P atrick an d C olumba at K ells the t w o human

Figures are seated up o n t hr o nes facing one
another an d the Bird o r D ove flies d o wn
,
an d holds the orb between them E ach o f the .
F igures holds the o rb in one han d an d a

pastoral staff i n the other .
T he usual meth o d O f representing the

Trinity in the M iddle A ges may be seen o n
1 26
S YM B O LISM OF A N IMA L S
circle contains the idea o f C hristians bef o re

recepti o n of the C ommunion The secon d
.
contains the reception itself while the third

symbolises after C ommunion .
T he doves drinking from a v ase may

,
likewise be interpreted of the H oly E ucharist .
A roughly carved poppy head at Westwell ,
K ent shows a dove j ust alighting to peck

,
at small bunches of grapes ,
1 30
The eagle can look up at the sun without

blinking its eyes an d from al o ft is w o nt to
,
gaze d o wn upon the waters When it sees .
the fi s h as the y swim below it will make a ,
dive an d capture the m fo r i t self The eagle .
here represents C hris t Who can gaze up o n ,

’
G o d s dazzling gl o ry ; Wh o als o came d o wn
o n earth to capture the s o uls of men out O f
the sea O f this world .
The eagle also carries the eaglets in its

claws up to the sun I t rej ects all t hose that
.
cannot look at its brightness bu t saves an d ,
rears the others I n like manner C hris t bears

.
souls that are fit fo r the v ision O f Go d in t o ,
H is very presence .
A n o ther fable mentioned in the G reek

B estiary ab o u t the eagle is as f o ll o ws When .
the bird g ro ws O l d its beak bec o mes so long

,
that it is likely t o die O f hunger T o obviate .
this fate the eagle will break Off a portion

against a stone S O C hristians o u ght to break
.
O ff all carnal mindedness upon the rock of

-
salvation .
The eagle taking a fish out o f the water is

represented on the j amb Of a N orman d o orway
at R ibbesford W o rcestershire and o n an
, ,
early cross at S V igeans in F o rfarshire

.
,
.
A s we h a ve a l ready mentioned the eagle ,
1 34
S YM B O LISM O F A NIMA LS IN
tail feathers every ye ar t o regain them m o re

,
glori o usly in the s pring 5 0 far as w e

.
’
know the peacock is n ot in architectura l

,
representations an emblem o f pride .
A ccording to the Bestiaries when the pea ,
cock awakes it cries out in fear because it

,
dreams t hat it has lost its beauty : s o the

C hristian must fear to lose the good qualities
with which Go d has en dowed his soul .
T he pelican sacrifi c ing itse l f for its young

, ,
is a symbol with which we are all more o r

less fami liar I t is mentioned in P s cii 6
.
'
. .
,
together with the o w l of the desert as a type

of the despairing soul C an on T ristram thinks
.
that this al l u sion is due t o the p elican s ’
mournfu l attitu de which is assumed fo r hours

after it is gorged with fish A t su c h times i t .
remains with its bil l resting o n its breas t .
C an on C heyne in the E n cy cl o pw di a B i bl i ca
writes that the common fable about the peli
can giving its life f o r its young comes originally
fr o m E gypt an d also that the same fable
,
was once attached to the vulture N aturally .

,
the pelican is an emblem o f the atoning work

o f C hrist .
T he Bestiaries say that the pelicans are

f o n d O f their y o u n g but when the la t ter
,
gr o w Older they begin t o strike their parents

,
1 38
als o from S L uke xii 24 C onsider the ravens

. .
G od feedeth them and P r o v xxx 1 7 . . .
When the raven came acr o ss a carcase it

was supposed that it w o uld eat the eyes first ,
the symb ol ic significance O f which supposed

fact is as foll o ws C o nfessi o n an d penance
.
are like ravens whi ch pull o ut the eyes Of

,
c o vetousness from the sou l whic h is dead in

trespasses and S ins .
The raven is sometimes depicted wi th a

dove in pictures o f N oah an d the ark While
-
.
the latter bird is thought to symbolise the

C hristian the former m eans th e carna l minded
,
-
J ews .
I n real life the raven seldom devours any

thing but carrion o r badl y inj ured animals .
The swan as we have hint ed already is a

, ,
type o f martyrdom an d C hristian resignation .
With this significance it is represented in a

M S O f the fourteenth century in the M us é e
.
de C luny P aris where among other virtues

, ,
an d vices H umility wears a helmet adorned

,
with a swan .
1 42
and serpents are c o ming to d o homage o r ,
else it may be starting up in fear .
The way the basilisk c o mes into the w o rld

is as follows When a cock is seven years Old
.
it will fin d itself one day i n the greatest agony ,
because it is about t o lay an egg T he cock .
seeks s o me plac e t o secrete the egg in but a ,
t o a d an xiously watches the p r o ceedin gs .
When the cock has l aid the egg the toad ,
comes an d S its up o n it until it is hatched .
The resulting creature has the head Of a cock

an d the body of a reptile I t is a de a dl y
“
animal I t will go an d hide in a crevice or an

.
O l d cistern ,
so that n o o n e can see it Fo r .
it is of su ch a character that if it is seen by a

man before it can see him itself the coc katric e ,
must di e an d vi ce ve rs é
,
.
I n the event o f the cockatrice getting the

a l l i m p o r t a n t first lo o k
~
it will dart venom
,
from its eyes deadly enough to kill any living

,
creature T he touch of a c o ckat rice will

‘
deprive any tree of the power o f beari ng fruit .
A way has been di scovered in which its

ven o m can be ren dered p o werless S ince the .
“
game of I spy would be o n e in which
the advantage w o uld be all o n the side O f the
serpent th e h u nter must equip himself with
,
a crystal vase an d hold it in front O f his face

,
.
1 46
man or a sphinx is h o lding the crystal vase

as a form O f self protection -
.
I t is also represented in a F lemish B estiary

Of the thir t eenth century in the British
M useum .
I n G reek classics the centaur is a crea t ure

comp o un ded half of a man an d half Of a ho rse .
I t was descen ded from I xion a n d N ephele ,
an d sy m bolic of all fo rms of sensuality .
Vi rgil in h i s zE n e i d Writes of cen t aurs at the

ga t es O f hell Dante places t hem in the
.
I nfern o H e de scribes the m as armed with

.
darts with which they shoo t a t v io l en t m en

,
who are con demned t o be in a river Of boi l ing

blood .
When I saiah in xiii 21 s a y s th a t sa t yrs

'
o r h e goat s ( R evi sed V ersion

-
m argin ) sha l l,
dan ce in the desolation of B aby l on he was ,
interpreted by medi ae val Z oologists as m eaning

the centaur T he sagittarius o r cen t aur with
.
, ,
bow and arrow is o n e Of t he signs of t he

,
Z odi ac
O ne o f the princi p a l s t ories t o l d about t he
centaur o r sagittarius is tha t it m akes war
upon certain savage men in the deser t s Of
I n di a These savages ha v e a horn in t h e
.
middle o f their foreheads and are naked , ,
except when one Of th em has killed a lion ,
1 50
while o n the N o rman f o nt at L uppitt Devon , ,
a centaur with spear an d foliated tail can be

made o ut We illustrate tw o very interesting
.
examples o f the C entaur fr o m G loucestershire .
O n a j amb of the N o rman chan cel arch at

B eckf o rd he can be seen with a spear u p
right in front of him H is hand is upraised
.
an d he has a sp o tted body an d curiously

d re s sed hair U n d er the c a v e s of E lkst o ne a
.
S agittarius has j ust discharged his arrow at ,
and missed an eagle ,

T hese two corbels
.
are o bvi o usly connected ; th o ugh any such

connecti o n is the ex ception rather than the
rule.
M r F rancis B on d mentions that the cen

.
”
t a u r s prey the savage man or woodhouse
’
, ,
is represented t o gether with lions roun d the

pedestals O f E ast A nglian fonts .
O n the pedestal o f the fine fifteenth century

font of S axmundham he is a hairy savage
with a club an d he stan ds next to a lion
,
.
O n the t o p O f this font are angels bearing the

symbols O f the P assion alternately with the
,
evangelistic symbols but n o sign is to be seen

,
O f a centaur .
1 54
The significance o f the pictures o f the

Temptation in the catac o mbs an d elsewhere
i S s u pp o s e d to be as f o ll o ws They are thought
‘ '
t o p o int t o the need O f C hrist t o redeem man

kind o wing t o their sins When the scene
,
.
'
appears o n f o nts as o n the N o rman examples

,
O f C owlam an d C o tham ( Y orks ) Kirkby and ,
Walt o n ( near L iverpo o l ) O xhill ( Warwick ,
S hire ) F incham ( N o rf o lk ) an d E ast M eon

, ,
( H ants ) the,
thought intended will probably
be A s in A dam a l l die even so in C hrist ,
shall all be made alive ( 1 C or xv At . .
E ast M e o n the woman is taking the fruit o u t

of the m o uth O f the dragon while the man ,
has already begun t o eat .
The Temptation is foun d o n many o f the

crosses of I relan d an d S cotlan d and on the ,
N o rman tympana O f Thurleigh Bedfordshire , ,
an d C at o n L ancashire ,
.
A kind o f tympanum in the much restored -
church o f Bridge K ent has the Temptation

, ,
on it besides a number o f o ther panels r e p re

,
senting the f o llowing scenes : The expulsion

fr o m P aradise the sacri fi ces O f C ain a n d
,
A bel an d th e murder O f A bel

,
but it is
cer tainly later than the N o rman period t o
which M r R o milly A llen assigns it
. .
’
T he example from C obb s H all A ldingt o n , ,
1 58
S YAI B O L I S IV
I OF A NIMA LS IN
devil The drag o n is usua l ly depicted as a

.
fierce creature with a sort O f li o n s head tw o ’
wings two legs an d a twisted tail

, ,
.
M rs J ameson in her S a cre d a n d L e ge n da ry

.
,
A rt c o nj ectures that the origin O f the idea

,
o f the dragon comes fr o m some great saurian

which o nce r e ally existed .
I n early sculpture as f o r instan ce on the , ,

.
w o nderful S ax o n c a pi t a l s o f the chancel a rch '
O f S elham S ussex and o n the T o urnai font

, ,
at L incoln C athedral the dragon s tail some ,

’
times terminates I n a head or heads This is .
in al l usion no do ubt to the sixth T rumpet O f

R ev ix 1 9 where the h o rses with lion heads
. .
,
Of the V ision have the i r power in their

mouth an d in their tai l s for their tails were
like unto serpents and had heads and with , ,
”
them they d o hurt .
These h o rse like creatures here are dread

-
mini sters O f s o me j u dgment of Go d .
We have i ncidentally me ntioned the dragon

in connecti o n with the panther an d as attack ,
ing the y o ung ele phants I t is also the enemy .
of the doves which are to be foun d sheltering

on the Tree of L ife This tree is supposed t o .
gr o w in I n dia : d o ves lodge in its branches

an d eat its sweet fruit The dragon is afraid .
of the tree an d flees to whichever side is n ot in

,
1 62
with bird s o r drag o ns it will pr o bably be the

Tree o f L ife menti o ned both in the R evelatio n
,
and als o in the B estiaries I n the latter case .

,
h o wever it might be meant f o r the B estiary

,
subj ect o f the tree which pr o duces birds as

fruit These birds fall O ff in time s o me into t h e
.
,
wat e r a n d s o me on t o the land Those which .
fall int o the water live th o se which fall o n

t o the lan d die The less o n O f baptism is not
,
.
far t o seek .
The t r ee o n the tympanum O f the fine south

door at Kilpeck H e ref o rd is a vine with , ,
grapes This almost certainly is an allusion

.
t o C hrist the mystic V ine of S J ohn xv

,
.
,
placed in this position because H e likewise

is the D o or .
The symb o lism O f the d o ors of S iston

( G loucestershire ) R o chford ( H erefordshire
, ) ,
an d M iddlet o n S toney will be similar probably

to that o f Kilpeck There are t w o vines o n .
the n o rth side o f the T o urnai f o nt at S M ary .
B o urne H ants The trees on th e tympana

,
.
o f Dym o ck and K empley G loucestershire , ,
rese m ble date palms .
The mutilated square font at C urdworth ,
War w ickshire has a square faced drag o n o n

,
-
the eastern side with an A gnus D ei ab ove

trampling up o n it in fulfilment O f the pr o mise ,
1 66
I B OL I S M
S YIV OF A NIMA LS IN
accustomed t o dev o ur the flocks an d herds

o f the citizens unt i l they were all exhausted .
F ailing sheep the citizens had to provide ,
the m o nster with children wh o were taken

by lot A t length the lot fell upon C l e o d o l i n d a
.
the daughter O f the king .
The king at first naturally felt disinclined

t o part with her but at last t h e entreaties o f ,
his subj ects f o rced h i m t o acquiesce in her ,
fate C l e o d o l i n da was sent weeping along the

.
way which was strewn with the bones o f

earlier victims S G e o rge happened to see . .
her an d enquired the reason O f her tears

,
.
H e was exh o rted t o flee fr o m the dragon but ,
he b o ldly stood his groun d A fter a dreadful .
combat the saint s lance pinned the dragon ’
t o the earth The monster was then boun d .
with the maiden s girdle an d led back to the ’
walls in triumph where it was finally dis ,
patched A fter this event the citizens became

.
C hristians in their th o usan ds because they ,
s a w in S G e o rge so d o ughty a champion Of

.
C hrist S G eorge was finally martyred fo r

. .
trampling on an anti C hristian edict o f -
Diocletian .
M r E P E vans traces the artistic r e pr e

. . .
sc u tati o ns o f the st o ry from E gyptian bas

re l iefs of H orus slaying S eth Typhon whi c h ,
1 70
S YM B O LI S M OF A NIMA L S IN
The tympana of R uardean G loucestershire , ,
an d B rinsop H ereford are almost exactly

, ,
similar to o ne an other in treatment S . .
G e o rge s military cloak flies back in the

’
win d an d the costume generally an d th e

,
carving of the horse are alike in b o t h c a s e s ,
but the Brins o p example has tw o more o r

less mu tilated birds doves ) o ver S G eorge s ,
.
’
head an d the arch st o nes aroun d contain

,
some o f the signs O f the Z o diac The symbol .
ism o f S M ichae l slaying the dragon is based

.
o n R ev xii 7 8 an d J u de 9
. .
,
This archangel
,
was acc o unted to be the special patron of

the J ews after the C aptivity an d afterwards ,
he naturally became the patron an d protector

of C hristians H e is said to have appeare d
.
t o S A ubert Bi shop of A vranches in 7 08

.
, , ,
an d to have commanded him t o build a church

in his h o n o ur o n what is now M ont S M ichel .
in N o rman dy When the bishop had d o ne the

.
archangel s bi dding M o nt S M ichel became

’
,
.
a fav o urite place o f pilgrimage an d churches ,
were built in other parts Of E ur o pe with a ‘
similar dedicati o n o n the tops o f high hill s .
S M ichael s M o unt C o rnwall an d S M ichae l s

.
’
, ,
.
’
C hapel Torquay are familiar instances o f this

, ,
.
We are familiar with the archangel in paint

ings o f the D oo m which were s o Often placed ,
1 74
is th o ught t o p o int t o eleventh century

w o rkmansh i p .
A n o ther early example is to be seen on a

slab at S N icholas I pswich The drag o n has
.
,
.
a trebly barbed sti n g and the i nscripti o n

,
“
proclaims the subj ect H e r S c(M )i h a e l
:
”
fe h t i d h d a n e D r a ca H ere S M ichael .
”
fi g h t e t h the drag o n .
I n the example on the lintel under the

Dinton tympanu m the a rchangel is prepared
to thrust a cr o ss down the m onster s throat ’
.
The font o f Thorpe A rnold L eicester shows , ,
S M ichael on foot with a cross on his

.
,
shield an d a sw o rd in his hand H e is attack

,
.
ing dragons which assail him o n both sides .
The beards of these dreadful creatures are

exactly like the teeth o f a saw Though .
the comp o sition is rough the whole scene ,
is full of vigou r
A go o d number o f representations o f
'
S M ichael are figured in K eyser s Ty m p a n a

.
’
O ne O f the emblems O f S J ohn the E van .
g e l i s t is a chalice with a dragon I ssu i ng Ou t o f
it M any st o ries are t o ld in explanati o n of

.
this emblem O ne of the m o s t fa m ili a r is the

'
o ne given by S I sid o re w h o relates that a n

.
,
attempt was made t o p o is o n S J ohn in the .
sacramental wine A fter the c o nsecra t i o n ,
1 78
I B OL I S M
S YIV OF A NIMA LS IN
taken t o his palace where he desi red to make ,
her his wife S M argare t rej ected his Offer

. .
with scorn a repulse which s o enraged him

,
that he had her put to dreadfu l tor ture .
When she was immured in a dungeon she was ,
tempted by S atan in th e f o rm o f a dragon ,
which finally swallowed her up But the .
dragon instantly burst an d the s a int emerged ,
alive S he was at length beheaded by o rder

.
of the cruel govern or .
The sy m bolism of the story is o f course

the usual On e of s i n b e i n g conquered by the
power of the C ross .
There is m uch si m ilari t y in N orma n r e pre

s e n t a ti o n s of S M argaret an d the dragon
. .
The saint s head an d shoulders are generally

’
carved as coming out of a hole in the centre .
O f the beast while her heels are j ust disappear

,
ing into the dragon s mouth We fin d this ’

.
scene o n a capital in the church of B re d fo rt o n ,
W o rcestershire an d o n the f o nts o f C owlam

,
an d C o tham Y orks O n the pedesta l of

,
.
the fifteenth century font of D o ck ing N o r ,
folk there are eight female saints and

, ,
among them is S M argaret with spear an d .
dragon .
O n the ty m panum of A ult H ucknall the

dragon is bursting an d S M a rgaret is issuing .
182
C H A P TE R X I
T H E GR I F F I N H Y D R A A N D C R O C O D I L E
, ,
M A N T I C H O R A A N D M E R M A I D O R S YRE N
‘
TH E gri ffin is a fabul o us bird wh ich lives in

the deserts O f I ndia where it c a n fin d nothing
,
t o eat T o Obtain sust e nance for its young

.
it will g o o ff to other regions an d it is so strong

'
that it can fly away with a live o x The gri ffin .
signifies the devil who is ready to carry away

our souls t o the deserts of hell .
T his monster is to be seen on the T ournai

font o f L incoln C athedral an d o n N orman
,
tympana such as those of B arfre s ton and

R idlington R utlandshire A t R idlington it
,
.
seems to be fighting with a lion A t Barfreston .
a tiny g ri ffin is placed in the right han d bottom -
corner o f the tympanum which contains O ur

,
L ord in glory a S phinx a mermaid angels

, , ,
an d cr o wned heads .
I n heraldry an d in the B estiaries the gri ffin

has the forepart beak an d claws o f an eagle
, ,
and the hinder part of a l i o n but the archi

t e c t u ra l examples are more like animals than
birds .
The hydra ( G reek éq pw ) was n o t like

’
,
E NGLISH CH UR CH A RC HI TE C T UR E
except in na m e to the mythical m o nster o f the

classi cs which was ki l led by H ercules near
,
the L ernean lake but it probab l y is the water

,
“ ”
snake T he G reek word means otter as
.
—
wel l in deed there is a close et y mological
,
” “
connection between otter an d h y d ra .
T he fo ll owing fable is theref o re told O f both , ,
the o tt er an d the water snake I t is said that -

.
the hydra lives in the marshes where the

crocodile also li v es These beasts are o n t erms
.
o f bitterest enmity The hydra wishes to.
destroy the crocodile and so devises the ,
fol l owing p l an When th e latter is as l eep the

.
,
hy dr a ro ll s i t sel f int o damp m u d t il l its l ook

is in di stinguishable an d then makes i t s way,
into the m outh O f the c rocodi l e which ,
swa ll ows it unawares an d ins t an t ly burs t s ,
asunder .
The hydra is a type of C hrist the crocodile ,

.
of hell an d the whole s tory symbolises O ur

,
L o rd s R esurrection which was the forerunner

’
of the R esurrection Of all believers .
I n the m a pp a m a n di at H ereford the

mantichora is placed o n the opp o site side of a
tree to the tiger an d the inscripti o n which
,
the f o rmer fabulous beast bears there is drawn

directly fr o m the B estiaries I t is s aid t o be .
a native o f I n dia I t has three rows o f teeth

.
,
191
the face O f a man grayish eyes ; its colour ,
is the c o l o ur o f blood it s b o dy is like a lion s ’
its tail like a sc o rpi o n s ; its voice like that ’
O f a sibyl .
The mantich o ra is mentioned by the G reek

writer C te s ias of the fifth century B C and . .
,
als o by P liny in his N a tu r a l H i s to ry where t h e ,
additi o nal details are given that its teeth ,
fit t o gether like th o se of a comb an d that it ,
is particularly fon d o f human flesh The word .
mantichora is connected with the P ersian

”
w o rd ni a rd kh o ra which means m an eater
-
,
-
.
M r R A llen figures a sepulchral stone from

. .
M eigle P erthshire where a mantichora is

, ,
carved in pr o file I t has a long human nose

.
,
an d is pursuing a naked man w h o is l oo king ,
back in unpleasant anticipa tion o f his fate .
There is another clear instance of the same

fabul o us beast on o ne of the arch stones of -
the Kilpeck door where we can clearly see ,
the bearded face the lion s paws and mane,

’
, ,
an d the peculia rly fat tail curled between its

’
legs which must rep r esent the sc o r pion s tail
,
.
I t seems t o be listening for any signs of its

prey but there is nothing edible quite near
, ,
with the possible excepti o n o f dragons an d

grotesque heads .
A careful scrutiny o f other arch stones e t c -

,
.
,
1 92
S YIV
I B OL I S M OF A NIMA LS IN
increases the number to eight I n the B es .
ti a ri e s it is rather their playing on vari o us

instruments an d not their singing which is
especially n oted .
When the hapless voyager is in their

clutches he is s l ain an d the islan d where
,
they dwel l is full of the b o nes of fo o lish men ,
wh o have first been charmed t o sleep an d then

destr o yed .
T he adventures of O dysseus with the syren s

were depicted an d it was thought that the
,
ship in its C hristian application meant the

C hurch . The mast was the C ross of C hrist ,
t o which the faithfu l must cling tightly if they

are t o conquer tempta t ion an d the syrens are
,
our temptations on the sea of life I n a M S . .
in the M us é e de C luny P aris among r e p re

, ,
s e n t a t i o n s o f virtues an d vices o n e of l u st
,
has a syren o n her shield .
S ometimes the ide a will be varied an d the ,
syren will tempt a man by Offering him a fish ,
as in thirteenth an d fourteenth century B es

t i a ri e s in the British M useum ( H arl 4 7 5 1 and .
,
S IO
. an d in the church at C ivaux ,
F ran ce.
I n the m a pp a ni n n di a mermaid is drawn

in the centre O f the M editerranean j ust n orth ,
O f C r e te an d t h e L abyrinth
,
.
1 98
There is also a go od carving of one o n a

misericord in the ch o ir o f Brist o l C athedral
'
where a mermaid with both hands upraised

is pl aced between a dragon and a winged and
bearded man the latter having h old of her
,
t ai l T he two seem to be at t acking her

. .
T here is a m ermai d at the feet o f the

gl orified C hrist at B arfreston an d another ,
o n the eastern capita l of the N orman door o f
N a t e l y S cures H ants H er l ong plaited hair

,
.
,
arm an d tail and mutilated face all in l ow

relief can be distinguished with care in the
photograph S he seems t o be swimming at
.
the bottom o f the sea among the weeds .
A t S tow L onga H un t ingdon the t y m panu m

, ,
has a m er m aid with l ong hair and han ds u p

raised S he is in the mi d dl e O f t w o animals
’
.
,
one o f which is possibly t h e A gnus D ei as ,
the foreleg is ben t up as if to support a cross ,
though the tail seems to be too much fl Ori a t e d .
O n the other side there is an unkn own

anima l with its forefeet practically touc h in g
an altar N o satisfactory interpretati o n o f
.
this extraordinary composition has yet been

given O n the fonts of A nstey H erts an d
.
, ,
S P eter s C ambridge are mermen grasping

.
’
, ,
their tails I n heraldry M er m en are called

.
,
T ritons .
203
C H A P TE R X I I
THE S P H I N X TE R R E B O L E N U N I C O R N
, , ,
S E RRA ,
RE M O R A
,
A N D P H (E N I X
TH E fabulous S phinx seems to have had her
original ho m e in E gypt an d to have sy mb ol
,
ised the annual overflow of the river N ile .
A ccor di ng t o H erodo t us many repres enta

,
tions o f her wer e t o be foun d there in ancient

days S he was sculptured with the head o f
.
a woman an d t he body Of a lion

,
.
S he passes from E gypt int o G reece where ,
she is found in G reek trage di es propounding

a ri ddle t o the T hebans who are kil l ed for
,
n ot being ab l e t o g u ess it ( E di pu s is at l ast

.
successful and the S phinx then destroys

,
herself A ugustus had a carving of a sphinx

.
on his s eal t o symbolis e the advantage of

silence .
O n comparing the curio u s carving o n the

fifteenth century font o f U pa v on Wi l ts with , ,
a small drawing in the m a pp a ni n n di we were ,
able t o di scover that the U pavon examp l e ,
which is carved j ust belo w a lion must be a ,
sphinx A ccording to the m a pp a in a n di the

.
,
s ph in x h a s th e wi ngs o f a bird the feet of a ,
204
an o ther they emit fire The symbol ism o f

,
.
animal love is very naturally drawn from this

fable an d men are exhorted to live chaste
,
and dev o ted lives in consequence and to ,
av o id carnal temptati o ns .
A t A lne the t e rr e b o l e n are carved a s human

figures scantily draped with their left hands
upraised an d their right hands a cross their
waists while the mountain behin d has burst
,
into flames .
I n a tenth century mi niature at Brusse l s

they are shown as two stones in the han d o f
a wo m an one bursting into flame A man is
,
.
h o lding out his han d for the stones .
We have sometimes thou ght that the A dam

an d E ve carving at L langattoc k near M on ,
mouth may really be meant fo r Te rr e b o l e n

, ,
but n o examples of these human st o nes can

be cited from anything like so late a peri od .
The story ab o ut the unicorn is one of the

stran gest in the strange pages of the B es
t i a ri e s
. I t is said t o be a small animal with
the body of a horse the head of a stag the
, ,
feet o f an elephant ; an d it has o n e long

straight h o rn four feet in l ength The unic o rn
.
is at enmity with the elephant an d in the ,
c o nflict between them th e latter is o ften killed

by the sharpness O f its adversary s h o rn ’
.
21 0
H unters are exceedingly desir o us o f c a p tu r
ing the unicorn an d yet it is so fierce that

,
they dare not approach near T o gain their .
o bj ec t they have recourse t o the following

plan They ask a chaste vi rgin t o deck herself
.
in all her beautiful ornaments an d then they ,
set her in the m iddle of a fores t D i rectly .
the unicorn sees her it comes an d puts its ,
head int o her lap where it is easily capt u red

,
.
The captive is after w ards taken o ff t o the

’
king s palace where the hunters receive a
,
great reward I n some B estiaries the V irgin

.
is sh o wn standing an d not seated The uni .
corn s horn which is m entioned in P s xxii 21

’
,
. .
T hou hast heard me also fro m the horns

“
”
of the unic o rns was supposed t o be a safe
,
guard agai nst poisoning as well as a dangerous ,
weap o n of attack .
I t is curious that the unicorn is made t o

stand fo r so sacred a subj ect as the I ncarna
“
tion of our S aviour the horn of salvation
”
in the house of H is servant D avid M any .
desired t o see H im but n o ne could bring H im

,
t o earth,
save the V irgin M ary in whose ,
sp o t l ess body H e abode There is a carving .
o f this fable in S B ot o lph s C hurch B ost o n

.
’
,
.
A unic o rn may be roughly carved on a poppy

head at Westwell K ent but on the other , ,
21 5
han d the position o f the forefoo t makes the

animal look more l ike a horned A gnus D ei .
There is a unicorn a l so o n a panel of the

perpen dicular fon t o f S o u th fl e e t K en t which , ,
has cloven hoofs ( ins t ead o f an elephant s ’
feet ) a mane an d fi e r c e l ooking j aws I t is

,
-
.
resting back u p on its haunches This r e pre .
s e n t a t i o n n ot o nly may recall the fac t o f t he
I ncarnati o n b u t may bear witness t o the

,
purity of li fe whi c h ought t o be characteristic

of al l who in baptis m are united t o t h eir
incarnate L ord T he o n e horn has been hel d
.
-
t o signify the oneness o f t he F ather an d t he

S on an d the smal l siz e of the animal the
,
extreme con descension an d humility of O ur

L ord .
M r J ameson says t ha t when t he unicorn

.
is used in connection with cer t ain saints it is ,
an emb l em O f female chastity I t is appro .
ri a t e especia ll y t o the Blessed V irgin M ary

p
an d to S J u stina t he pure virgin m artyr of
.
,
A ntioch .
T he unicorn of the Bible is probab l y a

wild o x or E uropean bison T he idea that
,
.
it had one horn is probably due t o the S e pt u a

gint which translates the H ebrew word by
,
n o
va /6 6 , 060
9 I ts horn
. was the symbo l o f power
a n d mi ght an d i t is though t t hat it may
,
21 6
It w as fable d that the ph oenix the last o f ,
t h e fabulous creatures that we shall deal with ,
was a bird which l ived in I ndia or A rabia .
I t had a crest like a peacock a red breast ,
a n d azure body When it was 5 00 years O l d

.
it flew to M ount L eban o n and filled its wi ngs ,
with ar o matic spices an d gums Thence it .
hastened t o H e l i o p O l i s where it b urned itself

'
t o death on the a ltar T he priest w o uld c o me

.
presently to remove the ashes and he w o uld ,
disc o ver a very sweet smelling worm which

-
,
in three days became a young bird an d the ,
next day was fully grown .
The ph oenix is a symbol of C hrist Who ,
said in J ohn x 1 8 . I have p o wer t o lay it

”
( M y life ) down an d,
power to take it again .
I ts sweetness represented the savour o f the

O ld an d N ew Testaments A n o ther version .
of the story declares that at L ebanon the

ph oenix builds itself a nes t i n a tree an d then ,
flies up t o the sun so as to bring down fire

,
with which it may set itself an d its nest alight .
O n the third day it rises from its ashes .
S O J esus C hrist rose from the grave o n the

third day .
The story ab out the ph oenix was derived

o riginally fr o m the classics I t is foun d .
in H er o d o tu s history
’
S o too O vid in
.
,
222
S Y M B O LISM OF A NIMA LS
certain representati o n of the ph oenix in

E nglish architecture an d the di fficulty Of
,
fin ding o ne is intensified by the great simi

l a ri t y o f the carvings of all birds to o n e
another .
M r R omilly A llen thinks it p o ssible tha t

.
the bird sometimes carved over the head of

C hrist in I rish C ru c i fi x i o n s m ay be a ph oenix
,
if it be not in deed the H oly S pirit in the for m

of a dove The bird in question o n these crosse s
.
has a human head T he ph oenix is to be seen

.
in the glass o f L e M ans an d T ours C athedrals

in F rance an d on the door o f S L aurence
,
.
,
N ure mberg O ther examples are t o be found

.
at M agdeburg an d B ale I t ought to be pos

.
sible t o discover o n e after diligent search

o u r architectural carvings .
226
the inexpensive A don o f M essrs Dall .
m eyer t o do excell ent work though O f course

,
its slowness is a di sadvantage when compared

with higher priced lenses I f our readers will
.
pursue the stu dy of animal symbolism they

will fin d it most fascinating an d there will
be plenty for them to discover fo r themselves ,
f o r the field has n ot many worke rs in it a s yet .
23 0
T A B L E O F P H O T O G RA P H S
Pan l O f fift nth c ntury r r dos visi t

e ee e e e
of M agi t o Infant S aviour . N otic e ox
and ass .
Se ft o n , L a ne s S ix t n t h c e ntury b nch
ee d cam l and e -
en e
rid r e .
M dallions
e f tw lft h nt ury door ; o e c e
b ars ro bb ing hiv b ar playing harp
e e , e
whil own r dan c s t
e e e , e c .
DO . do . D avid S amson and li o n

or hounds aft r e
har t e , e c .
H ad c orn
e , P rp ndicular c r n b oars
e e pigs S ee or .
K nt e
Ashford K n t , e P rp ndicular mis ricord ; pigs a t in g
e e e e
a c orns .
C or b ls e1 140 , ; s t ag s h ad dog
c . A D . .
’
e ,
and har e .
C or b ls und r w s t rn s t rin g cours

e e e e e
l phan t s h ad with a man h ld in i t s
e e
’
e e
t run k s rp n ts ram t , e e , , e c .
C lift on H amp Early fra g m n t in nor t h wall ; hun t r e e
d O xon
en, wi t h hounds and wild b oar .
Barfr s t o n
e , Carvin g in t rior f nor t h wall man on e o ,
K nt
e f and har s
o x, O har is b ing e ne e e
carri d in a b u c k t e e .
Four t n t h c n t ury fon t S a t an wi t h

ee e
s rp nt h ad d g ca t ching har
e e on e o e .
B nch d
e part O f pulpit hart
-
en , now
s arching f dragon
e d vil or , or e
N o rman corb ls s t a g and gr yhound e e .
N orman corb ls nor t h wall ; hors e on e ,
agl sta g
e e , .
T w lf t h c ntury sou t h door ; man

e e on
hors b ac k ; m sha k ing h ands
e en , one
poin t ing t a ston o e .
Fourt nth c n t ury fon t ; hunt r wi t h

ee e e
haw k and hound .
S pandr l of Eas t r s pulchr ;

e dogs e e e
worrying h dg ho g which is ating e e , e
grap s e .
A l t on H an ts
, N o rman capi t al f t ow r hy a gnawing o e en
foliag e .
H r f o rd C
e e , a R oo f f P rp ndicular C l o ist r ; hy na
O e e e e
t h e d ra l d v o uring corps
e e .
TA B L E OF PH O TO G R A P HS
Upl ad o n e , N o rman capital ; t w o hy nas (o r lions ) e
G l o uc st r e e attac k ing a cr o wn d h ad N o t t h e e . e e
fl i t d tails
or a e .
A st o n H r , e e N o rman door ; A gnus D i S L u k and e , . e

ford S J o hn
.
K ilp c k H r e , e e N o rman cor b ls ; A gnus D i and gr o e e
f o rd t q es ue
S N ich o las N o rman t ympanum A gnus D i

’
. e .
Church ,
G louc st r e e
B c k ford
e , N orman tympanum ; cross in c ntr ; e e
G l o uc st r e e h o rn d animals in ad o rati o n (
e one
p rhaps is A gnus D i ) ; a b ird and
e e
c i rcl a b ov cr o ss
e e .
1 3a P r ston e , N orman tympanum ; A gnus D i e .
G l o uc st r e e
13b U pl ad o n e , N orman t ympanum A gnus in m dalli o n e ,
G l o uc st r e e animals with fl o i t d tails o n ith r r a e e e
sid T ha t on t h right may b

e . e e
hy na with c o rps
e e .
14a El kst o n e , N o rman tympanum ; Christ in G l o ry ,
G l o uc st r e e A gnus D i sym b ols O f Evang lists e , e ,
thr O f t h m b aring inscri b d scrolls

ee e e e
A lpha and O m ga on t h B oo k in e e
C hris t s l ft hand D x t ra D i a b o v
’
e e e e ,
la t r in dat
e e .
S o u th fl e e t , S ix t nth C ntury f o nt
ee A gnus D i e e .
K nt e
S ft o n L ancs
e S ixt nth c ntury b nch
, d ant lop s ee e e -
en e e .
W stw ll
e P rp ndicular poppy h ad ; A gnus D i
e , e e -
e e ,
K nt e un corn or i .
Castl From T w lfth c ntury f o nt

e S M ar k and e , e e .
H r f o rde S J h e . o n .
Charn y Bas i N orman t ympanum D ani l with g i ffi

e e r n
t B rk s
se ,li k lions e e .
Church H and N orman door S P t r dictat ing G osp l . e e e
b o r o ugh t o S M ar k A gnus D i , . e .
Oxon
R o ch st r N o rman w st door ;
e e Christ in G lory e ,
Cath dral sym b o ls o f t h Evang lists

e e e .
F o wnh o p N orman tympanum in w s t wall e ,

V irgin e
H r f o rde and Child S J ohn an d S M ark
e . . .
D ar nth K nt e N o rman f o nt ; S amson with jaw b on of

, e e
ass and man h ad d lion ,

-
e e .
I ffl y O xon
e N o rman south door ; D avid
,
S amson or
and hon .
N o rman d o or in int ri o r of n o r t h wall ; e
S a m s o n and lion .
23 2
TA B L E OF P H O TO G R A PHS
W i i i c li e s t e r
’
Tw e lfth c ntury f o nt f T o urnai mar b l
e O e
C ath dral e Le g nd o f S N i c holas ; dov s and
e . e
grap s symb olising t h H oly Eucharist
e , e .
D do
O . . Le g nds f S N icholas ; li o n and dov s
e O . e
o r agl s on T ournai fo nt
e e .
P e rp ndicular p o ppy h ad ; dov and

e -
e e
grap s e .
P e rp ndicular b nch nds now par t o f

e e -
e
altar agl r n wing its youth A gn u s

e e e e
D i e .
[goos e
DO . do . P e rp ndicular b n c h d ; swan and
e e -
en
A ldington , P e lican in h pi ty ; ins t in pulpit er e e .
K nt e
S A ust ll
. e , O v r p p ndicular S ou t h porch ; p li
e er e e
C ornwall can i h pi ty n er e .
B c k ford
e , J am b of N orman chan c l arch c n taur e e
G l o u c st r e e and sp ar e .
I ffl y O xon
e , T w lfth c ntury south door ;
e c n t aur e e
k h g y o ung
s uc n .
DO . do . T w lfth c ntury south door

e c nta u re e or
sagittarius slayin g savag b ast , e e .
K ilp c k H r e , e e C or b ls 1 1 4 0 agl and grot squ s

e , c .
‘
e e e e .
f o rd
El kston e , N orman corb ls und r av s south e e e e on
G l o uc st r e e wall c n taur shooting arrow at agl e e e .
Br oo k land , T w lfth c ntury l ad f o nt

e S g t ie e a u a r us
K nt e and Capricornus man k noc k in g down ,
acorns for pig (N o v m b r ) man e e

k illing pig with x (D c m b r ) a e e e e .
K ncot O x o n
e , N o rman south d oo r S agitt ari s shooting u
arr o w down mouth of b as t e .
Hoo k N o r t o n , N o rman font ; xpulsion of A d a m and e
O xo n E from P arad is b y c nt au r or
ve e e
sagittarius .
D do
o . . A dam with sp a d and ra k e ; b as t wi t h e e
s rp nt s h ad f t ail
e e
’
e or .
Brinsop , N orman door ; sa g i tt ari u s lions an g l , , e ,
H r ford e t e e c .
N wington b y
e P rp endicular poppy h ad ; dra g on
, e -
e .
S itting b o urn e ,
K nt e
S alf o rd O x o n N o rman t ympanum
, a Mal t s cross e e
within a circl guard d by a sagit tarius e , e
o n ast and a lion w e s t sid e on e .
N orman t ympanu m ; gri ffin wi t h arrow

h ad d tail curv d through l gs lion e e e e
trampling on t w s rp n t m ons t rs ba ck o e e e
t o b ac k ; s rp e nts b o di s a c on t in u e d e
’
e re
al o ng t h m o uldin g f t h e lin t l e o e .
23 4
TA B L E OF P H O TO G R A P HS
K ilp c k e Capital of N orman south door ; drag o n
, .
H r ford e e
Barfr t on T w lfth c n t ury n o r t h do o r ;
es , dragons e e
K nt e with h ad f o r two one e .
N t h r t on
e eN orman tympanum from d s cra t d
, e e e
W o rc t r chap l ; drag o n
es e e .
Pat rix b o u rn N orman south do o r drag o ns e , .
K nt e
P t i k h
a r c P rp ndicular r o od scr n
s ow dragon
, e e ee
n ar C ric k
e d v o uring vin e e .
how ll e
S lham
e Capi t al O f S ax o n chanc l arch drag o ns
, e .
S uss x e
H oo k N or t on Tw lfth c ntury f o nt ; sagi tt arius t r , e e , ee
O xon O f k nowl dg and E wi t h appl e e , ve e .
S mard n D rag o ns on an o ld hous

e , e .
K nt e
B c k ford
e T ympanum o f north door, Christ r s n e e
G louc s t r ing souls fr o m H ad s or H arrowing
e e e ,
f H ll H is plunging C r oss f O e . e O
R surr c t ion d o wn monst r s mouth e e e
’
.
S B s C um
. ee P N orman , lin t l ; S M icha l and re - e . e
b rland
e dragon
D in t on Buc k s N orman sou t h d o or ; dragons and tr
, ee
f lif S M icha l and drag o n o e . e .
A lt P rp ndicular b nch d ; arms f E

e rn u n , e e e -
en O xe
C o rnwall t and c o nv ntional drag o ns e r, e .
Brinsop N orman t ympanum in north wall (i

, n
H r f o rd
e t i
e ) S G org S laying dragon er or . e e .
R uard an N o rman t ympanum

e , f south door ; o
G l o uc st r S G o rg slaying dragon
e e . e e .
shir e
N w nt
e e Bas of igh t h o r ninth c ntury cross
, e e e :
G louc st r T mp t ati o n of A dam and E
e e e ve .
shir e
East M o n N o rman t o urnai fon t
e , C r ation f A dam e O
H an ts and E t h T mpta t ion ve e e .
Bridg K n t In north C han c l wall p rp ndicular

e , e e , e e
T h T mptation e e .
H ors path e Fift nth c n t ury glass T h T m p t

, ee e e e a
O xon ti o n .
V o wchurch S v n t nth c n t ury scr n , Th T mp e e ee e ee e e

H r fo rd
e e t ti (A dam ) a on .
D do
O Th . T mptati o n (E ) . e e ve .
L langattoc k S la b 1 8 00 T h T mptati o n , , c . e e
M o nm o uth
C o bb s H all’
O v rmant l in plas t r Th T mp ta t i o n
, e e e e e .
A ldingt o n ,
K nt e
23 5
TA B L E OF P H O TO G R A P H S
C hithurst , Se v nt n t h c ntury B lgian fi t y

e ee e e o er or
Suss x e dish T h T mpta t ion : e e .
L langwm , Early nin t nth c ntury t o m bs t o n e ee e e

:
nr R aglan
. Th T mptati o n e e
K ilp c k e , S outh d oo r 1 1 4 0 Th t ru vin , c . : e e e on
H r fo rd
e e tympanum .
L ow r S w ll
e e , N o rman tympanum Bird ating frui t : e
G l o uc s t r e e fr o m tr ee .
shir e
H arnhill , N o rman lin t l e S . M icha e l and dragon .
G l o uc st r e e
shir e
D ym o c k o rman tympanum o f s o u t h door Tr N

%
, ee
G l o uc st r o f L if (dat palm )
e e e e .
S hir e
Barfr st o n e T w lfth c ntury s o uth do o r

, G ri ffin e e : ,
K nt e m rmaid h ad f k ing and qu n e , e O ee ,
ang ls with scr o lls a c companying e ,
C hrist s gl o ry ; Christ has n o nim b us ’

.
K ilp c k e S o uth d oo r
, 1 140 M anticora t , c .
, e c .
H r fo rd
e e
N t l y S cur s
a e Capital f N orman north d o or m rmaid
e , O e .
H ants
H r ford
e e S hi ld in P rp ndicular C hap l S ym b ols e e e e
Cath dral f S J o hn Evang list

e O . e .
H r f o rd
e e F o urt nth c ntury m pp m d i P ee e a a nn e
Cath dral lican tig r manticora N oah s ar k t
e , e , ,
’
, e c .
H r fo rd
e e M pp di P h nix mandrak a a rn n n oe , e ,
Cath dral faun sphinx rhinoc ros unic o rn

e , , e , ,
salamand r t e , e c .
58a S tanl y e C arving in s o u t h C hanc l wall (N o rman ) e

S L o nards
. T e animals pr s nting appl t
, w o , one e e e o
G l o uc st r t h oth r In c o nn ction it may b with

e e e e . e e
shir T h T mptati o n
”
e e e .
58b Sou th fl t S ixt nth c ntury f o nt ; uni c o rn

ee , ee e .
K nt e
A ln Y o r ks
e , N o rman d oo r T b l o n s o uth door e ro o en ,
S hip and tw o m in i t r pr s n t ing en , e e e
whal e .
U pav o n Wilts P rp ndicular f o nt S phinx and li o ns

, e e .
T h o rp A r N o rman font
e S M icha l and drag o n : . e .
n o ld L i ,Phot o graph ta k n b y J N orman Esq

e ce s e . , .
t er
Cant r b ury
e Capital in crypt A nimal musicians .
C ath dral Ph o t o graph ta k n b y J N orman Esq

e e . , .
236
IND E X
I FF LEY , 7 4 1 53 1 9 a , , , 3 5a 3 5b , % UEN I NG T O N , 81
Ipswich , 33 1 78 ,
RI BB E S F O R 1 3 4 D ,
K E LL S 1 26 R idlingt o n 1 8 6 ,
R o c h s t r 8 1 97 1 7 b
,
K mpl y 1 66
e e
e e , , ,
R ochf o rd 1 66
,
K nc o t 1 5 3 3 7 1
e 7 ,
R o man C atac o m b s 1 0
, ,
K ilp c k 2 1 3 8 6 2
e , , , , 1 66 1 9 2 , ,
, , 1 05
4a 4b 70 3 6a 4 1 a R o w l e s to n e 1 18 , , 28 a
uard an
, , , , ,
53 a 5 5b R e 1 74 4 7 b , ,
,
K irkbur n 69
SAH A M T o n y 1 4 1
,
K ir kb y 1 5 8 1 69 e ,
S A us t ll 3 4 a
, ,
. e ,
S B s ee 4 51 )
L E l\/I AN S 226
.
,
8 M ary Bourn 1 66
,
L incoln 26 1 62 1 8 6 , , ,
.
S M icha e l s M o u n t 1 7 4
' ’
e ,
L ittl angford
e L 34 ,
.
S V ig ans 1 3 4
,
L langattoc k 1 6 1 21 0 5 l a , , ,
.
S alford 4 0
e ,
L lang m
w 1 5 7 5 2b , ,
S axmu nd ham
,
1 54
a
L o stwithi l
e 3 7 9 0 6a 8b , , , , ,
S e fto n 3 4 5 3 1 22
, ,
,
S e lham 1 62 4 3 1
L o w r S w ll
e e ,
536
S h a lfle e t 78
, , )
L uppit t 1 54 ,
S e h r nb orn e 1 13
,
S hob d o n 53 2 l b 25 b
M A G E URG
D B 226 , S horn e 1 25 3 017
, , ,
M e igl e 1 9 2
, ,
, S ist o n 1 66
M iddl e ton S t n e y 1 66 o ,
S mard n e
,
4 4b
M inst e ad 2 1 a
,
, S o u t h a c re 1 4 1
M ont S M ich e l 1 7 4
,
. , S o u t h fl e e t 6 2 1 25 2 1 6 1 4 b , , , ,
5 8 19
N A TE L Y S e c ur s , 203 , South Woot t on 1 13 ,
Ne th rt o n
e 4 2a ,
ta for d
S f 74 ,
Ne e w nt 4 8a ,
Stalham 1 29 ,
Ne wington 1 37 , , 3 9 1) Stanl y e onar d s

S Le 58a .
’
N ig g 1 26, Stoc k t o n 1 13 ,
N orth rims t on
G , 1 06 St o w onga L 203 ,
N o rth Walsham , 14 1 tr tt o n u gw as
S e S 74 1 9b , ,
N o rwich 14 1 ,
N ur m b urg
e 226 . T H O R P E A r n old , 1 78 , 60a
T hurl igh 1 58
e ,
O A K L EY 3 7 ,
T oftr s 1 1 3
ee ,
O xford 9 0 , , 1 73 T orquay 1 7 4 ,
O xhill 1 5 8 ,
T o urs 226
,
T ut b ury 3 4 ,
P A R I S (M us é d C luny) e e , 142 ,
1 98 UF FO R 1 4 1 D ,
P arwich 66 69 8 5 , , , U pavon 204 5 90 , ,
P t i k h
a r c 43 s ow , a U pl e a d o n 1 01 1 3 0 ,
9,
P a t rixb ourn 4 2b e ,
P r s t on 1 3
e , a V A T I CA N ,
225
IND E X
Vé z e l a i ,
1 4 9 , 209 W stw ll 1 3 0 21 5
e e , , ,
3 2a
Vo wchurch , 1 6 1 50a , ,
Win ch st r 8 9 1 29e e , , ,
31a,
31b
WA LT O N 29 1 5 8 , ,
Wir k sw o rth 65 ,
W st H a d don 26
e ,
Worc st r 4 6
e e ,
W stmins t r 1 7 7
e e ,
W st R o unt o n 1 5 3
e ,
Y A RN T O N ,
29 , la
T HE END
n
P r i t e d by S i r I s a a c P i t ma n (Sr So n s, Ltd .
,
B a th
( 2 2 37 )
B I OGR A P HY
BO SW E LL S J O H NS O N ’
.
(S e e L ife of S a mu l J h n n e o so .
J O H N B U NYAN Hi s L i fe Tim s d W o rk By t h e R JO H N ,
e an . ev .
B R O WN B A D D Wi th portrai t an d illustratio n s by W HY M P E R
, . .
, . .
C h e a p di tion In d e my 8
e cloth gi lt 7 S 6d . vo , , . .
Th e b e s t lif O f J ohn Bunya n Lit y Wo l d e .

-
e ra r r .
(S e l o D a i n ty Vo l u me L i br y pa g e
e a s ar ,
MRS . AS K E LL H u nts H o me a d S t r ie
G By M E LL I S H
. a ,
s, n o s . rs . .
C HA D WI C K I royal 8 cloth g ilt gilt top phot o g ravure fro nti s

. n vo , , ,
pi e c e and 3 8 o t h r illus t rations l 6 t e . s . ne .
Th volum e is c e r t ai n of an e nduring plac a mong t hos w hi ch

e e e
d a l w ith t h lit e rary history of thi s country and it i s ce r tai n ly
e e ,
indi sp nsabl to any who wish to u nd e rstand t h wom a n of whos

e e e e
life it t lls or t h e v a lu of h w or k a n d i nfl u nc e
e ,
in de d e er e e
a sympath tic and faithful pic t ur no t only of M G ask e ll but
d ays i n which s h e liv d —M ch s t D i l y D s p tch
e e rs .
,
a lso o f t h e e . an e er a e a .
T HE L I F E O F D AN T E By t h la t E H P L U M P T R E . e e . .
,
D D . .
, n of
D ea
We lls E d i t e d by A R T H UR JO H N B U T LER In f c ap
. . . 8 vo ,
lambski n
gilt 25 6d e t A lso in c loth l 6d e t
, . . n .
, s . . n .
G O E R GE F OX ’
S J O UR NAL .
(S e e a t
D i n y Vo l um e Li br a y pag
r ,
e
B I S H O P W ALS H A M HOW A M . e m o ir . By h is S on , F RE D ER I C K
D O UGL AS H O W C h ap Edition crown c loth gilt 6s . e . In 8vo , , .
Extr m ly w ll don e al t og th e r book whi ch c an n o t

r e a d wi thout profi t a nd e nc ourag m nt —Gu di a
e e e e a be
”
e e . ar n .
THE L I F E O F SAM UE L J O H NS O N LL D By J A M E S B O SW ELL , . . .
Ne wly dit d with not s b y R O GER I N G P N Wi t h 5 68 illus t r at ions

e e e E . ,
i ncluding 1 2 photograv u r e plat s fully i n d x d In two vo ls e , e e . .

,
crown 4 to half morocco 2l s e t (A lso in tw o vols h and som e

, , . n .
c lo th gil t 1 8 n t ) , s . e .
A singularly compl t and a tt rac tiv e di tion Th e greate s t e e e .
j udgm nt has b n shown in s l ct ing pictu r s whi ch sho u ld illu s

e ee e e e
trat J oh n son s p e riod and b ring b for t h e re a d r s y t h e actu a l
e
’
,
e e e
’
e e
f atur e s of t h m n and wom n amon g w hom h e mov e d Al t o ge th e r

e e e e .
th eN w Bosw ll is o whi c h will b e c e rt ai n t o s e c u re a fre s h

e e ne
b and of admir rs f a wor k which wi ll e v r r m ai n o e O f t h e e or e e n
tr asur s f
e lit ratur
e W tm i te Ga z tt
o o ur e e .
”
-
es ns r e e .
G E O R GE M A C D O NAL D A Bi o graphi cal d C ri ti ca l A ppr ci ati o n . an e .
By J O S E PH JO H N S O N In crown 8 c loth gilt 2 6d t . vo ,

s . . ne .
2
I
B OG A R P HY ( td ) co n .
THE L I F E O F S IR I SAA C P I TM AN (I n t r f Ph n g phy ) B y ve n o o o o ra .
A LF RE D B A K ER C n t nary Edi tion In d my 8 cloth gilt . e e . e vo , ,
w i th about 5 0 illus t ra t ions incl u din g photograv u and s t l pl a t s , re ee e .
2 6d 5 t
. . ne .
Th book i s v y w ll do n I t giv s li f e pic t ur of

e er e e . e a e- e a
t u o u s r f o rm r
s re n o i ginal p rso na li t y an i n nt or t o who m
e e , an r e , ve
v ry n wspap r v y p ub li c bo d y an d ry g a t b u si n s ho u
ow s a n inc a l c ulabl d b t —
e e e e , e er , e ve re es se
ti W ld
’
e Ch e e . ri s an or .
L I F E OF REGI NALD P O L E B y M A R T I N H AI LE S c o n d R vi s d . . e , e e ,
and Ch ap r ditio n I n d my 8 e clot h gi l t wi t h i gh t ill u s t r a

e e . e vo , , e
ti o n s 7 6d t , 5 . . ne .
An x c ll nt b oo k bas d e a fi t ha n d a c qu i nt a nc wi th
e e , e on rs -
a e
d cu m nt som f whi ch
o e h r utilis d for t h firs t t im
s , e o a re e e e e e .
I t giv s a vivid and mos t fai t hful pi ct ur of t h las t A rchbisho p

—D i l y
e e e
of C an t rbury who a ck nowl dg d t h S e f R om e e e ee o e .
”
a
C h r o n i cl e .
THE L E TT ER S O F P ER C Y B YSS H E S H E LL E Y C on t aini ng a bo ut .
4 80 l e t t rs C oll c t d a n d di t e d by R O GER I G P E N With 4 2

e . e e e N .
ill u s t rations a n d tw o phot ogravur s N e w a n d ch e ap r di tio n e . e e ,
wi t h corr e ctio n s an d a dditi onal mat te r In tw vol u m e s lar g . o ,

e
crow n 8 cloth gilt gilt t op 1 25 6d n e t H and m a de p ap e r
vo , , , . . .
-
ed i ti d l x h alf l ath r larg d e my 8 o 21 5 t

on e u e, e e , e v , . ne .
M I gp h don l l t hat c a n b d O e to provid e s w i th

r . n en as e a e n u
a p e f e c t dition of o e of t h most in t e r s ti ng s ri s of le tt e rs i n
r e n e e e e
E ng li sh lite ra tur Th e e di ti on i s w ort hy of t h magni fi ce nt
mate ri a l with whi c h it de a ls —D l y N e w
e . e
” '
. az s .
RE M I N I S C E N C E S OF MY L I F E B y S i C HA RLE S S A N TL E Y I n . r .
d my 8 e clot h gil t gil t t op wi t h 1 5 illus t r ati on s 1 6 e t

vo , , , , 5 . n .
N t a trac e o f t h w ary v e te ran is d i s ce rni ble i n thi s

nt rta i nin g volum e —Th W l d
o e e
e e . e or .
M R S E M WA R D S RE M I N I S C E N C E S Edi t d by E LLI O TT
. . .
’
. e
O D O NNELL In royal 8 v o clot h gi lt gi l t t op wi t h s i x

’
.
, , ,
pho t o g rav u r plat 1 2s 6d n e t e es , . . .
M r E M W ar d t h ro u ghout a ll t h e s e p ag
s . . di s pl ays a wi de
. es
sym pathy a ch ar mi ng p rsonali t y a d an int r s ti n g a cqu a in t ance
,
e ,
n e e
wi th m e and thi n g s whi ch m ake h b oo k a sw t w h ol e s om e
n er ee , ,
a n d de li gh t ful volum wi ll win an st ab lish e d pl ace amo ng

r e c ords o f t h V ic t ori an Er a —D i l y T l g p h
e e
”
th e e . a e e ra .
C OLL E C TI VE B I O GR A P H I E S
GRE AT AS T R O N O M ER S B y S i R O B ER T B A LL I l l u s t r at d I . _ r . e . n
d my 8 c lo th gilt gi l t t op 3 6d t
e vo , , , 5 . . ne .
THE H E R O I C IN M I SS I O NS Pio n rs i n six fi l ds B y th R . ee e e ev .
A R B U C K LA N D M A In c rown 8 cloth gil t l 6d

. .
, . . vo , , s . .
M O D ERN PA I N T ER S A ND TH E I R P A I N T I N G S By S A R A H T YT LER . .
For t h f S chools an d L rn rs i A rt In c row n 8 q u a rt

e use o ea e n . vo , er
c loth gil t 4 6d , s . .
CO LL EC T I VE B I O G R A P H I E S (m m
M U S I C A L C O MP O S E R S A ND TH E I R W O R K S By t h sam A uthor . e e .
Fo th r of S cho o ls and S t ud nts in M usi c R vis d In

e use e . e e .
crown 8 quart r clo t h gilt 4 6d vo , e , s . .
T HE O L D M AS T E R S A N D T H E I R P I C T U R E S By t h e sam A uthor . e .
For t h e o f S ch oo ls a n d L ar n rs in A r t
u se N e w a n d e nlarg d e e . e
di tion In crown 8 q uart r cloth gi lt 4 5 6d
e . vo , e , . .
TH E O R G AN A N D IT S M A S T E R S A short a c coun t of th m o st . e
c l b rat d organists of forme r d ays a n d o f t h pr s nt tim
e e e , e e e e ,
tog th r with a bri e f s k tch f t h d v lopm n t o f organ

e e e o e e e e con
struction orga n mu s ic and o rgan playing By H ENRY C L H
, , . . A EE .
In larg crown 8 o cloth richly gilt gil t t op with 1 4 full pag

e v , , ,
-
e
plat illustra t ions 6
e t . 5 . ne .
M O D E R N C O MP O S E R S O F EU R O P E B e i n g a n a c count of t h e .
m o st r c nt musical progr ss in t h various Europ an nations with

e e e e e
som not s on th ir hi story and cri t ical a n d b iographical s k tch s
e e e , e e
of t h co n t mporary musical l ad rs in a ch cou n try By A R T H UR
e e e e e .
E LS O N In larg crown 8 . c loth gilt gilt top with 24 ful l pag e vo , , ,

- e
plat e illustrations 6 t . 5 . ne .
P I TM A N S
’
D A I NTY VOL U M E L I B R A RY
E a ch in f p ca . 8 vo li m
,
p
l a m bs ki n g i l t, g i l t top ,
w i th P h o tog ra vu re
p net Fr o n ti s i e ce 2s 6 d pe r vo l u m e ,
. . .
D A NT E THE D I V I NA C O MM E D I A A N D C AN Z O N I ERE
. T r an s .
lat d by t h lat e DE A N P L U M P T RE Wi th N ote s S tu di e s

e e .
, ,
Es t imat e s and L ife I n fi volum e s ,

. ve .
TH E L I F E O F D A N T E By t h e sam e A u thor I n o n e volum e . . .
THE T R A G E D I E S OF l E S C HYL O S T r ansla t e d by DE A N P L U M P T R E . .
I n t w o volum e s .
THE T R A G E D I E S O F S O P H O C L E S T r an sla t e d by D E A N P L U M P TR E . .
In t wo volum e s
B O S W E LL S L I F E O F J O H NS O N (A bridg e d ) W i t h a n I n t rod u c t ion
’
.
b y G K C H E ST ER T O N In two vol u m e s
. . .
THE P O E T R Y O F R O B ER T B R O W N I N G By S T O P FO R D A B R OOK E . .
,
M A L L D In two volum e s
. .
, . . .
T E NNY S O N : HI S A RT A ND RE LAT I O N TO M O D ER N L I F E By .
S T O P FO R D A B R OOK E M A L L D I n t wo vol u m e s
.
,
. .
,
. . .
J O H N B U NYAN H I S L I F E T I M E S A ND W O R K By J O H N ,
.
B RO WN D D In two vol u m e s
‘
, . . .
J O H N W E SL E Y S J O UR N A L (Ab ridge d ) Wi th A ppr e cia t ion by t h e

’
. .
R t H o n A U GU ST I NE B I RRE LL M P I n two volum e s

. .
, . . .
G E O R GE F O X S J O UR NAL ( Ab ridg e d ) W ith

’
In t rod u c t io n by S i . r
W R o B E R T s O N N I C O LL M A L L D I n t wo v ol u m e s
.
, . . , . . .
N O C R O SS NO C R O W N By W I LL I A M PENN W i t h an I ntro duc tio n

, . .
b y J DE A NE H ILT O N I n o e v o l
. . n .
C L O U GH A R N O L D R O SS ETT I A ND M O RR I S : A Stu dy By
, ,
.
S T O P P O R D A B R OOK E M A L L D I n o n e volum with fo u r

.
, . . . e ,
illustrations 3 06 pp 3 6d e t ,
.
,
5 . . n .
H I S T O RY ( co n td ) .
TH E RO M AN T I C S TO R Y O F THE M AY F L O W ER P I LGR I M S A N D
I TS PLA C E I N THE L I F E OF TO D AY By A C A DD I S O N Wi th - . . . .
n u m rous original illustr atio n s S iz 6 5 in b y 9 % i c lo t h g ilt

e . e . n .
, ,
gi lt t op 7 6d t ,
.
5 . . ne .
A b au tifully illustra t d boo k in whi ch t h P ilgrims follow d

e e ,
e a re e
into t h N World t h ir i n dividu a l fort un s

e ew t rac d ou t and , e e a re e ,
d tails
e giv n of r c n t ff o ts t o p p tuat th ir m mory
a re e e e e r er e e e e .
I NNS A ND TAVER NS O F O LD L O N D O N S t t i n g for th t h histo i c al . e e r
an d li t rary associations of thos anci nt host l i tog th r with

e e e e r es, e e
a n account of t h mos t n otabl c o ff hous s clu b s and pl asur e e ee- e , ,
e e
gar d ns of t h B itish m tropolis By H ENR Y C SH ELLE Y In

e e r e . . .
larg c row n 8 clot h gilt gilt top wi t h c olour d fro n tispi c an d

e vo , , ,
e e e
4 8 o t h r illustra tions 7
e 6d t . 5 . . ne .
O L D C O U N T R Y I NNS By H ENRY P M A S K E L L a n d E D W A R D W . . .
G REG O RY Wi th 50 illustrat ions by t h au thors In larg crow n

. e . e
8 vo cloth N
, E d itio n with L is t s of O ld I n ns T rust Inns
. ew , ,
and Glossary of S igns 3 6d t . 5 . . ne .
M ssrs M a s k ll an d G r g ory h a v writ t n t hi s hi s t ory of t h irs

e . e e e e e
v ry w ll ind d T h y classify t h inns of Englan d a ccording to

e e ee . e e
th ir origin rating th m as ma n ori al monastic C hur ch inns and so
e , e , , ,
on T h y d iscours in a pl a sant gossipy strain

. e coachin g i n ns e e on ,
waysid i n ns h au n t d in n s t h inns of lit ratur a nd art histori cal

e , e , e e e ,
d fancif u l S igns a n d c u rious signboards of in n furnitur t ”

an e ,
e c .
B km oo an .
F L EE T S T R EE T IN S EVE N C E N T U R I E S B ing a H istory f t h . e O e
growth of L ondo n b yond t h Walls int o t h W st r n L i b rty e e e e e e
and of Fl t S t r t to our t im By WA LT ER G E O RGE B EL L ee ee e . .
A uthor of Th Th m f m C h l t th N W i th a F or word
e a es ro e sea o e a re . e
b y S i Wm P T r loar B t Wi th 4 6 illustratio n s D raw i gs b y
r . . e , . . n
T R Way H
. . li p Fl t ch r R A nning B ll T E K i g h t l y
, a ns e e , . e ,
. . n e
r productio n s of old prin ts original do c um nts m aps and photo

e ,
e ,
graphs I n d my 8 clo t h gilt top 1 5

. t e vo , , , 5 . ne .
M B ll h as chos n t h pi ctu s q u and pi s odi c m thod for

r . e e e re e e e
his histo y y t it i p ll r an anti quary s book R cords
, e s, a r e xce e n ce ,
’
. e ,
rolls i v n tori s t h p o c din g s f wardmot s hav b n l abo i

, n e e , e r ee o e e ee r
ous l y ransack d ; b ut t h r sult is n v t dio u s and w h a e e e e er e , e ve
se l d m ta k n p a b k f th i ki d which h h d uch a p w
o e u oo o s n as a s o er
o f l di ng th r ad r
ea f m p g t p g Th s t ory is alway e e e on ro a e o a e . e s
h u man and t h w i t h a s b n c ar ful t o choos par t i c ula
, e r er ee e e rs
tha t r c onst ct for u s t h lif f F l t S tr t from g n rat ion t o
e
g n ration t hrou gh t h s n c n t uri s —
ru e e o ee ee e e
e e A th mm e e ve e e . en a .
T HE B E G I NN I N G S O F TH E A M E R I C AN RE VO L U T I O N Bas d . e on
C ont mporary L tt rs D iari s and o th r D o cu m nt By E LLEN
e e e ,
e ,
e e s .
C HA S E I n royal 8 cloth gilt g ilt top

. pp with 7 5 full p ag vo , , , .
- e
pl at s Th V ols 25
e . t re e . 5 . ne
A s rvic a b l contribution to hi storical lit ratur b ca u s

e e e e e ,
e e
it g iv s with a minut n ss and w al t h of col o ur u napproach d

e , e e e e
b y a ny oth r wor k of t h k ind k n own to u s a panoramic vi w of e e ,
e
th lif of M assach u s t ts in t h arly stag s f t h C ivil W
e e e e e e O e ar .
”
_ B i rm i ngha m D a i ly P os t .
H I ST O RY ( td ) co n .
A H U N D RED Y E A R S OF I R I S H H I S TO R Y B y R B A RR Y O B R I EN . .
'
.
Wi t h I t od uct ions by J O H N E R E D M O N D M P N w E di ti
n r .
, . . e on .
I n c row n 8 clo t h 1 8 4 pp 1 6d t vo , , .
, 5 . . ne .
T H E D I SS O L U T I O N OF T H E M O NAS T ER I E S A s i l l ust r at d b y t h . e e
S u ppr ssio n f t h R li gi ous H o u s s f S t fi d h i
e o By F R A N C I S
e e e o a or s re .
A I D A N H I BB ER T M A f St J h C ll g C m b i dg , H d . .
, o . o n s
’
o e e, a r e ea
m t a s er of D t I n c rown 8 clot h gi l t 5
e n s on e t . vo , , 5 . ne .
J O H N PYM By C E W A D E M A B i t t l w
. W ith . .
, . .
, a rr s e r-a -
a .
fro nt ispi c D my 8 e c loth g il t gi l t t op 7 6d t

e . e vo , , , 5 . . ne .
M W a d giv s a fr sh a nd ff c t i
r . pi c tur f thi s sta t sma n s
e e e e e ve e O e
'
ca r k pi ng th ougho ut in t ouch wi t h his a utho iti

re e , ee a nd hi r r es s
g aphi c narra tiv wi l l fi l l t h g ap i t h booksh lf mad by t h
r e e n e e e e
dis app ar anc of F o rst r s L if w ri tt n arly 8 0 y a rs a go a nd lo ng
e e e
’
e e ne e ,
o bsol t e Th eTi m
.
”
e es .
M A KER S O F N A TI O N A L HI STORY Edi t d b y Th V W e e en

—
.
.
H HU TT O N B D E ach volum i n th i s s ri t h aim of wh i ch i

.
, . . e e es e s
to do full r j u ti c t o m whos liv s h av no t hi t h t o b n d

—
e s e en e e e er ee a e ~
q t
ua l y d a
e lt w i t h i i n c row
e n 8 c lo t h g il t w i t h a fro nt i s p i c s vo , . e e,
3 56d . t . ne .
C A R D I NAL B E A U F O R T L B R AD FO R D D D
car f u lly w i tt n —
B y th R . e ev . . . , . .
S t u di o u sly i mp a r t i a l Gl g w H ld e r e . as o e ra .
V I S C O U N T C A S T L ERE AG H By A R T H UR H A SS A LL M A . , . .
I t i bril l ia nt ly w i t t n xc p t io n ally c l ar a n d d
a book which w as n d d —T h M i g L d
s r e e e e vi vi
ee e . e o rn n ea er .
A R C H B I S H O P PA R K ER B y W M K ENNE D Y B A . . . , . .
Ex c din g ly w ll c onc iv d c l arly p r ss d and c ompi l d

ee e e e e ex e e e
wi th g a t c ar —Th G di
, ,
”
re e . e ua r an .
GE N ER AL W O L F E By E D W A R D S A L M O N . .
A pi c t u r an d an stim t of Wolf w hi c h c ou l d n o t b mo
e e a e e e re
compl t C
e e d .
%
- a na a .
F RAN C I S ATT ER B UR Y B i h p f R ch e t ( 1 662 B y th ,

s o o o s er e
V ry R H C B EE C HI NG M A L i tt D D a n of N or w ch i
—
e ev . . .
, . .
,
. .
, e .
A mos t d li ghtfu l as w ll a mos t aluabl book G d e e as v e . uar i an .
E D W A R D THE F O U R TH By L A UREN C E S T R A T F O R D B A . ,
. .
TH O M AS B E C K E T A ch bi h p f C a t bu ry B y Th V W , r s o o n er . e en . .
H H U TT O N B D C anon of P t rboro u gh a nd A ch d a c o of
.
, . .
, e e ,
r e n
N o t h a mp t o n
r .
M E TA LL U R GY, E Tc .
A U ST R AL I AN M I N I N G M E TALL UR GY B y D O N A L D C L A R K A ND . ,
M M E A d t l d d s c ription of th M ta ll u rgi c M tho d

. . . e ai e e e e e s
mploy d i t h proc ss of O T r atm n t a n d Gold R ov y

e e n e e re e e ec er .
With n u m rous ill u s t r at io s an d diagrams In roya l 8

e clo th n . vo ,
gi lt 2 1 ,t 5 . ne .
RE FI N I N G O F G O L D By D O N A L D C L A R K B C E I n d my 8 . , . . . e vo ,
clo th gil t with ill u s t rat io ns 1 2 6d t, ,

5 . . ne .
THE D RE D GI N G O F GO LD PLA C ER S By J E H OD G S O N . . .
,
With 1 7 illustrati ons I n d my 8 cloth gilt gilt t op 5 t . e vo , , ,

5 . ne .
P incipally i n t n d d for C ompany D ir ctors Prop r t y M a nag rs

r e e e , e e ,
P osp ctors a n d t h inv sti n g pu b lic

r e , e e .
C O AL FI E L D S A N D C O LL I ER I E S O F A U S T R AL I A By F D A NVER . . S
PO W ER D my 8 c loth gil t 4 4 0 pp wi t h 229 illus trations
. e vo , , .
, .
25 5 t . ne .
H IG H E XP L O S I VE S By W R %U I N A N R o yal 8 224 pp 21 t . . . . vo, . 5 . ne .
N A TU R A L H I S TO R Y, E TC .
MY B A C K Y A R D Z OO A C ours f N at ural H is t ory By t h lat . e O . e e

R J C W OOD In crown 8 c loth gil t 2
R ally a compl t cours of na t ural his t ory —
'
ev . . . . vo , , s .
e Ti m e e e . es .
TH E A B C OF P O U L T R Y By E B J O H N ST O NE In c rown 8 . . . . vo ,
clo t h ch ap d i tion 1
, t e e , 5 . ne .
A capit a l ad d i t ion t o t h many boo ks d vo t d to t h out d oo

lif —W l d
e e e e r
e . or .
C A T S FOR PL E AS URE A ND P R O F I T By M iss F R A N C E S S I M P S O N . .
T hird Editio n I crow n 8 i t h 25 b au t ifully r produc d

. n vo ,
w e e e
photogr aphs of f amous priz winning cats 2 t e -

. 5 . ne .
Th a utho xpl ins th at h obj ct has b n t o h lp t hos

e r e a er e ee e e
who d sir to combin pl asur wi t h profi t This aim is v ry ’
suc c ssfully achi v d —P l l M l l G z tt

e e e e e . e
e e e . a a a e e .
R E PT I L E S O F TH E W O R L D T ortois s an d T u r t l s C rocodilians . e e , ,
L iz a ds and S n a k s of t h
r Eas t rn an d W t rn H misph r s e e e es e e e e .
B y P rof ssor R AY M O N D L D I TMA R S

e With f ron t ispi c in colour . . e e ,
a n d n arly 200 illustra t ions from phot o g aphs t a k n b y t h author

e r e e .
In royal 8 clo t h gilt gilt top 20 vo t, , . 5 . ne .
B R I T I S H F ER NS A po ck t h lp for t h S tud nt d C oll cto

. e e e e an e r
(comprising all t h nativ sp ci s a n d showi n g wh r fo u nd ) eBy e e e e e .
F RA N C I S G H E ATH S iz 6} i by 3 % i
. cloth wi t h 50 . e 2 n . n .
, ,
illu t ra tio n s 2
s t . 5 . ne .
P EE P S I N T O NAT URE S W AYS By J O H N J W A R D B ing chapt rs ’

. . . e e
on ins ct pla nt and mi nut lif Illus t ra t d from pho t ogr phs an d
e , e e . e a
photo micrographs t a k n b y t h Author Ch ap r Edi t io n I

-
e e . e e . n .
d my 8
e cloth gilt g il t t p 3 6d t
vo , ,
o ,
5 . . ne .
M I S C E L L A N E O US
A TH L ET I C T R A I N I N G FOR GI R LS C ompil e d a n d E d i te d by C E . . .
TH OMAS In c row n 8 o cloth g ilt wi t h ma n y illustr at io ns

. v , , .
Illustrat e d 3 6d n e t . 5 . . .
A b ook that e ve ry s choolmistr e ss e v ry mothe r a n d e v ry , e , e
girl Should b e comp ll d to re a d for it is full O f t h e b s t advic

and t horou ghly pra ct i cal hin t s —W l d
e e , e e
. or .
C O MM O N C O MM O D I T I E S O F CO MM ER C E Each handbook is .
d alt wi th b y an xp e r t wri t r B e ginning wi t h t h e lif history

e e e . e
o f th plan t or oth e r na t ural produ ct h e follow s its d e v lopm nt
e , , e e
u n ti l it be com e s a comm rcial c ommodi t y and so on through t h e e ,
8
M I S C E LL A NE O U S ( td ) co n .
H YP N OT I S M A ND S U GG E S T I O N In D aily L if Educati on and . e , ,
M dical Practi c
e By B ERN A R D H O L L A N D ER M D In crown 8
e .
, . . vo ,
cl o th gilt 6 t ,
5 . ne .
W sp cially w lc o m t h b ook b for us I t is t h wor k of

e e e e e e e . e
a man of sta b lish d r pu t ati o n wh o has d v o t d hims lf f o r y ars
e e e ,
e e e e
t
o t h su b j ct and wh o s aim is t o t ll t h English S p a k ing world
e e ,
e e e -
e
what H ypnotism r ally is what it can do and to wha t conclusions e , ,
it s ms to p o int It is writt n in a th o roughly sci n tific spirit

ee . e e .
N fact is sh i r k d and no vid nc is i t h r suppr ss d or r at d

a b o v its r al valu —Gl b
o e ,
e e e e e e e e
e e e . o e .
L IG HT E R M O M E N T S From t h not b oo k f B I S H O P WA L S H AM . e e- o
H O W Edit d b y his
. F RE D ER I C K D O UG L AS H O W In small
e so n , .
crown 8 cl o th gilt gilt t o p 2 6d

VO , , ,
5 . .
O VE R H E A R D A T THE Z OO By G L A D Y S D A V I D S O N With 2 . .
col o ur d plat s and 26 b la c k a n d whi t illustra t ions In foolscap

e e e .
4 to cloth 2 6 d
, t , 5 . . ne .
T h a u thor has cat r d for a ll childr n who lov animals

e H e e e e . er
aim h b n t o pr s n t t h animals
as ee point of i w far as e e e
’
ow n V e , so
it may b divin d b y sympath t i c s t udy
e e e .
O VE R H E A R D IN FA I R Y LAN D or Th P t r P an T al s By ,
e e e e .
M A D GE A B I G H A M With colour d illustrations by R U T H S

. . e .
C L E M EN TS In larg cr o wn 8 . cl o th 2 6d t e VO, , s . . ne .
P U B L I C S C H OO L L I F E Each i n f oo ls c ap 8 cloth w ith 3 2 full . vo , ,
pag plat illustrations 25 n e t

e e . . .
W E S TM I NS T ER By W TE I GN M O U T H S H O RE . . .
E T O N By A N O L E T O N I A N
. D .
H A R R OW By A R C HI B AL D Fo x . .
RU GB Y By H H H A R D Y . . .
'
THE R O YAL H I G H S C H OO L E D I N B U R G H By J J TR O TT ER , . . . .
With 3 2 illustrations I cr o wn 8 cl o t h gilt 3 6d e t . n VO , , s . . n .
THE REVER I E S O F A B A C H E L O R : O r A B o o k o f th H a rt ,
e e .
By t h lat I H M A RVE L With an Introductio n b y A RL O B A T E S

e e .
“
In foolscap 8 gilt t o p limp lam b s k in 2 6 d t A l s o in cloth

VO , , ,
s . . ne .
,
15 6d n e t
. . .
R O O D S C RE E N S A N D RO O D LO FTS LI G H B O N D . By F . B ,
and Th e R e v D O M B E D E A MM O S E With ov e r 8 8 full pag

C .
,
. . .
-
e
c o ll o typ e r e productions an d upwards o f 3 00 o t h e r b e autiful ,
illustrati o ns In d my 4 t o two vols handsom e cloth gilt gilt

. e ,
.
,
to p 3 2
,
, t 5 . ne .
A magnific nt w o r k E i g S t d d e .
-
ve n n a n ar .
T H E B OO K O F TH E C H I L D An A tt mpt to S t D own what is in t h e . e e

M ind of C hildr n By F RE D ER I C K D O UG L AS H O W In foolscap 8 v
e . . o
l ath r with dainty cove r d sign gilt corn rs 3 5 6d et ; clo th
,
e e , e , e ,
. . n ,
25 . ne t .
M Y S T I C I S M A N D M A G I C I N T U R K E Y A n A cc o unt f t h . O e
R ligious D o ctrin s M o nastic O rganisation an d Ecstatic Pow rs
e e , e
o f t h D rvish O rd rs By L U C Y M J GA RNETT A uthor of
,
e e e . .
. .
,
T k y / th O tt m
ur e In crown 8
0 C l o th gilt gilt t o p wi th
e o a ns . vo , ,
illustrati o ns 6
,
t . 5 . ne .
10
THE P ER S I AN P R O B L E M By H J WHI G H AM With maps an d . . . .
illustra tions In d my 8 cl o th gilt 1 2 6d . e vo , , 5 . .
S C I E N C E A ND THE C R I M I N A L By C A I N S W O R T H M I T C H E LL . . .
B A FI C
. In crown 8 cloth gilt 25 0 pp with 28 illustrations
.
, . . . vo , , .
,
%
65 . ne t .
syst ms f p rsonal id ntificati o n

Th e e disc u ss d and t h o e e a re e , e
us s O f phot ography an thropom try and fing r prints
e indicat d , e , e a re e .
T h s l c t ion of t h cas s a n d t h mann r in which t h whol b oo k

e e e e e e e e e
is writt e n Show good j udgm nt — L t e . a n ce .
SY M BO L I S M O F AN I M ALS A N D B I R D S Re pr se n te d i n Engl i sh e
C h u r c h Ar c h i t ctu re By A R T H UR H C O L L I N 5 M A e With . .
, . .
1 20 il l u s t ra ti ons I n d my 8 clo th gi l t g il t t op 5 n e t. e VO , , , 5 . .
THE SU N L IT RO A D : R ading in Ve rs e a nd Pr s f r Ev ry D y
'
e s o e o e a
in th e Ye ar By t h e R W GA RRE TT H O R D ER I n d my 1 6mo
. ev . . . e ,
cloth gilt gilt c orn rs 3 t ; l ath r gilt gil t c orn rs 4

, t e , 5 . ne e e ,
e , 5 . ne .
A dainty an d d li ghtf u l littl day book f qui t mom e n ts e e or e .
It i s t h e most cha rmi ng b ook of i t kind w have s e e n for a v ry

long tim —L a dy
s e e
”
e . .
P I TM AN S S T U D I E S I N E L O C U T I O N A gu i d to t h e t he ory an d
’
. e
practi ce of t h art f pu b lic sp a k in g and r citing with ov r 1 00 e o e e , e
s e l e ctions for R ci t rs and R ad rs By E M C O R B O U L (Mr e e e e . . . D s .
M ar k R obinson ) In crow n 8 O clot h gilt gilt t op sil k r gis t r

. V , , , e e ,
25 . 6d . ne t .
T his tr e asury of pros e and v e rs will app a l t o all who cult ivat e e e
the art of locution or appr ciat a choic stor of l it rary g e ms

—E d
e e e e e e .
u ca ti o n a l N ews .
THE B G E I NN I N S OF THE T E A C H I N G O F M O D ER N S U BJ E C T S
G
IN E N LAN
G D By F O ST ER W A TS N M A (Prof ssor o f Educa tio . O , . . e n
in
th e U v rsi ty C oll g f Wal s A b rystwyth) I n c rown 8
ni e e e o e e . vo ,
cloth 7 s 6d n e t , . . .
THE I NN ER L I F E OF G E O R GE E L I O T A S tudy o f t h M e ntal . e
and S pi ri tua l D e v lopm nt f t h N ov list By C HA R L E S GA R D NER e e o e e .

,
M A In crown 8 c loth gilt gilt t o p 5 e t

. . vo , , , 5 . n .
P OE TR Y, C R I TI C I S M , L I TE R A R Y H I S TO R Y
THE P O E T R Y O F R O B ER T B R O W N I N G By S T O P FO R D A B R OO K E . . .
O r iginal issu e I n d e my 8 v o cl o th gilt 1 05 6d .

, ,
. .
most satisfa c to ry and stimulating c ri t i ci sm of t h po e t y t

Th e e e
p ub lish e d Ti m .
”
es .
( S a l D a in ty V o l u m L i br a ry pag ee so e ,
e
T E NNYS O N HI S A RT A ND RE LAT I O N TO M O D E RN L I F E By .
t h sam A uthor
e O r i ginal issu e
e In d my 8 clot h gilt 7 6d . . e vo , , S . .
Will m ak a s t rong app e al t o all lov e rs f our gr a t L aur e a t e

e o e .
%u a r te rl y R e vi e w .
(S e e a ls o Da i nty Vo l um e Li br ary page ,
11
P OE T RY E TC (co td )
. . n .
A S T U D Y O F C L O U GH A R N O L D R O SS E TT I A ND M O RR I S Wi th , , , .
an In troduc ti on t h C ours f P o try from 1 8 22 t o 1 8 5 2 By on e e O e .
th sam Au thor
e In d my 8 O c lot h gilt 65 t
e . e V , , . ne .
(S l D in ty Vo l u m L i brary pag ee a so a e , e
E XP ER I M E N T S IN P LAY W R I T I N G S i x plays in Ve rs e and Pros e .
with an I nt rodu c tory Essay By JO H N L A W REN C E L A MB E In . .
d my 8 o cloth gilt 5 e t
e v , , 5 . n .
THE P O E M S O F JA M E S H O GG Th Ettr i ck Sh phe rd S le cte d . e e . e

and e d it e d with an introduction b y W I LL IA M W A L LA C E L L D
, , , . .
With photogravur portr a it frontispi c In crown 8 cloth gil t e e e . VO , ,
gil t top 55 , .
W I TH THE W I L D GEE S E S ongs of Irish Exil a nd L am nt B y . e e .
E M I LY L AW LE SS Wi th an Introducti o n by S TO P FO R D A B R OOK E . . .
In s q uar 8 O cloth gil t 4 6d e t

e V , , 5 . n .
M OD ER N FRE N C H L I T ER AT URE By B W WELL S P h D In . . .

, . .
crown 8 o clo t h gilt 5 20 pp 65 n t

v , , .
, . e .
M O D ER N I TAL I AN L I T ER AT URE By L A C Y C O LLI S O N M O RLEY .

-
,
A uthor of G i pp B tti d hi F i n ds I n c rown 8 o c loth u se e a re an s r e . v ,
gil t 3 60 pp 65 t
, . . ne .
A S H O R T H I S T O R Y OF GREE K L ITER AT URE F rom H om r to . e

Ju lian By W I L M ER C A VE WR I G H T P h D lat of G irt on C oll g
.
, .
, e e e ,
C ambridg I n c rown 8 cloth g ilt 5 4 4 pp 6

e . t VO , , .
, 5 . ne .
GREE K I N F L UE N C E O N E N G L I S H PO E T R Y By th late P rofe sso r . e

J O H N C H UR T O N C O L L I N S Edi t d with Introduction by Prof e ssor . e ,
M M A CM I LL A N
. In crow n 8 o clo th g ilt wi th por t r ai t 3 5 6d . v , , . . .
ne t .
P O L I TI C S , E TC .
TH E C AS E A GA I NS T W E LS H D I S E N D OWM E N T B y J FO V A R GU E . .
B R A D LE Y T hird impr e ssion In d e my 8 o 1

. t . v , 5 . ne .
N O N C O N F O R M I S T S A ND THE W E LS H C H UR C H B I LL By th . e
sam A thor 2md impr e ssion C rown 8 O 1
e u .et . V ,
5 . n .
N O N C O N F O R M I T Y A N D P O L I T I C S By a N O N C O N F O R M I ST M I N I ST ER . .
Ch ap Edition In crown 8 1 e t
e . vo ,
5 . n .
THE R I S E A ND D E C L I N E OF W E LS H N O N C O N F O R M I TY An .
Imp ar t i al Inv e stigation B y VI AT O R C A M B E N S I S D e my 8 v o . R .

,
15 . net .
FA M O U S S P EE C H E S F irst S ri s F rom C rom w ll t o G l ads ton . e e . e e .
S l ct d and Edit d with Introductory N ot s b y H ER B ER T P A UL

e e e e e .
In d my 8 e c loth 4 7 0 pp 7 6d t vo , , .
, 5 . . ne .
A b oo k of s e l e ctions such as this i s d lightf ul r e ad ng M e i . r .
H r be rt P aul h a s chos n discr tly i n t h e w id fi e ld from C romw e ll

e e ee e
to G ladston a nd has pr fac e d e a ch or at or with a j u di c io u s
critici s m —
e ,
e
Sp t t . ec a or .
F AM O U S SP EE C H E S S c ond S ri s F rom L ord M a c au lay t o . e e e .
L ord R os e b ry S l e c t d a nd Edit d w ith I n t rodu ct o ry N o t s

e . e e e e
by H ER B ER T P A UL I n d m y 8 o c lo th 3 9 8 pp 7 5 6d n e t . e v , , .
, . . .
12
THE O L O GI C A L
T H E P R AY ER B O O K D I C T I O NA R Y
V olum e of A n Indispe n sable .
R fe re nce d aling with t h origins his t ory u s e and te achi n g o f t h e

e e e , , ,
s e ve ral authoris e d ditions O f t h e Book O f C omm o n Pr a ye r within e
th An gli c an C omm unio n I t s scope e mbrace s all ac c ompanyi ng

e .
c e r e mon ie s and supple m n tary ri te s t h e ornam e nt s o f t h e C hurch e ,
a n d o f all minis te rs C hurch s t ruct u re s and fi t tin g s in th e ir r la t ion

, e
to worship e ccl e si asti c al p e rso n s and b odi e s an d t h e le gislativ
, , e
j udi cial or admi n is t ra t ive au thori t i e s now or he re t ofore e mpowe re d

o re x e rcisi n g pow e rs in r e gard t o t h e a b ov e E di te d by G E O RGE .
H A R F O R D M A Vi ca r o f M o s s l y H i l l H o n C n o n o f L i ve p l
,
. e , . a r oo ,
and M O RLEY S TEVEN S O N M A P i n ci p a l of W rri gto n Tr i n i n g , . .

, r a n a
C ol l g H n C
e e, n 07 L i v rp o o l
o . Assiste d b y J W T Y RER M A
a no e . . .
, .
Fo m rl y Vi ca o f S t L u ke th e E va n ge l i s t Wa l to n
r e r P r e f ace by
.
, .
T H E LO R D B I S H O P O F L I VER P OO L .
A r ticl e s by ne arly 1 50 C o nt rib ut ors inclu d i n g Th e Bishop of ,

-
O ssory ; L or d H u g h Ce cil ; D H e rmi tage D a y ; Th e late D r r . .
D owd e n (Bishop of Edi n burgh ) ; C anon D ri v e r ; Th e Bishop O f

Ri pon Th Provos t of K ing s C olle ge C ambri dg e Th e Bishop of
e
’
H u ll ; Th e R e T A L ace y ; Th e Bishop of M oray and R oss ;

v . . .
T h e B i s hop of A b e rd e e n Bishop M o nt gome ry Th e Bi shop of ,
D urham Th e Bishop Of E x e t e r ; C ano n S imp s on

, Cha n ce llor ,
P V S mi th C ano n S ta le y D r Euge n e S to ck ; Th D e a n of
. .
, . e
C ante r b ury ; C a n on Bullo ck We bs te r ; Th e R v J am e s Bade n e .
P ow e ll ; Profe ssor H B S we te ; D r H P A lle n ; Profe ssor D . . . . . u
Bos e D r G y Warman D S t C lai r Tisdall M r R obe rt Bridge s

. u r . . .
M r Fran c is B u rge ss ; M r Edwin H Fr s hfi e l d F S A Mr J A

‘
. . . e , . . . . . .
F u ll e r M a itland M A F S A S i r T S ydn e y L a Bart ; S i r , . . . . e ,
Ch arle s N i cholso n F Mr s R oma n e s ; P r ofe s sor J E

, . . .
V e r nham T h e work is c ompl e t e i n O n e V ol u m

. crown 4 t o h a lf e , ,
l e at h e r gi l t gi l t t op 8 50 pp 255 n e t Wri te fo r 1 6 pp P ro s p e ctu s

, , .
, . . .
on t i n i n g l i s ts o f C o n tri bu to rs nd r ti cl e s s p ci m e n p a g e s
A ve ry succe ssful atte mpt to m e e t a re a l want —
c a t a a , e ,
e c .
”
Gu a d i n . r a .
T horo u gh a nd s c holarly C hu rch Ti m e s T h e b ook will .

-
.
take i t s place at once amongst our in d isp e n sabl wor ks of re fe r

a gre at and s c hol arly achi e ve me n t —Th e C h u r h m a n
e
e nc e . c .
W e d o n o t t hi n k t ha t any C le rgym a n c an a ffor d t o b e wi t hou t thi s

hi g hly schol a rly volum e —C h u rch o f I re l a d G z tte Its ”
. n a e .
co n te nt s answe r prac t i ca lly e ve ry q u e st ion t ha t w e c an ask abo ut

t h e bo o k I t will make for i t s e lf a pl ac on o u r re fe re nce she lve s
n e xt t o Hasti ngs —
. e
”
R e co rd . .
T H E B OO K OF I SA I A H N E W LY TR A N S LA T E D W I T H I N T R O .
D U C TI O N S C R I T I C A L N O T E S A N D E X P L A N AT I O N S B Y G H B o x
, . .
,
M A T oge th e r with a P r e fatory N o te b y S R DR I VER D D

. . . .
, . .
,
Re gi u s Profe ssor of H e bre w in t h e U n iv e rsi t y of O xfor d and Ca no n ,
of C hr is t C h u r ch In d e my 8 v o c lo th gil t w i th tw o m aps 7 5 6d
.
, , , . .
ne t .
says i t d e s e rv e s high comm e n dati o n a n d t h at

The A the n ae u m ,
d va tag of h avi ng t h e p rophe c i e s pl ace d be fo e u s i n

th e a n e r
som thi ng lik

e origi a l g rou pi n g o f lin e s f ar o u tw i ghs t h
e th e n e e
dr awb ac k of wh at mi gh t h e r and t he r b e r garde d a s arbi tr r y

,
e e e a
14
THE O L O GI C AL (co n td ) .
or u n e c e ss a ry alt ratio ns
n t h book r e c omm n ds i t s e lf by i ts e e e
s chol arly char acte r i t s C l arn e ss of e xp o si t ion a n d t h f arl e ss , e , e e ,
y e t r e v r e nt spirit of in v stiga t io n b y w hi c h i t is a n ima t d

”
e e e
B ing C h a p t rs 3 —1 4 of t h Book c om
.
T HE EZ R A AP O C ALYPS E - . e e e
m n l y know n s I V Ezra (or II Esdras )
o T ranslat d from a c i t i
a . . . e r
cally r vis d t xt with criti c al Intro d u c tions N ot e s a n d Explana
e e e , , ,
tio ns ; wi t h a G n ral Intro du ctio n to t h A poc a lyps e a n d a e e e , n

A pp n dix contai i ng t h e L at i n t e x t By G H B o x M A Aut hor
e n . . .
, .
of Th B k f I i h
e t T oge th r wi t h a P r f a tory N o t e by
oo o sa a ,
e c . e e
W S A N D A Y D D L L D L i tt D L dy M g et P f s s
.
, nd . .
, . . .
, a ar ar ro e or a
C n a f C h ri t C h
on h O xf d o In d my 8 o cloth g ilt 4 8 8 s u rc , or . e y , ,
pp .
,
1 05 . 6d . net .
A lr a d y know n to t h s tu d n t by h i
e c ll n t ditio n of e e s ex e e e
I i h M
sa Box h now n tur d ucc ssfully as w thi nk i nt o a
a , r . as ve e s e e ,
fi ld whi ch D Charl ha d almost ma d hi own an d D Ch arl s

e r . es e s r . e ,
we s u r wi ll t b ba ckw ar d i n g r ting hi m
a re e , a w orthy no e ee as
M B o x t r a t m nt of t h va i o u s probl ms pr s n t d
’
f e
co n r re . r . s e e e r e e e e
by t h book i mark d by t h sam C l ar n ss an d t horough n ss w hich
e s e e e e e e
chara ct i s d hi I i h er M Box h a s l a id t h r ad rs of 2
e s sa a r . e e e
Esdr a s und t h hi gh s t O b li gat io n s an d has produc d a w orker e e ,
e ,
t h only thoro u gh En g lish wor k on t h su b j c t w hi ch do s hono u

e e e , e r
t o Engli sh scholarshi p and wi ll b i ndisp n sabl t o a ll s t u d nt s of

thi s por tion of t h A po cryp h a —S p t t
e e e e
e . e c a or .
THE RE L I GI O N A ND W O R S H I P OF THE SYNA GO GUE An I nt ro .
duc ti o n to t h S t udy of J ud aism from t h N w T s t am nt P riod e e e e e e .
By W O E O . Y D D an d G H B x M A I d my 8
. . E S TE R L E , . .
, . . o , . . n e vo ,
c loth gi lt wi th ight illus trat io ns S co nd R vis d an d C h ap
, e . e , e e , e er
E d i tio n 7 6d t ,
5 . . ne .
It is not O ft n t ha t a lar g book ca n b wri t t n a l a r g s u bj c t e e e e on e e

i n t h fi l d f r l igio n whi ch is
e e n tir ly an d fr sh as t his
o e ,
so e e ne w e
impor tant olum I t s nov l t y a nd fr shn ss l i s in i t s poi nt
v e . e e e e
of i w I t is a s tu dy O f J u daism b y Christian schol ars of t h C h u rch

v e . e
f Englan d w rit t n for a C hristian public a n d it is a sympa t h tic
o e
v n a loving s tud y —C h h Ti m
, e , ,
e e . u rc es .
Its authors hav wri t t n w i t h goo d w ill an d wi th qu i t p e e

-
e e xce
l knowl d g
”
ti o na
j wi h C h i l e e . e s ro n c e .
THE EV O L U T I O N O F THE M E S S IA N I C I D E A A STUDY C M

‘
. IN O
P A R A TI V E R E LI G I O N By t h R W O E O Y D D . e ev . . . . E S TE R L E , . .
In crown 8 clo th gilt 3 6 d t vo , , 5 . . ne .
D O t l y r .work d s rv s t h s rious consid r at o

es er e
’
s ne w e e e e e e i n
f stud nts
o It is timulating arn st frank full f i n t r sting
e . s ,
e e , , o e e
inf o rmati on L i k ly to prov v ry us ful to a wid C ircl of e e e e e e
r ad rs — A th
.
e me . e n ae u .
T H E F U T URE L IF E A N D M O D ER N D I FF I C U LT I E S
By F . .
C LAU D E K M Ps O M B I n cro w n 8 E N , . vo ,
cloth gilt with d iagrams , .
35 6d n e t . .
au thor shows t h simpl st d u ca te d r a de r that th r is

Th e e e e e e e
nothing what v r in sci ntific di c o v ri s t o w a k n r faith i n e e e s e e e e ou

C hristiani t y Th R d .
”
e e co r .
15
TH E O L OGI CAL ( td ) co n .
THE K I N GD O M W I TH I N . Be ing T a chi ng for our D y R cord d e a e e

Exclusiv ly b y S t L u k e . e . By A GNE S S TA NLEY L E A T H E S I n crow n .
8vo cloth gi lt gilt top 3 6d t

, , ,
s .
‘
. ne .
H studi s er thoughtful and y t simpl ; th y r late t h

e a re e e e e e
primary t achings f C hrist to t h e facts of mo de r n lif T h re
e o e . e
a re us ful chapt rs e spiri t ual he aling an d o n t h valu of t h
e on ,
e e e
r sults of psychic r s e arch a valu oft n ove r s t imat e d by t h

e e e e e e
apologist f Chri s t ia n ity —C hu h Ti m

,
”
or . rc es .
THE G O S P E L OF J O Y By t h R S T O P FO D A B R OOK E M A . e ev . R .
, .
L L D In crown 8 O cloth gil t gilt top 6

. . V , , , 5 .
Fin e d isco u rs s th y br a th a b rav a n d loving spirit e e e e e ,
and have t h virt u e o f i n fusing th e ir w ri t r s h e a l th O f so u l int o t h ’
r ad e r s h e art —S p e k
e e e
’ ”
e . a er .
THE O L D T E S T A M E N T A N D M O DER N L I F E B y t h e s a m e A utho r . .
In crow n 8 O c loth gilt gilt top 6 V , , , 5 .
THE L I F E S U P ER LAT I VE B y t h e s a m e Aut hor I n c ro w n 8 v o . . ,
c loth gi lt gi l t t op 65 , , .
T H O U GHT S O N S O M E OF THE M I R A C L E S OF J E S U S A s M A R K S .
O F T H E W A Y O F L IF E B y t h e R igh t H o a nd M ost R C O SM O . n . ev .
G O R DO N L A NG D D L ord A r chbishop o f Y ork I n c rown 8 v , . . o ,
cloth gilt gil t t op 6

A d lightf u l b ook full of h lp ful n e ss an d che e r —
, ,
5 .
e M tho di t ,
e . e s
Ti m e s .
T H O U GHT S O N S O M E OF THE PA R A B L E S OF J E S U S B y t h s am . e e
A uthor I n c rown 8 clo t h g ilt g il t top 6
. vo , , ,
5 .
W can o n ly xpr ss o u r w ond r a t t h fr sh n ss of t a t m n t

which h h as b n a b l t o bri ng t o a f amiliar s u bj ct —Th Ti m
e e e e e e e re e
e ee e e . e es .
FA M O U S S ER M O NS BY E N G L I S H P RE A C H ER S F rom t h V . e EN
E RAB LE B ED E to H P L Edit d wi th H istori ca l a n d Bio . . IDDON . e
gr aphic a l N o t s b y C ano n D O U GLA S M M A I n d my
e AC LE AN E , . . e
8 vo , clo t h gi lt 6 t , 5 . ne .
T his i a d li g h t f u l oll ctio n a n d th r a di n g publi c

s e a c e , e e ow e
d bt of g rati tu d t o C ano n M l
e C a n on M l I t d
e a c e a ne . a c e a ne s
’
n ro uc
tio n s to t h S rmo n b y no m a n s t h l as t
e al uabl part of
e s a re e e e v e
th work
e i t d s rv s and will no doubt r c iv a h arty e e e ,
e e e ,
e
w lcom from a ll r a din g m in t r st d in t h his t ory of ou r

e e e en e e e e
Church R d .
- e co r .
L A Y S ER M O NS F R O M “
TH E SP E C TATO R B y M C E With . . . .
a n introd u ctio n by J S L S T R A C H E Y In crow n 8 cloth . T . OE . vo ,
gilt gilt t op silk r gis t r 5 t

prim m it of th s ss a ys is th ir simp l icity—
, e e , 5 . ne .
Th e e er e e e e a
quali ty whi ch sho u l d co m m nd th m t o many w ho ins t i nc tiv ly
t oo O ft n pr a ch d —
e e e
r j c t s rmo n s
e e s rmons
e P l l M ll
as e a re e e e .
”
a a
G z tt
a e e .
THE P RE S E N C E O F C H R I S T By t h lat B ishop T H O R O L D I . e e . n

c ro w n 8 c loth gi lt 3 6d vo , , 5 . .
16
THE OL OGI C A L (c o n td ) .
CO NS I D ER AT I O NS FO R A D VE N T D votio n al R adi n gs for th e S e aso n . e e .
By th sam e Author C lo th 1 5 6d n e t ; l ath e r 25 6d

e t .
, . . e , . . ne .
A B OO K O F THE L O VE O F J E S U S By M g R H B EN S O N . r . . .
I n fools ca p 8 o l e a t h r gi lt gil t t op 3 5 6d n e t ; clo th 2

v t
, e , , . . 5 . ne .
A n a nthology f som ol d C atholic d vo ti o ns sligh t ly m o d rn o e e , e

i d w hi c h will app al t o m an y by r a s o n of i ts s impli c i t y and
b e auty —T d y
ze , e e
. o- a .
A B O O K O F THE L O VE O F M A R Y By F M G R O VE S P re fa c b y . . . . e
H S E M I NEN C E C A R D I N A L B O URNE I n foolscap 8 o clo th wi t h
I . v .
, ,
frontispi c 25 net L e ath r

e e gilt gil t top pho t ogr a v u r e
, . . e , ,
frontispi c 3 e t e e , 5 . n .
W giv a c o rdial an d gr at ful w lcom e to this b autiful l it t le

e e e e e
boo k a b out O ur L ady and h e church s picture s imag s S hri n e s ,

r e , , e , ,
guilds w lls and sal ta t io n s a n d t h po ms pray rs a nd d ays t h at

,
e u ,
e e ,
e
honour h C th l i Ti m er .
”
a o c es .
I N OUR L AD Y S PRA I S E An A ntholo gy of V rs C ompil d by

’
. e e . e
E H ER M I TA GE D A Y D D F S A Wi th P re f ac by t h e R I G H T
.
, . .
, . . . e
H O N V I SC UN T H A L I F A X In f o ols c ap 8
. O cloth with photo . vo , ,
gravur 2 et ; e l ath r gilt gil t t p with photogravur

, 5 . n e e , o ,
e
fr o ntispi c 3 t e e , 5 . ne .
I N ANS W E R TO P R AY ER T stimoni s O f P rsonal Exp ri nc s By . e e e e e e .
B I SH O B O Y D C A R P EN T ER t h
P la t e DE A N O F S A L I SB UR Y Can on
-
, e ,
K N OX L I T T L E M A late R e D JO H N W A T S O N ( I A N “
th , . .
, e v . r .
M A C L A REN R e D R F H O RT O N t h e lat R e v H UG H P R I C E v . r . . .
,
e .
H UG H E S an d oth e rs C h a p r ditio n In c row n 8 o clo t h gilt

, . e e e . v , ,
gi lt top 25 , .
B I B L E S TU D E NT S L I F E O F O U R L O R D i n i ts H i s to r i c a l C h ro n o
’
ol gic l d G o g r phic a l R l ati o n

a an Th By t h e R e 8 J a e s, e . ev . . .
A N D RE W S In crown 8 o c loth gilt 556 p p 3 6d

. v , , .
,
5 . .
Th v nts f t h e L ord s lif as giv e n b y th Eva n g lis t s a

e e e o
’
e ,
e e ,
re
arrang d in chronological ord e r and t h di fficulti s a s to matt rs of
e , e e e
fact xplain d A t h n c ssary found ation for a chronologi ca l

e e . s e e e
arrang m nt t h d a t s of t h L ord s b irth and d a th and t h dur a

e e , e e e
’
e ,
e
tion f H is pu b li c ministry a consid re d i n bri e f pr e liminary ss a ys
o re e e .
T H E L I T E R A R Y S T U D Y O F TH E B I B L E An a c co u n t of t h l adin g e e
forms of l it rat u r i n t h e S a cr d Wr t ings By Prof e ss o r R G
e e e i . . .
M O U L T O N M A Ph D Che ap r Editio n I n d my 8 cloth gil t

, . . . e . e vo , , _
65 ne t .
A valua b l h lp t o t h study of t h S a c r d Writings e e e e e

W h artily r comm n d this book —D i l y C h i l
.
e e e e . a ro n c e .
T HE P R A C T I C AL W I S D O M O F THE B I B L E Edi t d i th a n in t ro . e w
duction b y J S L S T R AC H EY (Edi t or of Th S p t t ) I n . T . OE e ec a o r .
d my 1 6mo clo th gilt gilt t op 2 6d

e t ; l a th r 3
, 6d t , , 5 . . ne e e s . . ne .
If M S t h y work do s nothi n g mor than draw att ntion

r . ra c e
’
s e e e
to t h incompara b ly ri ch v i n f wisdom whi ch runs through t h
e e O e
v ari o u s boo ks f which t h Bi b l is mad up not only t h C hur ch o e e e ,
e ,
b ut a ll whos faith is found d on t h S criptur s will him

e e e e , ow e a
d b t of g r atit u d
e N aft r r a d i n g t h l gan t d e . O o ne , e e e e e an
c ar fu lly produc d volum can dou b t t ha t M S t r ach y has do n
a good w o k in a t horoughly good ma n n r —S t d d
e e e r . e e
”
r e . an ar .
18
T H E S O C I AL RE S U L T S O F E A R L Y C H R I S T I AN I T Y B y C S C H M I D T . . .
T ra n slat e d by M s T H O R P E Wi th Pr e l iminary Ess ay by R W

r . . .
D A LE L L D , I n crown S Y O c l o th gilt 3 6d n e t
. .
, , 5 . . .
An e asy book t o re ad a n d t h e e du c ate d layma n wil l fi nd i t ,
full of vi t al in t e re st while t h e mor e e xacti n g stud e n t wil l h ave t h e ,
fu rt h e r s a tisfactio n o f b e ing provide d with full a n d pre cis e re fe re nc e s

to t h e original authoriti e s i n which many startlin g ass e rtions a re
m a de N tti n g h m D a i l y E xp s s
”
. o a re .
E D U CA T I O N A ND S O C I AL L I FE By t h e R e v J W I L S O N H A R P ER . . .
,
D D . . In c row n 8 o clo th 4 s 6d n e t v , , . . .
M O D ER N I S M A R E C O R D A N D R EV I E W By t h e R e v A L E S L I E
. . . .
L IL LEY M A I n de my 8 v o cloth gilt 65 e t

, . .
, , . n .
M r L ill e y is admirably s u i te d bo t h by knowl e d ge a n d sym pathy

.
, ,
to b e t h e m e di u m through whi ch t h e mod e rnist positio n may b e

m a d e kn own t o t h e E n g l ish pu b lic — C h rch Ti m s . u e .
B O D Y A ND S O U L A n E n quiry in t o t h e e ffe cts of Re l igio n u po n

.
h e al t h wi t h a d e s cri p t io n of C hristian wor k s of h e a l ing from t h e

N e w T e s ta m e n t t o t h e pr e s e nt day By PER C Y D E A R M E R D D .
, . .
N inth impr e ssion Ch e ap e r Editio n I n c rown S YO cloth gilt . .

, ,
2s 6d . ne t .
Hr b ook for which

e e h a v so long w ai t d
i s th e W we e e . e
m a y say a t on c t h at t h work c oul d hardly hav b n b tt r d on
e e e ee e e e .
I t tak s a compr h nsiv surv y f t h main qu s t io and of

e e e e e o e e n,
m att rs r lat d to i t I t i arrang d wi th an a d mirabl C l arn s ”
—C h
e e e . s e e e es .
u rch Ti m e s .
T H E C H UR C HM AN S GU I D E A H andbook for all p e rso n s whe t he r ’

.
,
C l e rical or L a y who re quir e a Boo k of Re fe re nc e on q u e s t io n s of

,
Ch u r ch L a w or E c cl e siology Edit d b y A R T H UR R EYN O LD S M A . e , . .
In crown 8 o cloth 3 68 pp 3 5 6d n e t v , , .
, . . .
T h e wor k is e x t r e m ly w e ll do n e W ithin t h e spac e of 3 3 3 e .
p age s w ll and cle arly printe d in d o ub le columns t h e e di t or h a s

,
e ,
-
m a na g e d to in c lud e n e arly a t housa n d a rti c l e s a n d de fini t ions .
Th e ar t icl e s o n various l gal poi n ts a e l u cid an d a ut hori t a t iv e ; e r
thos e on e ccl e siology int e re sting a n d pr a ct i c al thos e o n h is t ori c al

points a e comm e nd ably fr e e from b ias In f a ct i t is a tr u s t wort hy
r .
and conv e ni e nt gui d e on t h e ma n y ma tte rs on whi ch t h e churchman

constantly finds hims e lf in n e e d of informat ion — C hu h Ti m s .
”
rc e .
C H UR C H A C COU NT S A S impl e C o cis e Me thod of Ac cou nt Ke e ping .

,
n ,
for s e b y t h e C l e rgy Chur chw a rd e ns an d o th r O fficials With

u , ,
e .
M od e l A ccoun ts C ompil e d by th e R e W G D O W S L E Y B A . v . . .
,
. .
S i e 1 5 5 in by
z i n half l e ath e r 1 06 pp with in t e rl e ave d b lo tt ing
. .
,
-
,
.
,
pap e r 65 6d n e t
, . . .
A n e xce e dingly us e ful vol u m A s to its thoroughn e s s e .
t h e re can b e no d o u b t for larg and highly organis d parishe s

i t would b e di fficult to d vis e anything b e tt e r —G
e e
r di a e . ua n .
19
T H E O L OGI CAL (co n td ) .
THE S O C I AL W O R K E R S G U I D E A H and book of I n forma t ion ’

. .
and C ouns l f all who a e i n t r ste d in P u b lic We lfar Edit d

e or r e e e e
b y t h R e J B H A L D A NE M A S cr e tary of th e S outhwar k
.
e v . . .
, . e
D ioc sa n S ocial S e rvic e C ommitt
e with assistanc from Fift y ee , e
In c rown 8 o clo th 500 pp wi t h ov r 5 00 a rti c l s
g éd t
xp a t r s . v , , .
,
e e .
5 . ne .
A b ook f r f r n ce f more than av rag valu e Th n d O e e e o e e . e ee

o f such a b oo k is pat nt and w do not k now of any oth r publi c e , e e a
tion which att mpts to supply it T h e not s a rrang d i n e . e a re e
alpha b ti c al ord r and ge n rally sp a k in g the y e wond fu l ly
xh austiv —G di
e e , , e e , ar er
”
e e . ua r an .
H OW TO TEA C H
AT E C HI S E A P l e a for t h e Emplo y m n t A ND C .
‘
e
of Educational M e t hods in t h R e ligious Instruction o f Chi ldr n e e .
By t h R J A R I V I NGT O N M A form rly S cond M ast r at

e ev . . .
, . .
, e e e
S t P aul s C ath dral C hoir S chool With a P r fa c e b y t h LO R D
’
. e . e e
B I S H O P O F G L O U C E ST ER Ch ap r Edition I n c rown 8 cloth . e e . vo ,
gi lt 1 6d n t
, 5 . . e .
T his is an inv a lua b l littl e bo o k it migh t w ll b pu t

into t h ha n ds of v ry S unday S chool t ach r —C h h m
e e e
”
e e e e e . u rc an .
A P O P U L A R H I S T O R Y O F THE C H U R C H I N W AL E S Fr m th o e
B g inning t th P r s n t D y
e By t h R J E D H I R SC H D A V I E S
o e e e a . e ev . . . E -
.
B A In crown 8 cloth gilt 3 5 6 pp 5 t vo , ,

.
,
5 . ne .
It shows wid r ading n o l ss than sp cial stud It is writt e e e e y . en
with t h simplicity b fitting a popular history and its int r st n v r

e e ,
e e e e
fl ags It ma k s t h W lsh Church in str n gth and w ak n ss e e e e e e
—
.
, ,
d pr ssion
e awa k ning liv b f r our y s
e Ch
o r re h Ti m -
e , e e o e e e . u rc es .
THE L O N D O N C H U R C H H AN D B O O K B ing a C omp ndium of . e e
Information upon Church A ffairs i n t h C ou n ty of L ondo n [D ioc s s e e e
of L ondon and S outhw a rk% In C rown 8 cloth 4 1 2 pp 2 t . vo , ,

.
, 5 . ne .
THE S P R I N G O F THE D A Y SPI R I T U A L A F R O M H T HI NG S . N A L O GI E s T E

OF N A T URE By t h la t H UG H M ACM I L L A N D D L L D I n
. e e , . .
, . .
crown 8 VO ,
cloth gilt , 35 . 6d . ne t .
TH E C L O C K O F NAT U R E By t h la t e H UG H M ACM I LLA N . e , D E .

~
L L D In crown 8 cloth gilt 3 6d n t

. . vo , ,
5 . . e .
A n att mpt t o bri n g t t h wis l ssons which t h O bj c ts of

e ou e e e e e
N atur t ach and to illustrat t h
e spiritual r v la t ion O f Go d I n
e , e e e e
C hrist b y t h e r v lation of Go d in N at u r e e e .
TH E P O E T R Y OF P LAN T S By t h lat H UG H M A CM I LLA N D O . e e ,

. .
,
L L D In crown 8
. c l o th gilt 3 6d t
. vo , , s . . ne .
A c oll ction O f popular stu d i s showing t h many points of b au ty

e e ,
e e
a nd int r st a b out som of t h c ommon s t f
e e t r s a nd W ld e e e o o ur ee i
fl ow rs e .
20
C o u n tri e s a nd P e o pl e s S e ri e s
Each in imp e rial 1 6mo c lot h gil t gi l t t op with abo ut 3 0 fu l l pa ge , , ,
-
pl at e illustra ti o n s 6 e t ,
5 . n .
I T ALY O F THE I TAL I AN S B y H ELEN Z I MM ERN . .
Th e kn owl dge and j udgm e nt display e d i n t h vol u m e a r tr ly

e e e u
as t ou n di n g a n d t h e labour t h e a u t hor h xp n de d o n i t h a s ma de
, as e e
it a s indisp nsa b l a Ba d k r to t h t r ave ll r a s we ll a s i nv a l u able
to t h e stude n t of mod rn t im s —
e e s e e e e e ,
D i l y Te l g a p h e e . a e r .
F R AN C E OF By E H A RR I S O N B A R K ER
TH E F RE N C H . . .
A boo k of ge n ral i nformat ion con ce r n ing t h li fe and g niu s e e e
Fra nc C ov rs v ry phase of Fr e nch in te ll e ct u a l life —

of t h e Fr nch p e opl e wi th spe c ial re fe r e n ce t o c o nte mpor ry
e , e a
a ch i t
tur e play rs s ci e n ce an d i nv e n ti o n e t c —Ti m e s
e . e e e r ec
”
,
e , , , . .
SPA I N O F THE S P AN I S H B y M s V I L L I E R s WA R D ELL . r .

- .
W i t hi n li ttle mor than 250 page s h h colle c t d a m ass of e s e as e

or d e r e d information which must b simply inv a lua b l to an y o n e e e
who wa n ts to kn ow t h facts of S p an ish l ife at t h pre s e nt d a y e e .
N owh r e ls o far awar e can a mor comple t an d y t

comp ndious accou n t of mod rn S pain b e fou n d —
e w e e , s as e a re ,
e e e
”
e P ll M l l e . a a
Ga z tt
e e .
S W I TZER LAN D O F THE S W I SS B y F R A N K WE B B . .
M W bb s account f th a t unknow n c o un try is i n tim a te

r . e
’
O ,
faithful and i n t r sting It i s an att mpt t o conve y re a l kn o w

l dg o f a stri king p e opl e — a dmira b ly su c ce ssfu l atte mp t
,
e e . e a
”
e e an .
M o rn i n g L e a de r .
G ER M A NY OF O B ER T M B ERRY
T HE G ER M ANS . By R . .
M B rry a bundantly prov s hi abili t y to writ e f Ge rm a y

r . e e s o n
o f th G m e in an abl and informing fashi on Wha t h e doe s

er a ns e .
i to stat e s f a r as c an b e do n wi t hi n t h e scop
s , o f a singl ha nd y e e o e
volum par ti c ulars o f all asp e ct s of life s li v e d in G rm a y to d ay

—D i ly Te l g p h
a e n -
e ,
.
a e ra .
TUR K EY O F By L U C Y M J GA RNE TT
THE O TT O M ANS . . . .
Th e r e could h a r d ly b e a b e tt r h an dbook for t h e n e w s p a pe r e

r ad r who wan ts to un d rs tan d a ll t h e c o d i ti ons of th e dange r
—
e e e n
zon e . Sp t t
’
e c a or .
B E L GI U M O F THE B E L GI ANS B y D E M E T R I U S C B O UL GER

—
. .
A v ry c ompl t h an d book t o t h c ountry

e e e e . W o rl d .
22
S ERV I A OF T H E S ERV I AN S By C H E DO . M I J A TO VI C H .
I t i s a u s e f u l an d inform at iv work a nd i t d s e rv e s t o b w id e l y
—L i ve p o o l D i ly C o i e r
e e e
e ad
r . r a ur .
J APAN OF T HE JAPAN E S E . By P rofe s sor J H LO NG F O R D . . . Wi t h

ma p .
A capi ta l hi s t o ical e m e d a m i n of i nform ati o n gard

co unt y an d it s p opl —L d
r r su an e re
T l g ph
”
i ng th e r d C hi e e . on on an na e e ra .
O th e r Vo l u m e s i n p re p a ra ti o n .
Th e Al l Re d Se r i e s
E ac h vol u m e i s in d e my 8 v o c lot h g il t w i t h , ,
16 f u ll p age pl at e
-
ill u s tr ati o n s m aps e t c 7 5 6d n e t, , .

, . . .
THE C O MM O NW E AL TH O F A U S T RAL I A B y t h H on B ERN H A R . e . D

R I NGR O S E W I S E (fo m rly A t t o n y G n ral of N S outh Wa l s ) r e r e -
e e ew e .
Th A ll R d S ri s should b com k now n t h W ll R a d

e e e e e e as e e -
e
S i s w i thi n a shor t spac of t im
er e N obody i b tt r quali fi d t e e . s e e e o
w i t of A us t ralia tha n t h lat A t t orn y G n ral of N w S ou th
r e e e e -
e e e
W l s who knows t h coun t ry in ti m a t ly an d wri t s of i t wi t h
a e , e e e
e n t h u si asm I t is of t h b s t a cc ou n t s f th Isla n d C on ti n n t
. o ne e e o e e
t ha t h y t b n pu b li sh d W d si t o giv a h ar t y w l c om
to thi s s i s —Gl b
as e ee e . e e re e e e e
”
er e . o e .
THE D O M I N I O N OF NEW ZE ALAN D By S i A R T H U R P D O UGLAS . r .

,
Bt form rly U nd r S c r t ary for D f n c N w Z al and

.
, e d
e -
e e e e e, e e , an
pr v ously a L i ut n ant R N
e i e e , . .
T hos who hav fail d t o fin d romanc in t h history of t h

e e e e e e
B i ti sh Empir should r a d Th D m i i
r f N
e Z l d Si e e o n on o ew ea a n . r
A thur D o u glas c o n triv s to pr s nt in t h 4 4 4 pag s f his book a n
r e e e e e o
a dm i r abl ac c ou n t f li f in N w Z al a nd and an imparti al s u mmary
e o e e e
of h d v lopm n t up to t h pr s n t tim It i a most a llurin g
conj u r s u p aft r r a di ng i t —S t d d
er e e e e e e e . s
pi ctu r th at e o ne e e e . an ar .
THE DO M I N I O N O F C ANAD A By W . . L . G R IFFI T H , S e cre ta ry to

th e Offic e o f th e H i gh C o m m i s s i o n e r fo r C a n a da .
p u bli sh e rs c ould hardly have found an au thor b t t r

Th e e e
qu a li d than M Gri ffith t o r e pr s n t t h e pr mi e r British D ominion
fie r . e e e
an e x ce ll n t plain account of C anada b st and mos t
Com t rustw orthy —
o f th
e , o ne e e
pre h e nsive y e t pu b li sh d A th um e . e n ce .
23
%
T I S H W E S T I N D I E S Th ir H istory R so u rc s an d P
T HE B R I . e , e e , ro
gr ss By A L GERN O N E A S P I N AL L S t y t th W t I di
e . .
, e cre a r o e es n a
C o mmi tte e .
h n c t h valu of such a book as M A spinall h as

e e e e r .
c ompil e d s s k ilfully I t tr e atm nt of c urr e n t topi cs i copious

o . s e s ,
p t o dat e and full f vari d int r s t e v ry isitor to t h e

u - - o e e e
, e V
We st Indi s will b w ll advis e d if h tak e s M A pi n l l book s ’
his guid e —Ti m s

e e e e r . s a s a
. e .
T HE U N I N O S U TH A FR I CA W ith chapt rs o n Rho d si a and th

O F O . e e e
N a t iv rritori s O f t h H igh C ommission By W B A S I L W O R S F O L D
e Te e e . . ,
S o m e ti m e E d i to r o f th e j o h a n n e s bu rg S ta r .
TH E E M P I R E OF I ND IA . By SI R J . B A M P F YL D E FU LLER ,
Fo r m e rl y
'
L i e u te n a n t- Gove rn o r o f E a s te rn B e n ga l .
W I N T ER L I F E IN S W ITZER LAN D I t s S por ts and H e a lth C u re s

‘
. .
By M M L a n d W I N I F RE D M A B R OOK E I n c row n 8 vo
rs . . . . . .
,
cloth 29 0 pp with colour e d fron t ispi ce a n d many fu ll p ag

,
.
, e - e
plat s maps and oth r illustratio s 3 s 6d e t
e , ,
e n , . . n .
T his b oo k is so full f d scriptio n a nd u s e f u l i n forma t io n o n o e

al l points as to b an indisp ns ab l poss e ssion t o a nyo n e i nte d i g
e e e n n
a wint r visit t o S wi t z rl a nd
e this i n v a l uabl e li tt l e book e .
”
Th ro n e .
R E C O VER I N G THE AS H E S An ac co unt f t h crick t t o u r i . O e e n

A ustralia 1 9 1 1 1 2 By J B H O BBS th f m
,
-
S y d
. . .
,
e a ou s u r re an
E gl n d pl y an In crown 8 c loth w i th ill u s t r at ion s 1 60 pp

a er . vo , , , .
15 . n e t.
S i r I s aa c P i tma n G So n s ,
Ltd Lo don n ,
B a th , a nd N e w Yo rk .

SymbolismofAnimalsandBirds 10225079

Uploaded by

Copyright:

Available Formats

SymbolismofAnimalsandBirds 10225079

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

SymbolismofAnimalsandBirds 10225079

Uploaded by

Copyright:

Available Formats

SY M BO L I S M

C hristian S ym b olism in G r at Britain and Ir land By e e .

A nimal S ym b olis m in Eccl siastical A rchit c t ur By e e e .

N o rman T ympana and L in t ls By C E K ys r (S toc k ) e . . . e e . .

S acr d and L g ndary A t

Blac k T o urnai F o nts in England By C H Ed n . . . e .

F o nts and F o nt C ov rs By Fran c is Bond (O xfor d ) e . .

Cal ndar of t h P ray r Book By J am s P ark r

Encyclop dia Bri tannica ae K I th E d A rticl on . n . e

Early D rawings and Illuminations Bri t is h M us um in e .

B y W d G ray Birch and H nry J nn r

D ictionary f A rchit ctur articl o n A nimals

G uid to Early C hristian and Byzan t in A ntiquiti s in t h

Epistl s o f S J ohn Essay on t h R lation o f Chris t ianity

naturally occur : are these sculptures or ,

paintings mere grotesqu e creations O f the

artist s fancy o r have they rather some m ean

ing which patient investigation w i ll discover

O wing to a marked similarity in sub j ects

places they may have felt that there was

some link t o bin d them together This link .

has now been foun d in the natural history

co mm on circulati o n than any other book ,

save of course the Bible

S uch books are usually called B estiaries .

They are to b e foun d in every great l ibrary ,

an d can be studied by those W h o have the

L et u s un derstan d ﬁrst W hat a typical

the m o re di fﬁcult p roble m of its origin A .

B estiary may treat O f about thirty or forty

be adorned by illuminated miniatures O f each

of i ts supposed habits and appearance A gain .

the writer may have s o me tale t o tell ab o u t

is the pr o minent feature o f the B estiaries )

F ew books have entered more than the

sculptors wh o b e a u t i ﬁ e d our churches were

I n thu s l aying the B estiaries under contri

t o carry o u t an important obj ect — the i n

was there t o instru ct through the ears of his

instru c t stil l m ore effectively through the

N O l ess an authority than H orace has

An d what is more most m odern teachers,

will agree with hi m .

The original B estiary ( generally called th e

scientiﬁc age than ours N o one knows w h o .

wro t e the P hy s i o l o gu s an d there is no clue

m eans T he N aturalis t But owing t o its .

doctrina l an d linguistic peculiarities it has

P rofessor L a n d has S hown that most of the

ally H e has also drawn attention t o the f act

that the technical terms o f A lexan drine

The date O f the original P /zy s z o l og u s is u n

certain for the original M S is o f course lost

But the versi o ns of B estiaries are t o be read

R oman or A lexan drian were n o t scientiﬁc

TO them the classiﬁcation an d orderly t reat

ingenuity in training pets or wild animals an d ,

their O fﬁcials Were most active in Obtaining

d ealing with the habits of wild ani m als ,