ng notes in a scroll concerning her!
In one of the Chester Mysteries, the Ale Wife is made to confess
her own shortcomings:

"Some time I was a taverner,
A gentle gossip and a tapster,
Of wine and ale a trusty brewer,
Which woe hath me wrought.

Of cans I kept no true measure,
My cups I sold at my pleasure,
Deceiving many a creature,
Though my ale were nought!"

There is a curious miserere in Holderness representing a nun between
two hares: she is looking out with a smile, and winking!

At Ripon the stalls show Jonah being thrown to the whale, and the
same Jonah being subsequently relinquished by the sea monster. The
whale is represented by a large bland smiling head, with gaping
jaws, occurring in the midst of the water, and Jonah takes the
usual "header" familiar in mediaeval art, wherever this episode is
rendered.

A popular treatment of the stall was the foliate mask; stems issuing
from the mouth of the mask and developing into leaves and vines.
This is an entirely foolish and unlovely design: in most cases
it is quite lacking in real humour, and makes one think more of
the senseless Roman grotesques and those of the Renaissance. The
mediaeval quaintness is missing.

At Beverly a woman is represented beating a man, while a dog is
helping himself out of the soup cauldron. The misereres at Beverly
date from about 1520.

Animals as musicians, too, were often introduced,--pigs playing
on viols, or pipes, an ass performing on the harp, and similar
eccentricities may be found in numerous places, while Reynard the
Fox in all his forms abounds.

The choir stalls at Lincoln exhibit beautiful carving
and design: they date from the fourteenth century, and were given by
the treasurer, John de Welburne. There are many delightful miserere
seats, many of the selections in this case being from the legend
of Reynard the Fox.

Abbot Islip of Westminster was a great personality, influencing
his times and the place where his genius expressed itself. He was
very constant and thorough in repairing and restoring at the Abbey,
and under his direction much fine painting and illuminating were
accomplished. The special periods of artistic activity in most of
the cathedrals may be traced to the personal influence of some
cultured ecclesiastic.

A very beautiful specimen of English carving is the curious oak
chest at York Cathedral, on which St. George fighting the dragon
is well rendered. However,