The Grotesque in Church Art

by T. Tindall Wildridge

Situations of the Grotesque Ornament in Church Art.

The places chosen for the execution of the work which, by reason of its intention or its want of conformity with what we now consider a true taste in art, may be styled Grotesque, do not seem to be in any marked degree different from the situations selected for other ornamental work. It may, however, be permitted to glance at those situations, and enquire as to such comparisons as they afford, though the conclusions to be arrived at must necessarily be loose and general.

In Norman work the chief iconographical interest is to be found in the capitals of pilasters and pillars, for here is often told a story of some completeness. Other places are the arches, chiefly of doorways; bosses of groining, and the horizontal corners of pillar plinths; exteriorly, the gargoyles are most full of meaning, seconded by the corbels of the corbel-table. We may expect in Norman grotesque some reference to ancient mystics; the forms are bold and rugged, such appearance of delicacy as exists being attained by interlacing lines in conventional patterns, with, also, the effect of distance upon repeating ornament.

APE CORBEL,
CARRYING ROOF TIMBER,
EWELME.

Transitional Norman retained all the characteristic ornament of the purer style, but with the development of Early English the grotesque for a time somewhat passed out of vogue, slight but eminently graceful modifications of the Corinthian acanthus supplying most of the places where strange beasts had formerly presented their bewildering shapes. It might not be impossible to connect this partial purification of ornament with a phase of church history.

But in some portions of structure, as the gargoyles, and in the woodwork of the choirs, the grotesque still held its own. As Early English grew distinctly into the Decorated, every available spot was enriched with carving. The collections (called “portfolios” elsewhere) of the old carvers would seem to have been ransacked and exhausted, all that had gone before receiving fresh rendering in wood and stone, while life and nature were now often called upon to furnish new material. The pointed arch remained, however, an undecorated sweep of mouldings, and the plinth corners were rarely touched; in fact there was here scarcely now the same squareness of space which before had asked for ornament. All the other places ornamented in Norman work were filled up in Decorated with the new designs of old subjects. The resting-places of ornament were multiplied; the dripstones of every kind of arch, and the capitals of every kind of pillar, whether in the arcading of the walls, the heaped-up richness of the reredos, or the single subject of the piscina, became nests of the grotesque. In a single group of sedilia all the architecture of a great cathedral may be seen in miniature, in arch, column, groined roof, boss, window-tracery, pinnacle, and finial, each part with its share of ornament, of grotesque. In the choirs the carvers had busied themselves with summoning odd forms from out the hard oak, till the croches or elbow-rests, the bench ends, the stall canopies, and below all, and above all, the misericordes, swarmed with all the ideas of Asia and Europe past and present. Musicians are everywhere, but most persistently on the intersections of the choir arches, and somewhat less so on those of the nave.

MISERICORDE—LION COMPOSITION, WELLINGBOROUGH.

A favourite place for humourous figures was on the stone brackets or corbels which bear up timber roofs; examples are in the ape corbel in this article, and the responsible yet happy-looking saint at the end of the list of Contents.

When the Perpendicular style came with other arts from Italy, and the lavish spread of the Decorated was chastened and over-chastened into regularity, there came for the second or third time the same ideas from the never-dying mythologies, their concrete embodiments sometimes with eloquence rendered, nearly always with vigour. They came to the old places, but in most fulness to that most full place, the dark recess where lurks the misericorde.

Upon the whole it would appear that the grotesque, be it in the relics of a long-forgotten symbolism, in crude attempts at realism, or in the fantastic whimseys of irresponsibility, is chiefly met in the portions of the church where would occur, in the development of architecture, the problems and difficulties. They occur, so to speak, at the joints of construction. It may be that the pluteresques (grotesque and other ornaments made of metal) employed in many Spanish churches are to be accounted for in this way on the score of the facility of attachment. Where it may be questioned that the ornament was to conceal juncture, it is often to be acknowledged that it was to give external apparent lightness to masses which are in themselves joints or centres of weight. To conclude—to whatever extent we may carry our inquiries into the meaning of the grotesques in church art, we have in them undoubtedly objects whose associations are among the most ancient of the human race; whatever our opinion of their fitness for a place in the temple, it is plain that practically they could be nowhere else.

MUSICIAN ON THE INTERSECTION
OF NAVE ARCHES, ST. HELEN’S,
ABINGDON, BERKSHIRE.

---

Index.

Abdominal Mask, [91]
Abingdon, [18], [72], [218], and [Preface]
Aboo-Simbel Trinity, [177]
Abydos Trinity, [177]
Acanthus, [149-50], [214]
Adam, [61], [62], [74];
and Eve, [112], [120]
Adam Clarke, [74]
Adel, Yorkshire, [127]
Adonai, [168]
Adonis, [168]
Adoration, the, [113-5]
Ælian, [50]
Æsculapius, [42]
Æsop’s Fables, [196]
Africa, [66]
Agni, [178]
Aix-la-Chapelle, [46]
Akori, [178]
Alcock, Bishop, [10], [92], [173]
Ale and the Alewife, [99-105]
Alewife, [97]
Alehouses, [99]
Ale-taster, [100]
Alexander, [71]
Alexandria, [34]
All Souls, Oxford, [71], [76], [104-5], [150-1]
Alraun images, [28]
Altar of the Sun, [37-39]
Ambarvalia, [48]
American Arms, [179]
American-Indian mythology, [159]
American-Indian Trinity, [177]
Amman, Justus, [188]
Ammon, [42], [72], [158]
Amun-Ra, [177]
Ancient Mysteries described, [180]
Ancient Worships, [27-59], [64-77], [152-3], [157-168], [175-183]
Angel Choir, Lincoln, [3], [9]
Angel (coin), [47]
Angels, [63]
Animal Musicians, [152-6]
Animal symbolism, [35]
Anthony pig, the, [154]
Anuka, [178]
Archers, [205], [209-10]
Ape, the, [59], [28-9], [145], [152], [156], [192-4], [198], [201], [203], [207-10], [214]
Aphrodite, [168]
Apocryphal New Testament, the, [60], [112]
Apollo, [21], [46], [162], [165]
April, [141]
Apuleius, [41]
Architectural Museum, Tufton Street, the, [12], [167], [169], [174]
Arimanes, [176]
Arles, the Council of, [29]
Arma palantes, [173]
Arthur, King, [69]
Artistic quality of Church grotesques, [19-23], [61]
Art Journal, the, [66]
Asir, [45]
Assyrian myth, [34], [157], [181]
Assyrians, no record of their humour, [6]
Astronomical symbols a source of Gothic design, [4], [27-8], [37-59], [73], [157-68], [177]
Atahuata, [177]
Aten, [168]
Athor, [111], [157], [167], [177-8]
Athyr, [167]
Attic figurines, [28]
Auckland Castle, [155]
Augsburgh, (?) Council of, [30]
“Auld Clootie,” [70]
“Auld Hornie,” [70]
Aurva, [53]
Avarice, [87], [91-95]
Averus (Horus), [50]
Baalim, [28]
Babylonian myth, [34]
Bacon, [142], [154]
Bacchus, [69], [73], [158]
Backbiter, [82-84]
Badger Grimbart, [189], [191-3]
Bagpipes, [103], [152], [155]
Ba-it, [178]
Baker, [105]
Bakewell, Derbyshire, [130-1]
Baldini and Boticelli, [84]
Baptism of John, the, [117-8]
Barton, Lincs., [174]
Basketsful of Children, [63]
Bayle, a kind of dance, [147]
Beakheads, [125-6]
Bear Bruno, [190-3]
Bear, the, [152-156]
Beard, the, [72]
Bedford, [175]
Beehive of the Romishe Church, [180]
Bellin the Ram, [192]
Berkshire, [18], [72], [125], [129], [218]
Bestiaries, the, [73]
Beverley, Percy Shrine at, [3];
Carvings at, [13], [39], [40], [54], [57], [63], [87], [112], [120-3], [130], [133-6], [144], [152], [154-5], [159], [173], [182], [195-6], [198-9], [201-2], [208-11]
Bhu, [42]
Bible (as Old and New Testaments), [176]
Biblia Pauperum, [113]
Birch, Dr., [158]
Birds, [4], [9], [22], [38], [39]
Bishop Foxes, [199], [203]
Bishops Stortford, [109]
Blashill, Mr. Thomas, [106]
Bo, Bo-tree. Bod, Bog, Boggart, Boivani, Bolay, Boo, Bouders, Boudons, Boroon, Bormania, Borr, Borvo, Bouljanus, Brog, Bug, Bugbear, Buggaboo, Buka, [66], [69]
Boar, [139-40], [152]
Boar’s Head, [69], [139]
Bodleian Library, [16], [63]
Bolton, Bishop, [173]
Boston, Lincolnshire, [195], [196], [202], [208]
Boutell, Rev. C., [25]
Bow and arrow, [162-5]
Boy (Bog), [69]
Brahma, [178]
Brahminic Trinity, [178]
Breast, removal of, [165]
Bridge, Kent, [75]
Bridlington Priory Church, Yorks, [15], [210-1]
Bristol, [196], [208]
British Museum, [62]
Bruno the Bear, [190-3]
Buckle Mask, [125]
Bull, the, [41-2], [72-3], [85], [88-9], [91], [159]
Bur, [45]
Byzantine ideas, [127]
Byzantium, [35]
Caimis, [50]
Calendarum Romanorum Magnum, [141]
Calf, [73]
Cama, [50]
Cambridge, [10], [92], [133]
Cambridgeshire, [74]
Candlemas, [42], [140]
Canterbury, [139]
Canting heraldry, [173]
Caricature in part explained, [3]
Carpenter, Mr. Edward, [186]
Cartmel, [180], [196]
Carvers, [9-18]
Cat, the, [156], [189], [191], [209]
Cat and Fiddle, the, [39-43]
Cat-heads, [126]
Caxton, [170], [188]
Cedranus, [143-4]
Centaur, [161-6]
Cerealia, [48]
Ceres, [72], [153], [158]
Cestus, [165]
Chairs, [141]
Châlons, Council of, [143]
Chandra, Chandri, [43]
Cherubim, [73], [159], [161]
Chester, [60], [77], [103], [207], [210]
Chichester, [72], [75], [124], [141], [157], [181], [182], [203]
Chiron the Centaur, [162]
Chnoumis, [178]
Chonso, [177]
Christ, [30], [48], [60-62], [104], [114-20]
Christchurch (Hants), [21], [33], [172], [184], [202]
Christmas, [139-40], [144]
Chronicles, the Book of, [176]
Church symbolism, expediency, etc., [31]
Ciaran (St.), [162]
Clergy, the, [97], [111]
Cneph, [177]
Cock, the, [184], [197-8], [202-3]
Compound Forms, [37], [111], [157-168]
Coney, the, [193], [204-5]
Conscience, [170-1]
Constantinople, Council of, [30];
Byzantium, [35]
Continuous group, [149]
Conventional form a matter of development, [3]
Corinthian Acanthus, [149-50], [214]
Corpus Christi Play, [142-3]
Cosmographiæ Universalis, [172]
Cotton MSS., [82], [147]
Councils, Arles, [29];
Augsburgh (?), [30];
Constantinople, [30];
Frankfurt, [30], [99];
Narbonne, [30];
Nicea, [30];
Orleans, [29];
Tours, [30];
Nice, [36];
Milan, [36]
Coventry, [60], [142]
Cow, the, [41]
Creators, Mythological, [176-8]
Crescent, the, [41], [42]
Cripple, [145], [147]
Crocodile, [44-5]
Crórásura, [153]
Cross, the, [43]
Crow and his wife, the, [193], [204-5]
Croziers, [198], [202]
Crusaders, [47]
Culham, Berkshire, [125]
Cupid, [50], [51], [53-55]

Dance, [40], [43], [144], [147]
David, King, [62]
Decorated Carvings, [214-217]
Deer, [140]
Definitions of the Grotesque, [5-8]
De la Wich, Bishop, [181]
Delft, [188]
Derbyshire, [130-1]
Design, Continuity of Gothic, [4]
Detractors, [82-3]
Devil and the Vices, the, [78-98]
Devil, the, [47], [69], [70], [77], [103-5]
Devils, [63], [119]
Diana, [32], [40-43], [73]
Diapason, the, [41]
Dillin pig, the, [154]
Disc of the Sun, [167-8]
Distaff, [195]
Dog, [5], [19], [21], [40], [42], [142], [159-60], [189]
Domestic and Popular, the, [134-151]
Donnington, Thomas (1520), [174]
Dorchester Abbey, Oxon., [60], [64-5], [121-2], [133], [159-60]
Dragons, [26], [37], [44-57], [60], [64-66], [84], [127], [165], [177], [211]
Drake (dragon), [47]
Druidical Tau, [43-4]
Drum (Tabor), [97]
Durer, Albert, [61]
Durham, [155]
Eagle, the, [22], [37], [148], [158-9], [202]
Early English Carvings, [214]
Eastern ideas, [9-10], [34-5]
Eden, [73], [76]
Edgeware, [102]
Edward the Confessor, [9]
Edward III., [17]
Edward IV., [49]
Egypt, [34], [43-45]
Egyptians, little record of their humour, [6]
Egyptian myth, etc., [34], [41-5], [47-8], [50-6], [157-8], [177-8]
Egyptian Trinities, [177-8]
Eicton, [177]
Elephantine Trinity, [178]
Ely, [74], [80-1], [84], [105], [166], [195-6]
Equinoxes, the, [175]
Eschol, [171]
Esculapius, [178]
Etchingham, [196]
Evans, Mr. E. P., [35], [85]
Evil, Images of, [1], [26], [33]
Eve, [62], [74]
Ewelme, Oxon., Carvings at, [1], [65], [67]
(not Dorchester), [76], [127-8], [214]
Exeter, [4], [39], [165], [168], [181]
Ezekiel, [159]
Fable, [186]
Fafnir the Dragon, [46]
Fairford, [195]
Fairies, [66]
Falx, the, [57]
Farnsham, [65]
Fates, the, [178]
Fauns, [69]
Faversham, Kent, [180], [195], [210]
Feast of Fools, the, [143-7]
Feathered Angels, [75-7]
Fecundity, Goddess of, [66], [72]
Fiddle, [40], [41], [153]
Figurines as lares, [28]
Finedon, Northamptonshire, [125]
Fire, [178]
Fish, [182]
Flagellation, [134]
Flanders, a church workshop,

[9], [15]
Flesh hook, [63], [87], [182]
Fleur-de-lys, [39], [179]
Flora, [158]
Fools, [130]
Fools, the Feast of, [143-7]
Foreign carvers, [9-18]
Fox, the, [58-9], [184-212]
Fox and Grapes, the, [210]
Fox and Stork, the, [210-1]
France, [48]
Frankfort, Council of, [30], [99]
Fredegarius, [197]
Freemasonry, [16], [17]
French work for Saxons, [9]
Frigga, [53]
Freyr, [153]
Furies, the, [178]
Gallows, the, [207-9]
Ganges, the, [172]
Gargonilles, [46], [129]
Gaul, [66]
Gaul, Bishops of, [30]
Gauri, [43]
Gautier de Coinsi, [36]
Gayton, Northants, [81], [86], [87]
Geese, Reynard’s theft of, etc., [191], [195], [198], [203]
Gehul, [153]
George IV., [17]
German “teraphim,” [28];
paganism, [30]
Germany, Bishops of, [30]
Ghent, [188]
Gild, continuity the explanation of continuity of design, [4], [35], [196] (see [Freemasonry])
Gilds, [70]
Glasgow, [65], [66], [77]
Gloucester, [195]
Gluttony, [88]

Goat, the, [69], [71-3], [187]
Goethe, [189]
Golden Bristle, [153]
Gorgon, [127]
Gothic ornament, uses of, etc., [2], [3];
some characteristics of, [2], [3], [4], [6], [7], [8], [10], [19-23], [24-26], [35-39], [49], [54];
not didactic, [24-26];
situations of, [213], [218]
Gouda, [188]
Graces, the, [178]
Gravio, Count, [30]
Great Malvern, [172], [209]
Grecian Trinity, [177]
Greek wit, [6];
star-worship, [28];
myth, [34], [41], [177-8];
art, [36-37];
symbolism [74];
dances, [147]
Grimace-makers, [130], [133]
Grimbart, the Badger, [189], [191-3]
Grimm, [186]
Gryphon, [125], [158]
Guildford, Surrey, [117-8]
Gullinbrusti, [153]
Hades, [42], [161]
Hænir, [177]
Hak, [178]
Hampshire, [21], [33], [172]
Hanging of the Cat, [209]
Hanging of the Fox, [207-8]
Hare, the, [106-7], [182], [189], [192], [194], [203]
Harleian MSS., [104]
Harmachis, [158]
Harp, the, [140-1], [153], [154], [155]
Harpy, the, [4], [111], [166], [181]
Hebrew Teraphim, [28]
Hecate, [41], [42]
Heliopolis, Trinity of, [178]
Hell, [48], [84], [104]
Hell’s Mouth, [60-63], [103], [196]
Hen, the, [195], [203]
Henning the Cock, [190]
Henry VI., [16], [62]
Henry VII.’s Chapel, [10], [91], [95], [148], [156], [173]
Henry VIII., [16], [49]
Hera, [177]
Heraldry, canting, [173]
Heraldry and three-fold repetitions, [179]
Hercules, [148], [177]
Hereford, [195]
Herodotus, [28], [50]
Hertfordshire, [109]
Het-her, [167]
Hexagon, symbolic, [179]
Hezekiah, [74]
Hindoo myth, [28], [42-45], [50], [53], [153], [178]
Hinge the Cat, [191]
Hippocampus, Lincoln, [26]
Hippo-centaurs, [161]
Hobgoblins, [66]
Hogarth, [20], [21]
Holy Cross, Stratford-on-Avon, [60]
Holy Trinity, Hull, [139-40]
Holderness, [106]
Homer, [160]
Hone, [180]
Hopton, [174]
Horace, [157]
Horns, [70];
Horn, [73]
Horse, the, [162], [139]
Horse-leech, [110-1]
Horus, [45], [48], [50-56], [57], [72], [177], [178]
Hull, [10], [100], [139-40]
Humour, of nations, [6], [7];
defined, [20]
Hunting, [140]
Huntsman, [139]
Husterlo, [192]
Hypocrisy, [98]
Ibis, [167]
Iceland, [153]
Idun, [76]
Iffley, [49], [126], [162], [163]
Imagery in Architecture and Language compared, [1-3]
Impudence, [109]
Indecency in church, [143-7], [150-1]
India, [172]
Indian mask, [123-4]
Indian mythology, East, [66], [69], [178]
Indian Trinity, American, [177]
Indra, [178]
Irenæus, [73]
Irreverence in art explained in part, [8]
Isaiah, [74]
Isengrinus, [187]
Isis, [41], [42], [45], [50], [177]
Islip, Bishop, [173]
Italian workers in England, [9], [10], [13]
Italy, [41]
Italy, Bishops of, [30]
Janus, [180]
Japanese (crocodile), [45]
Jesus College, Cambridge, [92]
Joke, the, [6]
Jonah, [112-3], [197]
Jörmungard, [45]
Jove (Jupiter), [11]
July, [183]
Juno, [177]
Jupiter, [21], [57], [148], [158], [177], [178], [181]
Jurassic reptiles, [145]
Keltic dragons, [49]
Kent, [75], [180], [182]
Khum, [178]
King Arthur, [69]
King Edward the Confessor, [9]
King Edward III., [17]
King Edward IV., [49]
King George IV., [17]
King Henry VI., [16], [62]
King Henry VII., [147]
King Henry VII. Chapel, [10], [173]
King Henry VIII., [16], [49]
King’s College, Cambridge, [10], [133]
Lampe the Hare, [192], [194]
Lares, [43]
Laughter of nations, [6-7];
defined, [20]
Lectern, [202]
Leicester, [196]
Leland, John, [16]
Lemon, [139-40]
Leo, [158]
Leopard, The, [189]
Lincoln Cathedral, [3], [9], [38], [51], [54], [63], [128], [133]
Lincolnshire, [11], [174]
Lind-drake, [47]
Linden worm, [47]
Linden tree, [47]
Line of Beauty, [20]
Lion, [5], [158], [183], [187], [189-90], [210-1], [215]
Lioness, The, [193]
Little-trust, Lettice, [101]
Lodur, [177]
Loki, [76], [77]
Love, [53]
Lubeck, [188]
Lucifer, [53], [76]
Ludlow, [99], [102], [103]
Luna, [41], [43]
Lunar calculations of Mosaic system, [176]
Lunus, [43]
Lydda, [47]
Lynn, [11], [174]
Macrobius, [32]
Magdalen College, Oxford, [195]
Magi, Adoration of the, [113-5]
Maidstone, [182]
Maimonides, the Rabbi, [27]
Malepart, [190], [193]
Malvern, Great, [172], [209]
Manchester, [54], [55], [203-4], [195], [196]
Mandragora images, [28]
Mann, Mr. Robert, [66]
Mant, [177]
Mare and foal, the story of, [193]
Mars, [21]
Marks, sculptors’, ignored; an example is on p. [103]
Martinmas, [139], [154]
Martin the Ape, [192-3]
Mary, the Virgin, [34], [42], [82], [83]
Masks and Faces, [121-133]
Meaux Abbey, Yorkshire, [10]
Memphis, Trinity of, [178]
Mendes, [72]
Mentu, [177]
Merchant mark, [174]
Mercury, [21], [49], [78], [153], [158], [167]
Merenphtah, [178]
Mermaid, [160]
Messon, [177]
Mexican myth, [157]
Mice, [40], [43], [209]
Michael Angelo, [10], [13]
Midsummer Watch, [77]
Milan, Council of, [36]
Minerva, [21], [74], [177]
Miracle Plays, [70]
Mirror of Human Salvation, the, [113]
Misericordes, [24-5], [181], [215], [217]
Mithras, [176]
Monstrosity, [147]
Montflaucon, [197]
Moon worship, [32], [40], [43]
Morris Dance, [144], [147]
Mosaic system, [31];
Ark, [159], [175];
not the original of pagan myth, [175-6]
Moses, [62], [74], [175]
Mouth of Hell, [60], [63]
Mowers, [182]
Mumming, [70], [168]
Music, [140], [152]
Monograms, [12]
Mystery Plays, [32], [48], [70], [82], [103], [112], [142-3]
Mythic origin of Church carvings, [34-59]
Nachasch, [73]
Nantwich, Cheshire, [196], [204-5], [208]
Narbonne, the Council of, [30]
Nebhetp, [178]
Nefer-Atum, [178]
Neptune, [21], [178]
Nerites, [50]
Nessus the Centaur, [162]
New College, Oxford, [58-9], [81], [84-5], [98], [106], [149]
Nice, [36]
Nicea, the Council of, [30]
Nicodemus, the Gospel of, [60]
Nile, the River, [45], [71], [158]
Nilus, [45], [158];
St. Nilus, see [Saints]
Nobodies, [171]
Non-descripts, [169-172]
Norfolk, [48], [75], [195]
Norman carvings, [49], [125], [127], [129], [163], [211], [213];
fonts [15]
North Stoke, [119]
Northamptonshire, [14], [22], [81], [84], [86-7], [101], [125]
Norwich, [48], [75], [195]
Notch-heads, [124-5]
Nouvel the Lion, [189]
Numbers, the Book of, [176]
Nuns, [106-7]
Nursery Rhymes, [39]
Oak, the, [148], [181]
Odin, [45], [53], [69], [177]
Opas, [177]
Orleans, the Council of, [143]
Ornament, the use of Gothic, [2]
Oromasdes, [176]
Orus (see [Horus]), [50], [72]
Osiris, [41], [45],

[50], [57], [158], [177]
Otkon, [177]
Ox, [71], [73], [160]
Oxford, [58], [59], [71], [76], [81], [84], [85], [97], [104-6], [149], [151], [195]
Oxfordshire, [49], [60], [64-5], [67], [105], [121-2], [133], [159]
Paganism, ingrained among nations, [27]
Pallas, [177]
Palmer Fox, [58]
Pan, [21], [72-3], [105]
Pantheism, [32]
Panther, the, [159]
Paris, Paulin, [197]
Parody, a characteristic of Greek wit, [7]
Pátála, [42]
Pastoral staves, [49]
Pausanius, [44]
Pegasus, [162]
Pepin, [30]
Percy Shrine, [3]
Perpendicular Ornament, [217]
Persephone, [41]
Perseus, [46], [57]
Persian Trinity, [176]
Peterborough, [195]
Philæan Trinity, [176]
Philippians, the Epistle to the, [196]
Phipson, Miss, [14], [109], and [preface]
Phyrric Dance, the, [147]
Picture Bible, the, [113], [197]
Pig and Whistle, [155], [156]
Pig, and other Animal Musicians, the, [110], [152-6]
Piggy-widdy, [154]
Pilgremage of the Sowle, the, [170]
Pipes, Double, [155]
Planet symbols, [28]
Plato, [28]
Plutarch, [41]
Pluteresques, [218]
Pluto, [42], [177-8]
Poor Man’s Bible, the, [113], [197]
Poppy, Assyrian, [182]
Pottery, [35]
Preaching Fox, the, [184], [196-204]
Priapus, [73]
Prideaux, Bishop, [30]
Priest sleeping, [106], [110-1]
Prosperine, [32], [41-2], [177]
Protevan, [82]
Psyche, [176]
Pta, [177-8]
Pulpits, [184], [197-8], [201]
Puránas, [43]
Python, the, [46]
Ra, [168], [177]
Rabbi Maimonides, [27]
Ráhu, [44]
Ram, the, [72], [187], [192]
Ram Bellin, [192-3]
Ram’s Head, [19]
Ram, the Hindoo deity, [28]
Rebuses, [12], [173-4]
Recording Imps, [78-9], [81], [84-5], [103]
Red Sea, the, [50]
Reinche Bos, [188]
Renart le Contrefet, [188]
Reynard the Fox, [184]
Reynard the Fox, the most delectable history of, [188]
Ripon, [5], [112-3], [124], [136-7], [155], [171], [195-8], [211]
Rochester, [127]
Rogation, [48]
Roman de Renart, [188]
Roman Trinity, [177]
Roman, Wit bitter and low, [6-7];
myth, [42-3]
Roman work for Saxons, [9]
Roscommon, the Poet, [157]
Roslyn Chapel, [128-9]
Rostock, [188]
Rothwell, Northants, [84]
Sabean Idolatry, [28]
Sackville the Poet, [63]
Sacred Marks, [103] (block), [179]
Sæhrimnir, [153]
Sagittarius, [162-5]
Saints—Adrian, [99]
Anthony, [154]
Augustine, [31]
Bartholomew’s, Smithfield, [173]
Bernard of Clairvaux, [23], [27], [36-7]
Britius, [81]
Ciaran, [162]
Cross, Hospital of, Winchester, [100]
George, [47-8], [57]
George’s Chapel, Windsor, [10], [167], [195-6], [203]
Gertrude, [43]
Helen’s, Abingdon, [218]
John, [49], [118]
Katherine’s, Regent’s Park, [78], [81], [83], [86], [169]
Keyne, [46]
Lucy, [134-5]
Luke, [73]
Martha, [46]
Michael, [47], [76]
Martin’s, Leicester, [196]
Martin, [81]
Mary’s, Beverley, [123] (see [Beverley])
Mary’s, Faversham, [180]
Mary’s Minster, Thanet, [97], [122-3], [130-1], [195]
Nessan, [162]
Nicholas’s, Lynn, [11-2], [174]
Nicholas, [179]
Nilus, [36]
Paul’s, Bedford, [175]
Paul’s, London, [32], [109]
Peter’s-in-the-East, Oxford, [126]
Romain, [46]
Salus, [178]
Sambar, [50]
Samson, [198]
Sani, [53]
Satan, [48], [62], [70], [104-6], [170]
Satanic Representations, [64-77], [78-105]
Sathanus, [170]
Satire, [185]
Satires without Satan, [106-11]
Satyrs, [69]
Saturn, [21], [57]
Saturnalia, [143]
Saxon work, [9]
Scandinavian mythology, [45], [76], [153], [157];
Trinity, [177]
Scarabæus, [178]
Scriptural Illustrations, [112-120]
Scylla, [160]
Scythes, [182]
Sea-horse (hippocampus), [26]
Seals, [8], and end of Index
September, [140], [154]
Seraphim, [74]
Serapis, [42]
Serpent, the, [44-5], [60-1], [73-5], [77]
Sex of the Moon, [43]
Sheep, [72], [142]
Shell, [50-1], [54-5], [57-9], [159]
Shell Child, the, [50-9], [159]
Shepherd, [72], [142]
Sherborne, [134-5], [208]
Shiva, [66]
Sigurd, [46]
Sin series of carvings, [78-111]
Sirius, [42]
Sismondi, [31]
Sistrum, [41], [43]
Situations of Church Grotesques, [213-8]
Siva, [178]
Slanderers, [82]
Sledges, [63]
Smu, [50]
Snail, [57-8]
Solomon, King, [62]
Sources of material for Gothic grotesques, General, [4]
Southleigh, [63]
Speculum Humanæ Salvationis, [113]
Sperke, John (1520), [174]
Spinx, the, [158-9]
Springs, [66]
SS., the letter, and Collar of, [57]
Stanford, Berkshire, [18]
Star Worship, [27-8]
Stars and Stripes, [179]
Statute of Labourers, [17]
Stoeffler, [141]
Stowlangcroft, [196]
Stratford-on-Avon, [60], [129]
Suffolk, Duchess of (ob. 1475), [76]
Sun, [167]
Sun Feast, [153]
Sun Worship, [32], [37], [42], [44-59], [71], [153], [158], [162], [175], [210-1]
Superstition, Horn, [73]
Supreme Intellect, the, [74]
Surya, [53], [178]
Sutton Courtney, [128-9]
Sutton-in-Holderness, [106]
Swan, [167]
Swar, [42]
Swathing of Infants, [114]
Swarhánu, [53]
Sweden, [153]
Swine, Yorkshire, [106-7], [109], [129-30]
Symbolism and Fable, [186]
Symbols of worship a general source of Gothic ornament, [4], [27]
Syderesys, [170]
Syria, [47]
Tabor (drum), [97]
Tarasque, [46]
Tau Cross, the, [34], [43-4]
Taurus, [73]
Telephorus, [178]
Teraphim, [28]
Teutonic appreciation of humour, [7]
Thanet, Isle of, [97], [122], [130-1], [195]
Theban Trinity, [177]
Theophylact, [143]
Thirlwall, [33]
Thoth, [78], [167]
Three, the number, [162] (see [Trinities])
Three branched rod, [103] (block), [162], [181-2]
Time, Father, [57]
Titian, [42]
Topsey-turveyism, [149]
Torregiano, [10]
Tree of Knowledge, the, [74]
Trefoil, the, [162], [178-9]
Trial of Mary and Joseph, [82]
Trigla, [180]
Trinities, [168], [175-183]
Tufton Street Architectural Museum, [12]
Tum, the Setting Sun, [178]
Typhon, [44-57], [64-5]
Unseen Witness, the, [79], [85], [86], [87]
Vali, [114]
Vanity, [97]
Vedie Trinity, [178]
Venus, [21], [53], [111], [148]
Veximiel, [62]
Virgil, the, [160-1]
Virgin Mary, the, [30], [42], [82-3]
Virgo, [158]
Vishnu, [53], [153], [178]
Vulcan, [148], [177]
Wall paintings compared with carvings, [114-117], [119-20]
Wake Knot, [207-8]
Wellingborough, [14], [15], [22], [34], [101], [195], [215]
Wells, [65], [77], [150]
Westminster Abbey, [9], [10], [91-95], [97], [109-110], [123-4], [156], [173]
Wheelbarrows, [135-7], [196]
Whistling Maid, the, [104-5]
Whistling while drawing ale, [105]
White, Wm. (1520), [173-4]
Wich, Bishop de la, [124], [181]
Winchester, [64], [100], [111], [145], [154], [166], [195]
Windsor, [10], [167], [195], [203], [208]
Winking Nun, the, [106-7]
Wolf, the, [187], [189], [192];
story of the wolf’s head, [187]
Wolfius, [196]
Worcester, [113-5], [142], [160], [161], [182-3], [203]
Worm of conscience, the, [170]
Wright, Thomas, [197]
Wyvern, the, [47]
York, [63], [65], [77], [129-30], [140], [148]
Yorkshire, [10], [63], [65], [77], [106-7], [109], [127] (see [Beverley])
Yule, [153]
Zeus, [177]
Zither, [166]
Zodiac, [45], [53]

---

Footnotes:

[1] Early in the thirteenth century unruly converts of the Abbey of Meaux, Yorkshire, were, to humble their pride, made stonemasons, etc.

[2] Of Christ, the Virgin, and saints only. It is here quoted as evidence of a tendency. It is plain that the council protected itself, for the following distich is attributed to it, which sums up the original intent of all images—

“Id Deus est, quod Imago docet, sed non deus ipse;
Hanc Videas, sed mente colas; quod cemis in ipse.”

which Prideaux, Bishop of Worcester, translates (1681):

“A God the Image represents,
But is no God in kind;
That’s the eye’s object, what it shews
The object of the mind.”

[3] Yet the Hindoo signification of Typhon is “the power of destruction by heat.” In this we have another piece of evidence that both the good and the bad of the fable are referrable to the sun as his varying attributes, and probably describe his particular effects at various portions of the zodiacal year. The true, or rather the close, meaning of the various accounts is obscured and confused; firstly, by imperfect knowledge as to the geographical situations where the idea of the zodiac was conceived and developed; secondly, by the gradual precession of the Equinoxes during the ages which have elapsed since such conception.

[4] Mr. Robert Mann.

[5] “Sutton-in-Holderness.”

[6] Roscommon.

[7] Hone.

[8] The Church Treasury, by William Andrews, 1898, p. 193.