The grotesque in church art . round, three reap corn with sickles, threemow with scythes. TRINITIES. 183 From them as being unusual in treatment, even in thisstiff Flemish set, is selected the trinity of mowers. Groups ofthree in mowing scenes is a frequent number. Doubtlessthis carving is indicative of July, that being the Hey-Monath of early times. One of the side supporters orpendant carvings of this is a hare riding upon the back of aleoparded lion, perhaps some reference to Leo, the signgoverning July. The three mowers do not make a pleasing carving, owingto the repetition and want of cur
The grotesque in church art . round, three reap corn with sickles, threemow with scythes. TRINITIES. 183 From them as being unusual in treatment, even in thisstiff Flemish set, is selected the trinity of mowers. Groups ofthree in mowing scenes is a frequent number. Doubtlessthis carving is indicative of July, that being the Hey-Monath of early times. One of the side supporters orpendant carvings of this is a hare riding upon the back of aleoparded lion, perhaps some reference to Leo, the signgoverning July. The three mowers do not make a pleasing carving, owingto the repetition and want of curve. Other instances of triplication in Gothic design might begiven, particularly in the choice of (loral forms in which naturehas set the pattern. This section, however, is chiefly im-portant as a convenient means of incorporating a record ofsomething further of the fundamental beliefs of the worldsyouth, connected with and extending the question of theremote origin of the ideas at the root of so many grotesquesin church REACHING POX, CHRISTCHURCH,HAMPSHIRE. Gbc jfoy in Cburcb art. HE Fox, apostrophized as follows : O gentle one among the beasts of preyO eloquent and comely-faced animal! as an important subject in mediaevalart, has two distinct places. There is a general impression thatthere was a great popular literarycomposition, running through manyeditions and through many centuries,having its own direct artistic illus-tration, and a wide indirect illustration which, later, by itsability to stand alone, had broken away from close connectionwith the epic, yet possessed a derivative identity with it. Closer examination, however, proves that there is indeedthe Fox in its particular literature with its avowed illustrations,but also that there is the Fox in mediaeval art, illustrative ofideas partly found in literature, but illustrative of no particularwork, and yet awaiting a key. Each is a separate anddistinct thing. Among the grotesques of our churches there are someref
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