acters to make all the fun, without
intrusion from himself other than to give the aid of his skill in
representation. Now, subjects of this class will, in all probability,
present themselves until the end of the world; but artists like this
Gothic one are not so likely to be common. Great technical skill, a
large fund of vitality, and many other controlling qualities are
necessary to the production of such an artist; but he gives a clue to
the right action, which we may with safety accept, even if we can not
hope to equal his performance.

[Illustration: FIG. 64.]

[Illustration: FIG. 65.]

The center-piece, Fig. 64, tells a little story of Samson. It is
noticeable in these medieval picture subjects, how, when a story has to
be told, the details are treated in a broad and distinct fashion, as if
the story could take care of itself, and only required to be stated
clearly as to facts. The detached ornamental parts, on the contrary,
receive a degree of careful attention not given to the picture,
seemingly with the object of making their loneliness attractive.

The broad-humor characteristic of the companion picture of medieval
life, in the little domestic scene, Fig. 65, is equally free from forced
exaggeration or intentional misproportion. Scale and anatomy, to be
sure, have had little consideration from the carver, but we readily
forgive the inaccuracies in this respect, on account of his quick wit in
devising means to an end.

Before we leave this subject, look at Plate II, in which you will see a
curious use of misproportion--intentional, too, in this case--and used
for quite other than humorous purposes. This is a little ornamental
figure from the tomb of Henry IV, in Canterbury Cathedral. You will see
that the body is out of all proportion; too small for the head which
surmounts it, or too big for the feet upon which it stands. Now, what
could have induced the carver to treat a dainty little lady thus? It
certainly was not that he considered it an improvement upon nature, nor
was it a joke on his part. It could only be done for some practical
reason such as this: that the little figure does part duty as a bracket,
hence, more appearance of solidity is required at the top, and less at
the foot, than true proportions would admit. It is all done so
unostentatiously that one might look for hours at the figure without
noticing the license. Not that I should advise you to imitate this
naive way out of a difficulty. T