In conclusion, the satirical intent of the fox inventions, as we find them in the library or in the church, may be summed up, for here indeed lies the whole secret of their prevalence and popularity. The section of society satirized by the epic is large, but is principally covered by the feudal institution. The notes struck are its greed of wealth and its greed of the table, its injustice under the pretext of laws, its expedient lying, the immunity from punishment afforded by riches, the absolute yet revolution-fearing power of the sovereign, the helplessness of nobles single-handed, and the general influence of religion thrown over everything, while for its own sake being allowed to really influence nothing.
The chief point of the epic is generally considered to be that power in the hands of the feudal barons was accompanied by a trivial amount of intelligence, which was easily deceived by the more astute element of society. The carvings give no note of this. A further object, however, may be seen. The whole story of the Fox is meant not only to shew that
"It is not strength that always wins, For wit doth strength excel,"
by playing on the passions and weaknesses of mankind, but in particular to hold up to scorn the immunity procured by professional religion, though it is fair to note that the Fox does not adopt a religious life because suited to his treacherous and deceitful character, but to conceal it. Thus so far as they elucidate the general "foxiness" of religious hypocrisy, the carvings and the epic illustrate the same theme, but it is evident that they embodied and developed already-existing popular recognition of the evil, each in its own way, and without special reference one to the other.
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.
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.
[Illustration: APE CORBEL, CARRYING ROOF TIMBER, EWELME.]
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.
[Illustration: 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.
[Illustration: MUSICIAN ON THE INTERSECTION OF NAVE ARCHES, ST. HELEN'S, ABINGDON, BERKSHIRE.]