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 ROUTLEDGE LIBRARY EDITIONS:
THE MEDIEVAL WORLD

Volume 28

ANIMALS IN ART AND THOUGHT

ANIMALS IN ART AND THOUGHT
To the End of the Middle Ages

FRANCIS KLINGENDER

Edited by
EVELYN ANTAL AND JOHN HARTHAM
First published in 1971 by Routledge & Kegan Paul Ltd
This edition first published in 2020
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 1971 Winifred Klingender and Evelyn Antal
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval
system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification
and explanation without intent to infringe.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library

ISBN: 978-0-367-22090-7 (Set)

ISBN: 978-0-429-27322-3 (Set) (ebk)
ISBN: 978-0-367-20636-9 (Volume 28) (hbk)
ISBN: 978-0-429-26268-5 (Volume 28) (ebk)

Publisher’s Note
The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original
copies may be apparent.
Disclaimer
The publisher has made every effort to trace copyright holders and would welcome correspondence from those they have been
unable to trace.
Animals in art and thought
to the end of the Middle Ages
The Dream of Nebuchadnezzar. Roda Bible. MS. Lat. 6. Early 11th century. Bibliotheque Nationale, Paris
Francis Klingender JlHiniCllS W UTt
Edited by
Evelyn Antal and John Harthan and thought
to the end of the
Middle Ages

London Routledge & Kegan Paul

A man hath no preeminence above a beast.
Ecclesiastes, 3, 19.

Ask now the beasts, and they shall teach thee;

and the fowls of the air, and they shall tell thee.
Job, 12, 7.

For out of olde feldes, as men seith,

Cometh al this new corn from yeer to yere;
And out of olde bokes, in good feith,
Cometh al this new science that men lere.
CHAUCER. The Parlement of Foules, v. 22-5.

First published in 1971

by Routledge & Kegan Paul Ltd
Broadway House, 68-74 Carter Lane, London, EC4V 5EL
Photoset and printed in Great Britain by
BAS Printers Limited, Wallop, Hampshire
© Winifred Klingender and Evelyn Antal 1971
No part of this book may be reproduced in any form
without permission from the publishers, except for
the quotation of brief passages in criticism
ISBN 0 7100 6817 4
Contents

Editors' Foreword and Acknowledgments xxm

Author's Preface xxv
Photographic Acknowledgments xxvii

Part 1 The Ancient World

1 The hunter's art and mythology
The rock paintings and engravings 3
The mythology of the hunter's ritual 11

2 Animal art in the ancient near east 28

The neolithic revolution 28
Continuity and change in ritual 30
North Africa and Egypt 30
Western Asia 33
Contrasting patterns of spirituality: the New Year festivals 34
Contrasting types of animal imagery 35
Gilgamesh and the beast-man Enkidu 37
The monuments 38
Prehistoric pottery in Asia and Egypt 38
Sumerian animal art 40
Egyptian animal art 49
Assyrian and Minoan animal art 60

3 Animal art in the civilizations of Greece and Rome 63

The classical style sequence 63

The transition from magic to symbolism 82
 4 Barbaric animal styles 95
The barbaric style sequence 95
The Jemdet Nasr seals 95
The bronzes of Luristan 96
The Scythian animal style 96
Early Celtic art 100
Germanic animal ornament 103
Hiberno-Saxon manuscripts and crosses 108
Viking art 112
Symbolic associations 116
The social setting 116
Pre-heroic animal associations in barbaric art 117
Animal associations of the hero 124
The convergence of Christian and heroic animal symbolism 130

Part 2 The early Middle Ages

5 The Carolingian Renaissance 145
Introduction 145
The Hexaemeron tradition 147
Typology 155
The monuments 169

6 Late Anglo-Saxon animal art: the 'Caedmon' and 'Aelfric'

manuscripts 184

7 Germany, France and Spain, c. 950-1050; the Apocalyptic

tradition 202
Schools of illumination c. A.D. 1000 202
The Apocalyptic tradition 207
Apocalyptic animal symbols and their oriental sources 210
The pictorial tradition 219

8 Byzantium and Italy 238

The Macedonian renaissance 238
Rome, Monte Cassino, Sicily and Venice 244

9 Romanesque and early Gothic animal art 262

Introduction 262
The survival of the oriental 'heraldic' style 268
Romanesque adaptations of the oriental 'heraldic' style 276
Apulia 276
vi Lombardy 284
 294
Lombard animal imagery in Germany
Manuscript sources of Romanesque animal ornament 297
Spain and Languedoc 297
Beast imagery in the Norman and Angevin realms 307
The symbolic character of Romanesque and
early Gothic animal ornament 328

Part 3 The later Middle Ages

10 The scientific revival and the beast fables 339
The scientific revival 339
The Latin phase 339
The transformation of the bestiary text 340
Greek science retrieved through the Arabs 344
Adelard of Bath 346
Giraldus Cambrensis 349
Thirteenth century zoology 350
Popular science 351
Alexander Neckam 351
Bartholomew the Englishman 354
Fables and beast satires 359
Twelfth century fable collections 360
Nigel Wireker's Speculum Stultorum [Mirror of Fools) 360
Odo of Cheriton and the Latin sermon collections 362
The Owl and the Nightingale 365
The Fox and the Wolf 366
Political satires of the fourteenth century 368
William Langland 368
John Gower 372
Chaucer 373
Conclusion 379

11 English animal art of the later Middle Ages 382

The bestiary illustrations 382
Gothic animal art 397
Manuscripts of the thirteenth century: initials and margins 397
Birds of the Apocalypse 402
Manuscripts of the fourteenth century: Psalters and Books of Hours 413
The Pepysian sketchbook 421
Naturalism in England and Italy 425
Domestic art: the Longthorpe Tower All
Popular art: roof bosses and misericords 432 vii
 12 Continental animal art of the later Middle Ages .,„
Introduction 439
St. Francis's sermon to the birds and the Christmas presepio 441
Frederick II's treatise 'De arte venandi cum avibus 447
Animal identifications in chivalry 450
Heraldry 450
Courtly love 461
Courtly hunting rites 468
Conclusion: the movement towards naturalism 476

Epilogue 489

Notes 495

Bibliography 540

General index 565

Index of animals 578

vin
Illustrations

The Dream of Nebuchadnezzar. Roda Bible frontispiece

Chapter 1
1 Hand silhouette with dots, from the frieze of black Horses. Pech-Merle 4
2 'Macaroni' tracings with Animal Heads. Altamira 5
3 Engraved Stag with twisted antlers. Marcenac 6
4 Elephant with heart showing. Pindal. Asturias 6
5 The Black Bull. Lascaux 7
6 Ibexes fighting; carved stone block. Le Roc de Sers, Charente 8
7 Bison bellowing. Altamira 8
8 Man gathering honey attacked by Bees. Cuevas de la Arafia 9
9 Dead Eland lying on its back. Markwe Cave, Inoro, Mashonaland 11
10 Kangaroo painted on bark in the so-called X-ray style. Arnhem
Land, North Australia 12
11 Men with Animal Heads and noses bleeding, watched by a Woman.
Teyateyaneng (Advance Post Cave) Lesotho 15
12 Headless Bear modelled in clay. Montespan 19
13 Bear pierced with arrows. Les Trois-Freres 20
14 Bison wizard-man dancing. Les Trois-Freres 20
15 Bison wizard-man pursuing animals. Les Trois-Freres 21
16 Pair of Bisons modelled in clay. Tuc d'Audoubert 21
17 Hunter linked with woman and shooting game. Oasis of Tiout, Atlas Mts 22
18 Deer driven from a cliff by unseen beaters and shot at by hunters.
Valltorta Ravine, Albocacer (Castellon) 26

Chapter 2
19 The Goat of Bov Alam, S. Oran, wearing collar and harness. Rock
engraving from Moghrar Tahtani, Atlas Mts 29
20 'The Good Shepherd'. Rock engraving from Moghrar Tahtani, Atlas Mts 29
21 Domesticated Antelope led by a man with a rope. Rock engraving
from Southern Egypt 30
22 Hunter's Palette. Ashmolean Museum, Oxford 31
23 Hunter's Palette. British Museum 31
24 Cat sacred to Bastet. Bronze. Ptolemaic, c. A.D. 10. British Museum 33
25 Anubis as crouching Jackal. Wood. Egyptian (Roman period); after
30 B.C. British Museum 33 ix
26 Soul-Bird. Ba returning to body on Bier. Ani Papyrus. XlXth
Dynasty, 1250 B.C. British Museum 36
27a and b Bird Processions; Sialk Pottery. 3rd Period. Before 3000 B.C. 38
28 Stylized Animals. Samarra Pottery. 5th millennium, B.C. 39
29 Animals on Vase. Amratian Pottery. Before 3500 B.C. Ashmolean
Museum, Oxford 39
30 Guardian Leopards. Wall painting. Proto-Literate period. Uqair,
Iraq. Oriental Institute, University of Chicago 40
31 Animal Procession. The Warka Trough. Side-view. Gypsum.
Sumerian, 3300-3000 B.C. British Museum 41
32 Calves. The Warka Trough. End-view. Gypsum. Sumerian, 3300-
3000 B.C. British Museum
33a-k, 34 Cylinder Seals 42^14
35 Frieze of Bulls from El 'Ubaid. 2500 B.C. British Museum 45
36 Hero and Lions holding victims upside down. Front end of Silver
Lyre from tomb, 'Great Death Pit', in Royal Cemetery at Ur.
c. 2500 B.C. British Museum 45
37 Imdugud gripping two Stags. Copper lintel from Temple of
El 'Ubaid. Early Dynastic Period. 3000-2340 B.C. British Museum 46
38 Guardian Lion from Gate at Malatya. Basalt. Hittite. 1050-850 B.C.
Ankara Museum 48
39 Lion Hunt. Basalt. Hittite. From Malatya. 850-700 B.C. Ankara
Museum 48
40 Lion from temple at Nimrud. Assyrian, c. 880 B.C. British Museum 49
41 Man-Bull Guardian from the Palace of Sargon II at Khorsabad.
Assyrian. Late 8th century B.C. British Museum 50
42 Procession of Bulls and Dragons from the Ishtar Gate, Babylon,
7th-6th century B.C. Staatl. Museen, Berlin-Ost Vorderasiatische
Abteilung 50
43 Lion attacking Bull. Relief from Persepolis. 6th century B.C. 51
44 Beast-hero combat. Relief from Persepolis. 6th century B.C. 52
45 Egyptian Baboon, inscribed Horus. Alabaster. Agyptisches Museum,
Berlin-West 52
46a Netting Wild Fowl. From Tomb of Nebamun, Thebes. Egyptian.
XVIIIth Dynasty, c. 1400 B.C. Oriental Institute, University of Chicago 53
46b Cat catching three Birds. Detail of above 53
47 Murals. Mereruka Tomb. Vlth Dynasty, c. 2400-2250 B.C. Old Kingdom
Period. Oriental Institute, University of Chicago 54
48 Hippopotami Hunt. Detail of 47 55
49 Varieties of Fish. Detail of 47 55
50 Two Deer feeding from Trough. Limestone Manger. Egyptian;
Amarna style. XVIIIth Dynasty, c. 1370 B.C. British Museum 57
51 Deities in Animal Forms from the Book of the Dead. Ani Papyrus;
Egyptian. XlXth Dynasty, c. 1250 B.C. British Museum 57
52 Anubis as a Jackal above the mummy of Abdou represented by a
Fish. XlXth Dynasty, c. 1250 B.C. Tomb of Khabekhnet.
Deir el-Medineh 59
53 Wounded Lion. Detail from Lion Hunt in Ashurbanipal's Palace.
Assyrian, c. 650 B.C. British Museum 60
54 Hunting of Gazelles. Assyrian, c. 650 B.C. From Ashurbanipal's
Palace. British Museum 60
55 'Octopus' Vase. Cretan, c. 1450-1400 B.C. Ashmolean Museum,
Oxford 61

Chapter 3
56 Animal Procession. 'Orientalizing' Corinthian Vase. British
Museum 64
57 Swan. 'Orientalizing' Corinthian Vase. British Museum 64
58 Hercules and the Stymphalian Birds. Detail from the 'Vulci'
Vase. Athenian. Mid-6th century B.C. British Museum 65
59 Dogs and Mounted Warriors on vase from Attica. Late 6th
century B.C. British Museum 65
60 The Bull-Calf Bearer. 6th century B.C. Acropolis Museum, Athens 66
61 Youths setting a Dog on a Cat. Relief, c. 510 B.C. Archaeological Museum,
Athens 67
62 Horses from the Parthenon frieze. 442-438 B.C. British Museum 68
63 Horses from the Parthenon frieze. 442—438 B.C. British Museum 69
64a, b, c Greek coins. 5th-3rd centuries B.C. British Museum 70
65 Plunging Horses from Battle Scene. Alexander and Darius Mosaic at
Pompeii of Philoxenos' painting, c. 90 B.C. Museo Nazionale,
Naples 70
66 Sick Greyhound. Marble. 200 B.C. Louvre, Paris 71
67 Farnese Bull. Roman. 1st century B.C. Museo Nazionale, Naples 73
68 Hippopotamus, Crocodile and Ducks on the Nile, from mosaic from
Palestrina. Roman. 2nd century B.C. Museo Nazionale, Naples 74
69 Varieties of Fish in the Nile, from mosaic from Palestrina. Roman.
2nd century B.C. Museo Nazionale, Naples 74
70 Mosaic of Vineyard. S. Costanza, Rome 75
71 Captured Ostriches. Detail from mosaic pavement. Roman. Villa
of Piazza Armerina, Sicily 76
72 Hunting scenes. Detail from mosaic pavement. Palace of the
Byzantine Emperors, Constantinople 77
73 Orpheus and the Animals. Fragment of Mosaic pavement. Roman.
Woodchester, Glos. 79
74 Orpheus and the Animals. Mosaic pavement. Roman. Horkstow,
Lines. 79
75 Fishes and Birds. Detail from the Creation Mosaic. Byzantine.
Early 13th century. St. Mark's, Venice 81
76 Aesop and the Fox: on Dish of the 5th century B.C. Museo
Etrusco Gregoriano, Vatican 85

Chapter 4
77a Horse-bit. Luristan bronze. Collection Stora 97
77b Beast-hero combat. Funeral statuette. Luristan bronze. Louvre
Museum 97
78 Lion. Ornamental plate. Gold. Scythian. Hermitage Museum,
Leningrad 98
79a Ornamental plate from a gold girdle-clasp. Hermitage Museum,
Leningrad 98
79b Stag. Ornamental plate from a girdle-clasp. Gold. From Kostromskaya.
Scythian. 5th century B.C. Hermitage Museum, Leningrad 99 xi
 79c Stag. Pole-top. Cast bronze. 5th century B.C. Hermitage Museum
Leningrad 99
80 Horse-drawn Chariots and Warriors. Detail from bronze vase
from Vix. Greek, c. 500 B.C. Museum, Chatillon-s/Seine 100
81 Wolf-shaped handle. Lorraine Flask, c. 450 B.C. British Museum 101
82 Parade-cap for a Horse, from Torrs, Kirkcudbrightshire. Bronze.
Late 3rd—early 2nd century B.C. National Museum of Antiquities,
Edinburgh 101
83 Barbarized 'heraldic' Animals from the Sacramentarium Gelasianum.
Folio 132a. Merovingian, c. 750. Vatican Library, Rome 104
84 Dragon from Shield-boss. Garnet inlay, c. 650. Sutton Hoo.
British Museum 104
85 Hero among Beasts and Hawk swooping on a Duck from Purse-lid.
Gold and garnets, c. 650. Sutton Hoo. British Museum JQ7
86a Interlinked Boars on hinged clasps. Gold and garnets, c. 650.
Sutton Hoo. British Museum 107
86b Detail of 86a.
87 Stag, Spread-eagle and other Animals from the Canterbury Psalter.
Cotton Vesp. A.I. folio 64v. c. 750. British Museum 110
88 Otter catching Fish. Detail from the Book of Kells. MS. A.1.6. Irish
c. 800. Trinity College, Dublin 111
89 Mice and Cats. Detail from the Book of Kells. MS. A.1.6. Irish, c. 800.
Trinity College, Dublin 111
90 The so-called 'Academic' Animal Mace head. Oseberg Ship Burial,
9th century. Universitetets Oldsaksamling, Oslo 113
91 Ribbon Monsters from North Doorway of Urnes Church, c. 1050-70,
Historisk Museum, Bergen 114
92 The 'Great Beast' and Serpent from Viking Gravestone from St.
Paul's Churchyard. Early 11th century. Guildhall Museum,
London 114
93 Animals and Birds in foliage scroll. Carving. Detail of door jamb
of Al Church, Hallingdal. c. 1150-75. Universitetets
Oldsaksamling, Oslo 115
94 The Celtic God Cernunnos between Wolf and Stag. Detail from the
Gundestrup Cauldron. Embossed silver-gilt. Celtic. (La Tene
period). 1st century B.C. National Museum, Copenhagen 118
95 Bull-fight. Detail from the Gundestrup Cauldron. Embossed silver-
gilt. Celtic. (La Tene period). 1st century B.C. National Museum,
Copenhagen 118
96a Boar. Incised Stone. 6th-7th century. From Dunadd, Argyllshire 121
96b Bronze Stag on Iron Ring. Royal Standard from Sutton Hoo.
c. 650. British Museum 121
97 Torslunda Dies. Bronze, (a) Dancing warriors, one with a Boar's
Mask, (b) Two armed warriors with Boar crests, (c-d) Hero-Beast
Combats. 7th century. Statens Historiska Museum, Stockholm 122
98 Mounted Warrior. Relief on Bronze Plate attached to Helmet.
From Vendel (Grave I). 7th century (second half). Statens
Historiska Museum, Stockholm 124
99 Hunting Slab with (top) Female Rider from Hilton of Cadboll.
c. 800. National Museum of Antiquities, Edinburgh 127
100a Archer shooting at Creatures in foliage scrolls. Detail from the
xii St. Andrew Auckland Cross, Northumbria. 8th century 133
100b Birds and Animals inside a foliage scroll. Detail from Ruthwell
Cross, c. 670. Dumfriesshire 133
101 Romulus and Remus suckled by the She-Wolf. Franks Casket. Ivory.
c. 700. Northumbria. British Museum 134
102 Sigurd's Burial, guarded by his Horse. From the Franks Casket.
Bargello, Florence. 134
103a Bird-men and Lion. Pictish Slab. Late 7th century. From Papil,
Shetland. National Museum of Scottish Antiquities. Edinburgh 135
103b Daniel and the Lions. Pictish Slab. Probably after A.D. 843.
Museum, Meigle, Perthshire 135
104 St. Michael and the Dragon. Stone Relief, c. 1000. St. Nicholas,
Ipswich, Suffolk 139
105 St. Michael and the Dragon. Stone Relief. Second half of 11th
century. Southwell Minster, Notts. 139

Chapter 5
106 Noah and the Ark. Sarcophagus. 5th century. Trier 154
107 Apocalyptic Vision of Christ and Animal Symbols. Grandval
Bible. Add. 10546, folio 449a. Carolingian. c. 840. British
Museum 159
108 Monsters from the Physiologus: Solinus MS. cod. C. 246, folio 57r.
13th century. Ambrosiana Library, Milan 167
109 Animals, Birds and Monsters from Canon-tables. Gospel of St.
Thierry de Reims. MS. 7. 9th century. Bibl. de la Ville, Reims 171
110 Birds and Beasts facing the Fountain of Life. Godescalc Gospel.
781-83. Nouv. Acq. Lat. 1203. Bibliotheque Nationale, Paris 171
111 Illustration of Psalm CIII (104). Utrecht Psalter, folio 59v. University
Library, Utrecht 175
112 Illustration of Psalm XLI (42): 'As pants the hart.' Stuttgart Psalter,
folio 53v. c. 820-30. Wiirttembergisches Landesmuseum,
Stuttgart 177
113 Illustration of Psalm XLI (42): 'As pants the hart.' Utrecht Psalter,
folio 24v. University Library, Utrecht 177
114 Mare and Foal. Detail of Illustration from Psalm LXXII (73). c. 830.
Utrecht Psalter, folio 41. University Library, Utrecht 178
115 Adam feeding the Birds and Christ blessing the Animal Creation.
Stuttgart Psalter, folio 9. Psalm VIII (8). c. 820-30. Wiirttembergisches
Landesmuseum, Stuttgart 178
116 Christ between Goat and Sheep. Stuttgart Psalter, folio 6r.
c. 820-30. Wiirttembergisches Landesmuseum, Stuttgart 181
117 Crucifixion. Christ menaced by Lion and Unicorn. Stuttgart
Psalter, folio 27r. c. 820-30. Wiirttembergisches Landesmuseum,
Stuttgart lgl

Chapter 6
118 Satan fettered; Satan in form of a Serpent. Caedmon MS. Junius
XI, page 20. 1 lth century (first half). Bodleian Library, Oxford 188
119 Adam and Eve. Prohibition of the Tree of Life and Knowledge.
Caedmon MS. Junius XI, page 13. 11th century (first half).
Bodleian Library, Oxford 190 xiii
 120 Story of Cain and Abel. Caedmon MS. Junius XI, page 49. 1 lth
century (first half). Bodleian Library, Oxford 191
121 The Creation of the Birds and Fishes. MS. Claud. B. IV, folio 3v.
11th century (second half). British Museum 193
122 Creation of Adam. MS. Claud. B. IV, folio 4. 11th century (second
half). British Museum 194
123 Naming of the Animals. God and Seated Adam. MS. Claud. B. IV,
folio 6, 11th century (second half). British Museum 195
124 The Ark. MS. Claud. B. IV, folio 14. 11th century (second half).
British Museum 196
125 Viking Ship and 'Creeping Things'. MS. Regin. lat. 12, folio 108r.
11th century (second quarter). Bibl. Apostolica Vaticana, Rome 198
126 Constellation Symbol. Aries. MS. Harley 2506, folio 38. 10-1 lth
century. British Museum 201
127 Constellation Symbol. Capricorn. MS. Harley 2506, folio 39.
10-1 lth century. British Museum 201

Chapter 7
128 Creation Scene. Farfa Bible. MS. Lat. 5729, folio 5. lOth-llth
century. Bibl. Apostolica Vaticana, Rome 205
129 Animals and Birds. Creation Scene. Tapestry. Cathedral, Gerona 206
130 Christ surrounded by Prophets and Animal Symbols of the
Evangelists. Add. 10546, folio 352v. Grandval Bible. British
Museum 221
131 Armageddon. Apocalypse MS. 31, folio 63v. 8th-9th century.
Stadtbibliothek, Trier 223
132 The Three Riders and the Angel's Call to the Birds, from the
Apocalypse. Reichenau School, the Bamberg Apocalypse. MS.
A.II.42, folio 48v. c. 1000. Stadtbibliothek, Bamberg 224
133 St. John and the Eagle of Woe, from the Apocalypse. Reichenau
School, the Bamberg Apocalypse. MS. A.II.42, folio 21v. c. 1000.
Stadtbibliothek, Bamberg 224
134 The Beast with the Ram's Horns. Reichenau School, the Bamberg
Apocalypse. MS. A.11.42, folio 33v. c. 1000. Stadtbibliothek,
Bamberg 225
135 Vision of Isaiah from Gregory's Moralia. A.D. 945. MS. Vitr. 14, 2,
folio 2. Bibl. Nac. Madrid 227
136 Ram caught in a Thicket. From the Sacrifice of Isaac. Bible of
San Isidoro of Leon. A.D. 960, folio 21v. Collegiate Church of San
Isidoro, Leon 227
137 Noah's Ark from the Apocalypse. MS. 8, folio 15r. 12th century
(second half). John Rylands Library, Manchester 228
138 Bird and Serpent from the Apocalypse. MS. 8, folio 14r. 12th
century (second half). John Rylands Library, Manchester 229
139 Fox and Cock from Beatus. B.31, folio 197. Bibl. Nac. Madrid 230
140 Christ in Judgment with the souls of martyrs as Birds, from the
Apocalypse. MS. 8, folio 191. 12th century (second half). John
Rylands Library, Manchester 231
141 The Angel's Call to the Birds, from the Apocalypse. Add. MS.
xiv 11695, folio 197, A.D. 1091. British Museum 232
142 The Angel's Call to the Birds from the Apocalypse. MS. 8, folio
188r. 12th century (second half). John Rylands Library, Manchester 232
143 Vision of Ezekiel. Gerona Codex. A.D. 975, folio 219v. Cathedral,
Gerona 233
144 The Madness of Nebuchadnezzar. Roda Bible. MS. lat. 6. Early 11th
century. Bibliotheque Nationale, Paris 234
145 The Four Horsemen. Beatus Silos. MS. Add. 11695, folio 102v.
British Museum 234
146 The Four Riders. St.-Sever Apocalypse. MS. lat. 8878, folio 108v.
Mid-1 lth century. Bibliotheque Nationale, Paris 235
147 The sounding of the Fourth Trumpet and the Eagle of Woe. St.-
Sever Apocalypse. MS. lat. 8878, folio 141. Mid-1 lth century.
Bibliotheque Nationale, Paris 237

Chapter 8
148 Front of the Veroli Casket. Erotes playing with Animals. Wood
overlaid with bone and ivory. Byzantine. Late 10th or early
11th century. Victoria and Albert Museum, London 240
149 Hunting Scene. Panel from ivory casket. Byzantine. 9th-10th
century. British Museum 240
150 David as a Harpist. Frontispiece. Paris Psalter. Cod. gr. 139. 10th
century. Bibliotheque Nationale, Paris 241
151 Bellerophon and Pegasus. From Oppian's Cynegetica. MS. Cod.
gr. 479, folio 8v. 10th or early 11th century. Marciana Library,
Venice 242
152 Adam Naming the Animals with Creation of Eve on right. Genesis
II. 19. 20, folio 12v. Smyrna Octateuch (destroyed). llth~12th
century 243
153 Confronting Stag and Pegasus. Fragment of Marble screen. 9th
century. S. Giovanni Maggiore, Naples 245
154 Bees gathering honey. Exultet Roll from Monte Cassino. MS. Add.
30337. 11th century. British Museum 248
155 Bees gathering honey and the Nativity. Exultet Roll from Gaeta. MS.
N.I. 11th century. Cathedral Archives, Gaeta 249
156a Creation of the Fish and Birds. Ivory plaque of the 11th century
from the Antependium of Salerno Cathedral. National Museum,
Budapest 252
156b Creation of the Animals. Ivory plaque of the 11th century from
the Antependium of Salerno Cathedral. Metropolitan Museum,
New York 252
157 Creation of the Birds and Animals. Detail from S. Zeno doorway.
12th century. Verona 252
158 Rebecca and Camels at the Well. Mosaic. 12th century. Cappella
Palatina, Palazzo Reale, Palermo 254
159 Noah lifting Peacock into the Ark. Detail from the Creation
Mosaics. 13th century. Vestibule of St. Mark's, Venice 255
160 Release of Lions and other Animals from the Ark. Detail from
the Creation Mosaics. 13th century. Vestibule of St. Mark's,
Venice 256
161 Sermon of St. Francis to the Birds. Berlinghieri Altarpiece. 1235.
S. Francesco, Pescia 260 xv
 Chapter 9
162 Persian Lion-Slayer. Shroud of St. Victor. Silk. Byzantine.
A.D. 750. Cathedral, Sens 269
163 Animal Combat scene. Detail. Coronation Cloak of Roger II of
Sicily, 1133, later used as Coronation Cloak of the Holy Roman
Emperors. Schatzkammer, Hofburg, Vienna 270
164 Fishes, Ducks and Fruit. Fabric from Tomb of St. Cuthbert from
Lindisfarne. Reconstruction of the design of the 'Nature-Goddess'.
Silk. Byzantine. 7th century. Cathedral, Durham 271
165 Eagles with Serpent and Hares in talons. Marble relief. Byzantine
from Constantinople. 11th century. British Museum 272
166 Ceiling decoration, A.D. 711-15. Kuseir' Amra Palace. 273
167 Heraldic Eagle with Hare in talons. Mosaic. Detail of Vault.
1160—70. Stanza di Ruggiero. Palazzo Reale, Palermo 274
168 Jonah and the Whale. Pulpit. 12th century. Cathedral, Ravello 275
169 Eagle Pulpit by the sculptor Acceptus. Early 11th century.
Cathedral of S. Sabino, Canosa, Apulia 278
170 Lion Capital, now used as Font. Early 12th century. Abbey of
SS. Trinita, Venosa, Apulia 279
171 Crouching Lionesses on Bishop's Throne. 1098. S. Nicola, Bari,
Apulia 280
172 Mosaic pavement, laid 1163—6. Cathedral, Otranto, Apulia 281
173 Confronting Peacocks. Marble screen. Early 11th century.
Cathedral of S. Maria Assunta, Tor cello 286
174 Capital with Rams. 11th century. St. Mark's, Venice 287
175 Animal Grotesques, c. 1180. West Facade (right doorway). S.
Michele Maggiore, Pavia 288
176 Winged Lion and Dragon on door-jamb. Romanesque. 13th
century. S. Fedele, Como 290
177 Lion supports to Pulpit. 1272. Cathedral, Ravello 291
178 Lion Aquamanile. North German (Hildesheim). First half of
12th century. Brass. Victoria and Albert Museum, London 292
179 The Brunswick Lion. Bronze. 1166. Brunswick 293
180 Detail of Door. c. 1180. St. James's, Regensburg 294
181 Beast Pillar. Crypt. Before 1205. Cathedral, Freising 295
182 Capital with Bird. 13th century. Marienkirche, Gelnhausen,
Hesse 296
183 The Bamberg Rider, c. 1230-40. Cathedral, Bamberg 297
184 Eagle-headed Lions. Carving from Notre Dame de la Regie. 12th
century. Municipal Museum, Limoges 302
185 Birds. Cloister Capital. San Domingo de Silos. llth-12th century.
Burgos 303
186 Lions flanking the Monogram of Christ. Detail from Sarcophagus
of Dona Sancha. 11th century. Cathedral, Jaca, Aragon 304
187 Lion on Cloister Column. 1100. Saint-Pierre, Moissac, Tarne-et-
Garonne 305
188 Beast Pillar from Benedictine Abbey, c. 1115. Souillac, Lot. 308
189 Detail of Beast Pillar from Benedictine Abbey c. 1115. Souillac,
Lot. 309
190 Detail of Beast Pillar from Benedictine Abbey, c. 1115. Souillac,
xvi Lot. 310
191 Animal Procession from South Transept Porch. 1119-35. Saint-
Pierre, Aulnay 311
192 St. George and the Dragon. Tympanum, c. 1150. Brinsop,
Herefordshire 312
193 Samson and the Lion. Tympanum, c. 1140-50. Stretton Sugwas,
Herefordshire 312
194 Hare and Hound. Exterior Corbel, c. 1145-50. Kilpeck, Herefordshire 313
195 Lions and Monsters. Font. c. 1200. St. Mary's, Stafford 313
196 Lions attacking Bear and wild Boar. Detail from Whalebone carving.
English, late 11th century. Victoria and Albert Museum, London 314
197 Fox playing a Harp. Detail of Doorway, c. 1170-80. St. Mary's,
Barfreston, Kent 316
198 Monkey riding on a Goat. Detail of Doorway, c. 1170—80. St.
Mary's, Barfreston, Kent 317
199 Interior frieze with Animals, c. 1170-80. St. Mary's, Barfreston,
Kent 317
200 Animal Musicians and Monsters, c. 1115-25. Crypt, Cathedral,
Canterbury 318
201 Monsters, c. 1115-25. Crypt, Cathedral, Canterbury 319
202 Fledgling on Chancel Shaft, c. 1175-82. Iffley, Oxon. 319
203 Beak-heads, Huntsmen in foliage scroll, and confronting Lions.
c. 1141-50. West Front. Cathedral, Lincoln 320
204 Affronted heraldic Beasts. Detail from West Doorway, c. 1141-50.
Cathedral, Lincoln 321
205 Initial L. Bible of the Benedictine Abbey of Saint-Martial de
Limoges, c. 1070. MS. Lat. 254, folio lO.Bibliotheque Nationale, Paris 324
206 Initial A from Psalm CXIX (120). Psalter, 10th century.
Cathedral Library, Salisbury 324
207 Sinners and Asps. St. Albans Psalter, 1119—46. Library of St.
Godehard, Hildesheim 330
208 David open-mouthed with Birds. St. Albans Psalter, 1119-46.
Library of St. Godehard, Hildesheim 330
209 Sinner menaced by Bulls. St. Albans Psalter, 1119-46. Library
of St. Godehard, Hildesheim 333
210 David inspired by Holy Ghost (Bird). Above, fighting Knights.
St. Albans Psalter, 1119-46. Library of St. Godehard, Hildesheim 333

Chapter 10
211 Parliament of Beasts from Bartholomew the Englishman's De
proprietatibus rerum. c. 1480. MS. fr. 9140, folio 323. Biblio-
theque Nationale, Paris 355
212 Jackal and Bullock from the Bidpai Tales. MS. Arab 3465, folio
62. Bibliotheque Nationale, Paris 361
213 Owl mobbed by Birds. MS. Harley 4751, folio 47. British Museum 364

Chapter 11
214 Elephant with Mandrake and Serpent. Folio 19r. 9th
century. MS. 318. Physiologus. Stadtbibliothek, Bern 383
215 Jacob blessing the Lion of Judah. Folio 7r. 9th century. MS. 318.
Physiologus. Stadtbibliothek, Bern 383 xvii
 216 Panther attracting Animals by its Breath. Folio 15r. 9th century.
MS. 318. Physiologus. Stadtbibliothek, Bern 384
217 Serra with Fish in its Mouth. Bestiary. Laud Misc. 247. Folio
141v. Bodleian Library, Oxford 384
218a Whale. MS. Bodl. 602. Folio 22v. Bodleian Library, Oxford 385
218b Whale. MS. Ashmole 1511, folio 86v. Bodleian Library, Oxford 386
218c Whale. Add. MS. 11283. 12th century. British Museum 386
219a Unicorn. Early Laud Bestiary. Bodl. Misc. 247, folio 149. Bodleian
Library, Oxford 387
219b Panther attracts Beasts with its fragrant breath. Bestiary MS.
Ii.4.26, folio 469. University Library, Cambridge 388
220a Unicorn from a Bestiary. MS. Harley 4751, folio 6v. British
Museum 389
220b The Fox feigning Death. Bestiary. MS. Ii.4.26. folio 16r. University
Library, Cambridge 390
220c Caprae (Goats). Bestiary. MS. Ii.4.26, folio 13r. University
Library, Cambridge 390
221 Pairs of Animals in Roundels. Casket Hispano-Moresque. Early
11th century. Victoria and Albert Museum, London 391
222 Hedgehogs from Rochester Bestiary. MS. Royal 12F.XIII, folio 45.
British Museum 392
223 Archer and four Magpies. MS. Ashmole 1511, folio 48v. Bestiary.
12th century. Bodleian Library, Oxford 393
224 Hedgehogs. Bestiary. MS. Ii.4.26, folio 28v. University Library,
Cambridge 394
225 Fallow Deer feeding her Young. MS. Harley 4751, folio 13r.
Bestiary, late 12th-13th century. British Museum 394
226 Reynard carrying off a Goose. MS. Harley 4751, folio 54.
Bestiary, late 12th-13th century. British Museum 395
227 Barnacle Geese. Bestiary. MS. Harley 4751, folio 36. British Museum 395
228 Gannet Diving. MS. Royal 13B. VII, folio 9. 13th century.
Giraldus Cambrensis. British Museum 396
229a Elephant and Castle. Bestiary (MS. 22). The Library, Westminster
Abbey 397
229b Elephant and Castle. MS. Royal 12F. XIII, folio llv. Rochester
Bestiary. British Museum 398
230 Unicorn and Virgin from the Rochester Bestiary. MS. Royal 12F. XIII,
folio lOv. British Museum 399
231 Knights and two embracing Mules from the Rochester Bestiary.
MS. Royal 12 F. XIII, folio 42v. British Museum 399
232 Eight Beast Musicians. MS. Lansdowne 420, folio 12v. 13th
century. British Museum 400
233 Dancing Bear and Ass. MS. Arundel 91, folio 47v. c. 1100.
British Museum 400
234 Birds and Drolleries. MS. Royal 1 D.I., folio 5. Mid-14th century.
British Museum 401
235 Birds and Archers. Apocalypse. MS. R. 16.2, folio 30v. c. 1230.
Trinity College, Cambridge 403
236 Birds feeding on Corpses. Apocalypse. MS. R. 16.2, folio 23v.
c. 1230. Trinity College, Cambridge 404
237 Birds descending on the fallen Babylon. Add. MS. 17333,
xviii folio 36. Early 14th century. British Museum 405
2 J8 Gathering of the Birds at the Angel's Call. Apocalypse. MS.
Royal 19B.XV, folio 37v. c. 1320-30. British Museum 406
239 St. Francis and the Birds. MS. 96, folio 22. Eton College 407
240 St. Francis and the Birds. MS. 16, folio 66v. Corpus Christi
College, Cambridge 407
241 St. Francis and the Birds. MS. Add. 42130, folio 60v. The
Luttrell Psalter, c. 1340. British Museum 408
242 St. Francis and the Birds. Taymouth Horae. MS. Yates Thompson 13.
British Museum 409
243 The Creation of the Birds and Animals. Add. MS. 47682, folio 2v.
The Holkham Bible. 14th century (first half). British Museum 410
244 The Creation of the Birds and Animals. MS. Royal 2 B. VII, folio 2.
The Queen Mary Psalter. Early 14th century. British Museum 411
245 Owl mobbed by Magpies and other Birds. East Anglian Book of
Hours. MS.W. 105, folio 10b. Mid-14th century. Walters Art
Gallery, Baltimore 412
246 Seagull and other Birds. Beatus Page. Add. MS. 24686, folio 11.
Tenison Psalter. Before 1284. British Museum 414
247 Hare Hunt. Taymouth Horae. Yates Thompson MS. 13, folio 69v.
c. 1350. British Museum 416
248 Stag Hunt. The Cure'e, Present and Mor. Taymouth Horae. Yates
Thompson MS. 13, folio 83v. c. 1350. British Museum 416
249 The Present, and the Mor. MS. Royal 10E.IV, folio 256. The
Smithfield Decretals. Mid-14th century. British Museum 416
250 Reynard, disguised as a Bishop preaching to Birds; Reynard
stealing a Goose pursued by Woman with distaff. MS. Royal
10E.IV, folio 49v. The Smithfield Decretals. British Museum 417
251 Monkeys pillaging a sleeping Pedlar. MS. Royal 10E.IV, folio 149v.
The Smithfield Decretals. Mid-14th century. British Museum 417
252 The Clever Daughter. MS. Douce 366, folio 72. Psalter, c. 1310-25.
Bodleian Library, Oxford 418
253 Boys with Butterflies. MS. Royal 2B.VII, folio 163v. The Queen
Mary Psalter. Early 14th century. British Museum 418
254 Butterfly Hunt. MS. Bodley 264, folio 135r. Romance of Alexander.
c. 1400. Bodleian Library, Oxford 419
255 Dragonfly. MS. Add. 42130, folio 36v. The Luttrell Psalter.
c. 1340. British Museum 419
256 Kingfisher and Leech. MS. Add. 42130, folio 61v. The Luttrell
Psalter, c. 1340. British Museum 420
257 Sea Monsters at the Last Judgment. MS. Add. 47682, folio 40v.
14th century (first half). The Holkham Bible. British Museum 421
258 Varieties of Birds. Pepysian sketchbook, folios llv-12r. Late 14th
century. Magdalene College, Cambridge 422
259 Hawking Scene. From the Queen Mary Psalter. Royal 2B.VII,
folio 151. British Museum 423
260 Goat, Hare, Wolf and Leopard from Taccuino di Disegni by Giov.
de' Grassi, folio 16. Bibl. Civica, Bergamo 424
261 Birds and Apostles. Mural. 14th century (second quarter). Long-
thorpe Tower, Peterborough 425
262 Wheel of the Five Senses. Mural. 14th century (second quarter).
Longthorpe Tower, Peterborough 428
263 Birds and Beasts around the Tree of Vices. East Anglian Book of xix
 Hours. MS. W.105, folio 9v. c. 1400. Walters Art Gallery,
Baltimore 430
264 Bird-catching. Fresco in the Pope's Wardrobe. Palais des Papes,
Avignon 431
265 Solitary Swan. Fresco in the Pope's Wardrobe. Palais des Papes,
Avignon 431
266 Pig with Bagpipes. South wall of Nave. Melrose Abbey,
Roxburgh 434
267 White Rabbit. Doorway detail, chancel aisle, St. Mary's, Beverley,
Yorks. 434
268 Two Puppies playing. Misericord. 15th century. Cathedral, Wells 435
269 Owl clutching Mouse. Misericord. 15th century. Cathedral, Ely 436
270 Reynard, disguised as a Bishop, preaching to Birds. Bench-End.
436
15th century. Brent Knoll
271a Basilisk and Weasels holding Rue in their mouths. 15th century.
Misericord. Cathedral, Worcester 437
271b Spoonbills. Misericord. 15th century. Lavenham, Suffolk 437
272 Lizard. Stone Corbel, c. 1200-10. Cathedral. Wells 438

Chapter 12
273a Insects, Cats and Crustacean. From Villard de Honnecourt's
Sketchbook. 13th century (first half). Bibliotheque Nationale,
Paris 440
273b Lion and Hedgehog. From Villard de Honnecourt's Sketchbook.
13th century (first half). Bibliotheque Nationale, Paris 440
273c Lion with Keeper. From Villard de Honnecourt's Sketchbook.
13th century (first half). Bibliotheque Nationale, Paris 440
274 St. Francis' Sermon to the Birds. By Taddeo di Bartolo, 1403.
Niedersachsische Landesgalerie, Hanover 443
275 Madonna and Child with Goldfinch. By Cenno di Francesco.
Kress Collection, Museum of Art, University of Kansas 446
276 Stork's Nest and Hawks from Romance of Alexander, MS. 264,
folio 128r. c. 1400. Bodleian Library, Oxford 447
277 Elephant with Keeper. From MS. 16, folio IVa. 1255. Corpus
Christi College, Cambridge 448
278a Geese Flight in V-formation from Frederick II's Treatise on
Falconry. Palat. Lat. 1071, folio 15r. c. 1260. Bibl.
Apostolica Vaticana, Rome 450
278b Geese Flight. Simon d'Orleans. MS. fr. 12400. c. 1290.
Bibliotheque Nationale, Paris 451
279 Dragon and Greyhound supporters. Stone carving by Thomas
Stockton, 1512-13. King's College Chapel, Cambridge 454
280 Saints and Animal Companions. Jerome with Lion and Giles with
Hind. Painting. Master of the Life of the Virgin. 15th century.
National Gallery, London 455
281 St. Claude admonishing a Bear. Miniature. Latin MS. 164, folio
246v. c. 1430. John Rylands Library, Manchester 457
282 St. Anthony and Hippocentaur. From the Belles Heures de Jean,
Due de Berry. Miniature by the Limbourg Brothers, c. 1410-13,
xx folio 192. Metropolitan Museum (Cloisters Collection), New York 457
283 Heraldic Lions. Banner of the Talbot-Strange Family. Drawing
from MS. B.29. 13th-14th century. College of Arms, London 458
284 Dunstable Swan. Brooch. Gold and Enamel. Early 15th century.
British Museum 460
285 Mourning Swans at feet of effigy of Margaret de Bohun (d. 1391),
wife of Hugh Courtney, Earl of Devon. Cathedral, Exeter 461
286 'A Mon Seul Desir'. Unicorn Tapestry. 1480—90. Cluny Museum,
Paris 464
287 Hunt of the Unicorn. Tapestry. French or Flemish. Late 15th
century. Metropolitan Museum (Cloisters Collection), New York 465
288 Madonna of the Unicorn. Central panel of Altarpiece. c. 1430.
Cathedral, Erfurt 466
289 Mock Tournament of Monkeys and other Animals. From a Book
of Hours by the Master of Mary of Burgundy, c. 1485-90. MS.
Douce 219. Bodleian Library, Oxford 467
290 Unicorn and Elephant. Miniature. Bolognese. 14th century.
Mrs. Schilling Collection, London 467
291 Roe Deer Hunt. Tapestry. Flemish, c. 1450. Chatsworth
Tapestries. Victoria and Albert Museum, London 473
292a Wild Boars from Hunting Book of Gaston Phoebus, Comte de
Foix. MS. Fr. 616, folio 29v. Early 15th century. Bibliotheque
Nationale, Paris 474
292b Foxes from Hunting Book of Gaston Phoebus, Comte de Foix.
MS. Fr. 616, folio 34v. Early 15th century. Bibliotheque Nationale,
Paris 474
292c Hunting Dogs from Hunting Book of Gaston Phoebus, Comte de
Foix. MS. Fr. 616, folio 37v. Early 15th century.
Bibliotheque Nationale, Paris 475
293 Insects and Flowers from a Book of Hours by The Master of
Mary of Burgundy. MS. Douce 219/20, folio 171r. c. 1485-90.
Bodleian Library, Oxford 476
294a January - Farmyard Scene. Birds. Calendar picture. Grimani
Breviary, c. 1500. Marciana Library, Venice 477
294b October — Boar Hunt. Calendar picture. Grimani Breviary.
c. 1500. Marciana Library, Venice 477
295 Moths, Butterflies and Flying Ant. Coccharelli Book of Hours.
MS. Eg. 3127, folio 1. Late 14th century. British Museum 478
296a Cheetah. Drawing by Pisanello. 15th century (first half).
Louvre, Paris 480
296b Head of Horse. Drawing by Pisanello. 15th century (first half).
Louvre, Paris 481
297 Procession of the Magi. Detail. Benozzo Gozzoli. 1459. Riccardi
Palace, Florence 483
298 Stag Hunt of the Emperor Maximilian and the Elector Frederick
the Wise of Saxony by Cranach. 1529. Kunsthistorisches
Museum, Vienna 484
299 Dromedary, Swan and Monkey. Marginal drawings to Emperor
Maximilian's Prayerbook. Folio 42v. Albrecht Diirer. 1515.
Staatsbibliothek, Munich 485
300 Hind between St. Anthony and Paul. Matthias Griinewald.
Isenheim Altarpiece. Detail. 1512-16. Unterlinden Museum, Colmar 486 xxi
 301a and b (a) Entombment, [b) Owl in Oculus. Details of the
Entombment. Altarpiece on wood. Juan de Flandes. 1505.
Cathedral, Palencia 487
302 Birds from The Garden of Earthly Delights. Jerome Bosch. Late
15th century. Prado, Madrid. 488
303 The Frog and the Bull. Woodcut illustration from Aesop's Fables,
Naples, 1485. 490
304 Birds. Hand-coloured woodcut from Bartholomew the English-
man's Boeck van den proprieteyten den dinghen, Haarlem, 1485. 491
305 Lion and Samson, symbolizing 'Kraft' (Strength), a pun on the
name of the printer Krafft Miiller of Strassburg; the Lion holds a
pillar (emblem of fortitude) and Samson the jawbone of an ass.
Printer's device from the Chronicon of Conrad, Abbot of Ursberg,
Strassburg, 1537/8. 492
306 The Great Northern Diver. Woodcut from Konrad Gesner's Icones
avium omnium, Zurich, 1560. 493

xxii
Editors' Foreword and Acknowledgments

Francis Klingender died on July 9th 1955, at the early age of forty-seven.1
Shortly before his death he had completed the typescript draft of a book on
animals in art and thought, a subject for which he showed a rare sensibility.
An interest inherited from his father, who had been a noted painter of
animals, combined with the sociological preoccupations of his earlier career,
led him to regard the work as possibly his major achievement. Despite the
exclusion of Oriental art, the manuscript provided an exhaustive survey of
animals in art from pre-historic times to the end of the nineteenth century,
assembling a vast amount of material hitherto widely scattered and not
available in any single book. In this considerable undertaking he was
encouraged by Sir Julian Huxley whose helpful annotations upon the original
manuscript have largely been incorporated by the editors.
In a letter to Sir Julian, Klingender wrote that his book was about 'the
meaning attached to animal art by its makers in successive periods'. To
elucidate this relationship of man with animals an objective inquiry into
the latent as well as the manifest meanings of animal art was necessary.
In this task Klingender made frequent use of Marxist and Freudian inter-
pretations, but he never claimed that these exhausted all possible attitudes
to animals. Of special interest is his thesis that animals assumed a symbolic
function in expressing the hidden or secret urges of society, as well as
serving simultaneously as the companions or servants of man. But Klingender
was equally concerned with the development of scientific natural history,
with iconography and the succession and alternation of artistic styles, and
with the broad psychological, sociological and mythical implications of
the ambivalent relationships of man with the animal world and to the animal
in man himself. Much has been written recently about the animal component
in human nature, but here the role of the 'naked ape' is reversed and we see,
instead, animals in the habiliments of men.
In preparing the typescript for publication the editors faced an immediate
problem. The draft was virtually complete as far as the end of the Middle
1 For a detailed biographical account of Francis Klingender the reader is referred to the
preface by Sir Arthur Elton in the reprint of Klingender's Art and the Industrial Revolution
(London, 1968). His Goya in the Democratic Tradition (1948) was re-issued in the U.S.A. in
a paperback in 1968 with an introduction by Sir Herbert Read in which he called it
'undoubtedly a classic of art criticism'. xxiii
 Ages, but later chapters, from the Renaissance to the end of the nineteenth
century, were sketchier in treatment, lacking notes and bibliography. It was
decided, therefore, to concentrate on the earlier period closing the survey
around the year 1500, and thus fit the material into the limitations of a single
volume. To mitigate the abrupt ending caused by this decision, a brief
Epilogue has been added, drawn mainly from passages in the later, un-
published sections of the text; this will, it is hoped, indicate the direction
which a study of animal art in its later periods might pursue.
The editors' aim has been to preserve and to transmit to a wider audience
something of Klingender's enthusiasm for his subject (which had infected
his immediate circle in the early nineteen-fifties). But they realize that, in
shortening the lengthy summaries of literary texts and in making extensive
syntactical revisions, the author's original meaning may, in some instances,
have been unwittingly modified. In Chapter 12 the section on heraldry has
been amplified to explain more fully the links between the science of
heraldry as it developed in the later Middle Ages and the much older
'heraldic' animal style which is a recurring theme in the author's analysis.
Finally much work has been done on the Notes. These were largely complete
for chapters 1-9 and any substantial additions by the editors are shown in
square brackets. For chapters 10-12 the Notes existed in fragmentary form
only and have been supplied by the editors. They cannot hope in these chap-
ters to have tracked down all Klingender's sources. Throughout the book
some attempt has been made to bring both Notes and Bibliography up-to-date
by listing the latest editions of books (especially when these contain new or
better illustrations) and by including some of the relevant literature pub-
lished since 1955. It will be obvious that any titles with an imprint of a later
year cannot have been seen by the author, but they are included to increase
the usefulness of the book. In certain subjects, such as prehistoric art, on
which much new material has appeared in the last decade, the editors are
aware that Klingender's conclusions were based on literature which may now
be superseded by later discoveries.
In acknowledging the help of friends and colleagues over a considerable
period the editors' greatest debts are to Sir Julian Huxley, who first en-
couraged the author to embark on the book, and to Mr. Arthur Wheen,
sometime Keeper of the Library at the Victoria & Albert Museum. The latter
has at every stage of the work given the editors unfailing help and advice
in preparing the final text and has contributed many emendations. Thanks
are also due to Lady Cox (M.D.Anderson), to Mr. John Fuller (Victoria &
Albert Museum) for constant and ever willing help over illustrations, and to
Mr. Peter James (British Museum, Natural History), Dr. Michael Kauffmann
(Victoria & Albert Museum), Dr. Elfriede Knauer (Berlin, Staatl. Museen,
Antikenabteilung), Mr. Ian Mackenzie-Kerr, Miss Dorothy Miner (The
Walters Art Gallery, Baltimore), Dr. Ada Polak (Arts and Crafts Museum of
Norway), Dr. C. H. Talbot (The Wellcome Foundation), Dr. Frank Taylor
(John Rylands Library, Manchester) and to Mrs Steer who typed the revised
manuscript.
Evelyn Antal
xxiv October 1969 John Harthan
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"No better! Oh dear!" said Michael. Then, as the cold air
blew in upon him, he began to cough.

"Now do go in out of the cold," said the girl. "You'll be

worse, if you don't take more care of yourself, Mr. Betts."

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catch your death." And she stepped inside.

Michael led her into the inner room, and tried feebly to stir
the dull fire into a blaze.

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making a fire. But you did ought to keep a better fire than
this, Mr. Betts. You don't know how to take care of
yourself."

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care of me, as your father has."

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"Is he worse?" asked Michael.

She nodded. "This cold wind is so bad for him," she said.

Observing the girl more closely, Michael saw that her face
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"Set the kettle on the fire," he said, "and make yourself a

cup of cocoa."

"No, thank you," she said. "I'll make a cup for you with
pleasure; but none for me—thank you all the same."
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"Ah," said Michael, with a shiver.

"We must just hope for the best," said the girl, striving after
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"No," said Michael, "you did not tell me that."

They sat in silence for a few minutes. Presently the water

began to boil, and his new friend busied herself in making
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"What work do you do?" he asked presently.

"I make matches when I can get taken on," she replied;
"but just now is a slack time in the trade."

"Then you're badly off, I fear," he said.

"I haven't complained, have I?" she asked, turning upon

him with an air of defiance. Then, with an evident desire to
turn the conversation, she remarked, as she looked about
her, "What a sight of books you have, Mr. Betts!"
"Do you like books?" he asked.

She nodded her head. "I'm awful fond of reading."

"Well," he said, with the kindest intention, "if there are any
of my books that you would like to read, I'm willing to lend
them to you."

"Oh no, thank you," she said hastily, colouring as she

spoke, and giving a quick little movement of the head, as if
the suggestion annoyed her. "I don't want to borrow your
books, Mr. Betts."

He looked at her curiously. She was certainly a very strange

girl. But he liked her. He was beginning to feel considerable
confidence in her.

"I must go now," she said. "I don't like to leave father for
long."

"Stay a moment," said Michael in a timid, hesitating way. "I

wish you'd do something for me before you go."

"What is it?" she asked.

"Just kneel down and say a prayer for that poor little child. I
want to pray, but I can't. My heart is so hard—and—and—
it's years since I tried—but I'd like to hear you."

She looked startled and alarmed.

"Oh, I can't," she said; "I can't pray out loud like that."

"Say it in a whisper," he suggested.

She hesitated, her colour coming and going under the strain
of excited emotion.
"I'll try," she said at last. "She says it don't matter what
words we use, as long as they come from the heart. God
can read our heart, and He will understand."

So she knelt down, and Michael bent beside her, whilst in

broken, childish utterance, the very quaintness of which
seemed to prove its sincerity, she asked the loving Father to
spare the life of little Margery. And Michael prayed too,
breathing forth what was perhaps the first true prayer of his
life. The prayer seemed to bring the assurance of its
answer. There were tears in the eyes of each as they rose;
but God's comfort was in their hearts. The girl said not a
word as Michael shook hands with her; but when she
quitted the house and walked quickly homeward her heart
was filled with a strange wonder not unmixed with joy.

CHAPTER XI
MUTUAL CONFESSION

WHEN Michael rose the next day, he found to his

satisfaction that the wind had changed. It no longer blew
from the north-east. There was a soft, spring-like feeling in
the air. It was time for Spring to herald her approach. The
winter had been long and hard. No one felt more pleasure
at the thought of its departure than did Michael Betts.

He opened his shop betimes on this fair morning, and then

set to work to put things in order there. He felt very weak
as he did so. More than once he dropped the heavy volumes
he tried to lift. It was clear he was not the man he had
been. No, he was beginning to fail. And then he thought
with a smile and a sigh of the little fair-haired maiden who
had thought him "so very old." He was very anxious to
know how this morning found her. He kept hoping that the
girl whose acquaintance he had made in so strange a
manner would come in to tell him how the little sufferer
was; but she did not come, and at last, unable to wait
longer, he sent Mrs. Wiggins round to the house to make
inquiries.

The news she brought cheered him greatly. She had been
told that the little girl had taken a turn for the better, and
there now seemed hope of her recovery.

"Thank God!" ejaculated old Michael.

He could not trust himself to say more. He felt so glad that

he could have cried like a child for very gladness. As it was
he had to take off his spectacles and wipe them very
carefully more than once before he could go on with his
work.

"Thank God," he said to himself over and over again. God

had heard his prayer—their prayer. How he wished his new
friend would come in, that they might rejoice together! He
had known her but for a day; he did not even know her
name; but the sorrow and anxiety they had shared, the
prayer they had joined in breathing forth as from one heart,
had united them by a close bond of sympathy which years
of ordinary acquaintance could not have wrought.

But the girl did not appear all that day, nor the second day,
nor the third. Michael began to feel a vague uneasiness
concerning her.
"Surely she might have come round just to say how pleased
she was," he thought. "Can it be that she wants to drop my
acquaintance, or is her father worse? If only I knew where
she lived, I'd go and see."

Meanwhile each day Margery was reported to be a little

better. Her throat grew clearer, her voice more distinct, and
signs of returning strength gladdened the heart of her
anxious mother, till at length the little one's recovery no
longer seemed doubtful.

How thankful Michael was, no words can tell. He felt that if

the little one had died, he could never have forgiven himself
for what he had done. As it was, the burden of his past
weighed heavily on his mind. He fell into the habit of
walking round to Mrs. Lavers' house every evening when his
shop was closed. He would carry with him some little gift of
flowers or fruit for the child. And Mrs. Lavers never refused
these, never showed by word or look the least
consciousness of the wrong he had done her.

Once when he spoke of it, she said: "Dear friend, let us

forget all about that. Our Lord taught us that if we did not
forgive the brother who wronged us, we could have no
blessed sense of God's forgiving love. I forgive you from my
heart, and God will forgive you too if you ask Him."

But old Michael went home with a heavy heart. He

remembered how he had treated his own brother, and it
seemed to him that he had no right to expect that God
would forgive him his sins.

One evening Michael was in his shop, setting things in order

at the close of the day. He had not yet put up his shutters;
but he scarcely expected to have any more customers that
day, when suddenly the door opened, the bell tinkled, and
he looked up to see the worn, weary-looking preacher
entering the shop. It was some time since this gentleman
had been there, and Michael was pleased to see him again.

"Just in time, sir," he said; "in another ten minutes my

shutters would have been up."

"Ah, well, I am very glad to find you here," replied the

gentleman; "though I do not come as a purchaser. But what
is the matter with you, Betts? You are not looking at all
well."

"I have not been well, sir; but I'm better now. I've had a
sharp attack of rheumatic fever, and it has left me as you
see. I shall never be again the man I was."

"Dear me! I am sorry to hear that. Rheumatism is a terrible

thing. You do look as if it had pulled you down. And
unhappily I bring you news that will distress you. Do you
know I am visiting a poor man in the district where my
mission-hall is who tells me he is your brother."

Michael started and changed colour.

"It's true, sir," he said, after a moment's pause; "he is my

brother."

"I thought so. I could not doubt his story as he told it. It is
a sad story, Mr. Betts. He is now on his death-bed. I have
come to entreat you to go with me to him."

Michael sank on to the nearest chair. He was trembling so

that he could not stand. He said nothing, and the gentleman
went on speaking.

"He feels that he has wronged you grievously, and he wants

to make what amends he can, and to hear you say you
forgive him, ere he passes away. I don't think you will find it
hard to forgive him when you see him as he is."

"There's no need to talk so, sir. You don't understand. I've

most need to ask his forgiveness. The wrong wasn't all on
one side. I can see that now, though I couldn't before.
Where is he, if you please, sir?"

"At no great distance. I will take you there at once, if you

can come."

"Ay, I can come, sir; I have only to put up the shutters, and
I shall be ready."

So in a few minutes they were on their way. In Oxford

Street, the gentleman hailed an omnibus going westward,
into which he helped old Michael, and then seated himself
beside him. From this they alighted when it had carried
them about a couple of miles.

"Now, do you feel able to walk a few steps?" the minister

asked Michael.

"Yes, yes, I can walk," he replied; but in truth, he felt faint

and tremulous, and could not have walked far. Happily it
took them but a few minutes to reach their destination. A
dreary, miserable street it was, though it lay very near to
the large and handsome dwellings of the rich.

Michael looked with dismay on the dirty, squalid houses, the

ill-kempt, slatternly women who sat on the doorsteps, or
hung about the public-houses—there were three in the
street, though it was not long—and the ragged urchins who
disported themselves in the road. The minister paused
before one of the houses. The wretched-looking women
crouched together on the doorstep slowly rose and made
room for them to pass into the house. The minister led the
way up a foul and rickety staircase. Not till he reached the
top did he pause and tap at a door. A voice within bade him
enter, and he opened the door and advanced into the room.

Michael was slowly following him. The steep stairs tried his
breathing, the close, ill-smelling atmosphere made him feel
faint. He had to pause at the top of the stairs, clinging for a
moment to the unsteady bannister, ere he could find
strength to advance. As he waited, he heard a weak voice
within asking painfully:

"Will he not come, Mr. Mason? Oh, don't tell me that he

refuses to come!"

Michael went forward quickly into the room. It was a poor

place. A table, a couple of chairs, a box or two, and the bed
on which the sick man lay, were all the furniture; but it was
fairly clean, and there were tokens of womanly efforts to
make things as comfortable as they might be. By the bed
stood the girl whose acquaintance Michael had made at Mrs.
Lavers' door.

He started, and an exclamation of surprise escaped him as

he recognised her; but she made a quick movement
enjoining him to silence, and he said nothing.

"I've come, Frank," he said, turning his eyes upon the bed;
"I've come, and with all my heart, I wish I had come
sooner."

There could be little doubt that the hand of death was on

the man who lay there. His wasted face was deadly pale,
the breath came with difficulty through his parted lips;
there was a look of anguish in his eyes, and when he spoke
it was by a painful effort.
"Thank God you've come in time, Michael. Will you come
and sit here close beside me, so you may hear what I have
to say, though I can't speak loud?"

Michael took the seat indicated without a word. Such

emotions swept over him at the sight of his brother that it
was impossible to speak.

"Kate," said the sick man, making a sign which she

understood in a moment.

She knelt down beside the bed, and began fumbling for
something beneath the mattress. Presently she drew forth a
tiny bag made of faded scarlet flannel, which she placed
beside her father.

"Michael," said the sick man feebly, "I was a sore trial to
you before we parted. You might well feel ashamed of me,
as I know you did. I was a bad, ungrateful brother."

"Don't speak of it," said Michael huskily; "never mind that

now."

"But I must speak of it. I sent for you that I might speak of
it, as Mr. Mason knows. Michael, the last time you gave me
shelter in your home I was so ungrateful, so shameless,
that I stole one of your books and carried it off with me."

"I know that you did," replied Michael, "but never mind that
now, Frank."

"It was a Greek book," continued the other, without heeding

his words. "I'd heard you say that it was worth seven
pounds. I could not get that for it; but I found a dealer who
was willing to give me half, and for that I sold it. The money
soon went in drink, and I thought no more about it for a
long time. Then I married. At first I let my wife think that I
had no one in the world belonging to me; but one day when
I'd taken a drop too much, I let out that I had a brother
who was a well-to-do tradesman, and then she set her
heart on seeing me reconciled to my brother. I had to tell
her the whole story at last, just to make her see it was
impossible. But even then she would not see it. No; she just
said that I must save the money I'd had for the book, and
pay it back to you. It was she who began the saving, you
see. We did not get on very fast with the saving; but we
made a beginning. Then she fell ill. Mr. Mason began to visit
us then. He's been a good friend to us. He tried to make me
a sober man for a long, long while before he succeeded."

"Don't say that I succeeded," said Mr. Mason. "It was the
grace of Christ that delivered you from sin and enabled you
to begin a new life."

"It is more than a year ago," said the sick man slowly,
"since I took the pledge, and Kate and I have been trying
ever since to add to the money in the bag. My wife left it in
Kate's hands; she knew she could not trust it to me. It has
not been easy to save. Kate put most into it, not I. She's a
good girl is Kate, though I say it."

"Ah, she's a good girl," said Michael, so fervently that his

brother looked at him in surprise.

"What, you say so too? But you do not know her."

"I can tell by the looks of her," said Michael evasively.

"Ah, well—it's true anyway. But now about this money,

Michael. I have so longed to make your loss good. I thought
you'd believe I was a changed man if I gave you back your
money. But it's been hard work. We've had to draw out
some of the money since I've been ill. There's only five
pounds in the bag now, and I wanted to make it seven, for
you said the book was worth that to you. Here's the money;
take it and count it."

But Michael pushed the bag from it.

"No, no, Frank; keep the money. I don't want it, indeed. I
would rather not have it."

"But you must take it," cried the other excitedly. "I can't
rest unless you do. Ah, Michael, you don't know, an honest,
respectable man as you've always been, what it is to have
the burden of such a deed resting on your conscience."

"Don't say that, Frank—don't for goodness sake talk that

way, for it's not true!"

"But it is true," protested the other; "don't I know the good,

honest, steady man you've always been? Haven't I
sometimes felt proud that I had such a brother, and wished
enough that I'd been more like you? Why, I've told Kate
here about you often enough. Once I sent her round to the
shop, to have a look at the place and to see the kind of man
you were."

"But all the while you were under a mistake concerning

me," groaned Michael, feeling himself compelled to
confession. "What if I were to tell you that I am a man who
has robbed the fatherless and the widow?"

"I'd not believe it," returned his brother. "No, not if you said
it with your own lips, Michael."

"But it is true," he cried. And then brokenly, confusedly, he

told the story of how he had kept the bank-notes he had
found in the professor's book.
There was silence for some moments when he had ceased.
Then the sick man leaned forward and laid his wasted hand
on his brother's.

"Oh, I am so sorry for you, Michael," he whispered. "I know

what you must have suffered with that burden on your
heart. We are fellow-sinners."

"But I am the worse," said Michael. "'The first shall be last,'

the Bible says. In the pride of my heart I thought myself far
above you; but you would never have done a thing like
that. No, you have been a better man than I all along. It's
bad to be profligate; but I do believe it is worse to have a
hard, unloving, pharisaical heart."

"'If we confess our sins, He is faithful and just to forgive us

our sins,'" said the minister; and, as they all kept silence,
he began to pray aloud, expressing as he believed the
desire of each heart as he besought the Divine Father to
forgive and blot out the sins of the past.

And as he prayed, its burden fell from the spirit of Michael

Betts; his proud, hard heart was broken, and became as the
heart of a little child in its sorrow and contrition. It was the
birth-hour of a new life to him.

CHAPTER XII
MICHAEL'S HOUSE BECOMES A HOME
THE reconciliation so late effected between the brothers was
complete. Michael's one thought now was how he might, in
the brief time that remained to him, atone in some degree
for the coldness and indifference of years. He would fain
have removed his brother to a more comfortable dwelling;
but the medical man whom he brought to give his opinion
refused to sanction the attempt. The risk was too great. The
excitement and fatigue involved in the removal would
probably hasten the end. All that could be done was to give
as homelike an appearance as possible to the dreary room
in which the sufferer lay, and to provide him with every
comfort his condition demanded.

These efforts were not without result. His heart relieved of

the load which had pressed on it, and gladdened by his
brother's kindness, the sick man now enjoyed an ease of
mind which could not fail to influence beneficially his bodily
condition. He rallied wonderfully, and Kate even began to
hope that her father's life would yet be spared. But Michael
knew better. He was too old to be deceived by such hope.
He could see that death, though it had relaxed, had not
relinquished its grasp.

Every hour that Michael could spare, he spent by his

brother's bedside. He even engaged a young man to help
him with his business, that he might have more time at his
disposal. But the new interest he had found did not make
him forgetful of little Margery. Every day he sent to the
house to enquire how she was doing. He knew that Kate,
when she saw him, would be sure to question him eagerly
as to the report he had received. She was not so absorbed
by anxiety for her father as to be forgetful of the dear little
maiden who was ill, or of her mother, the kind friend to
whom she owed so much. She and Michael, whom she was
learning to call "uncle" now, a name which sounded
strangely in the ears of each, rejoiced together over the
good news of the little invalid which each day brought.
Margery was out of danger now and advancing steadily
towards health.

One pleasant April afternoon, Michael determined to walk

round to Mrs. Lavers' house ere he went to see his brother.
He had bought that morning of a dealer at his door a pot of
pretty pink cyclamen which he thought would please little
Margery, and he wished to carry it to her ere the flowers
began to fade.

As he was handing it to the servant at the door, Mrs. Lavers

came down stairs, and, seeing him, advanced to speak to
him.

"How very kind of you!" she said, as she admired the pink
blossoms. "Margery will be so pleased. I never knew such a
child as she is for flowers. Won't you come upstairs and see
her for a minute? I know she would like to see you, and all
fear of infection is past now."

Michael could not resist this invitation. He followed Mrs.

Lavers upstairs, treading as gently as he could.

Margery had been carried into the little sitting-room, and

lay on a sofa near the window. The room seemed full of
flowers; there were so many friends who loved to send
flowers to little Margery. She looked very fair and fragile as
she lay there clad in a little blue dressing-gown, with her
golden curls tossed in wild disorder on the pillow. Michael
was dismayed to see how white she was, save for the rosy
spot which glowed in each cheek, and how plainly the blue
veins showed on her wasted temples. Her favourite doll
reposed by her side, and open on her knee lay a book with
coloured pictures, which Michael recognised at a glance as
the "Pilgrim's Progress," with the purchase of which their
acquaintance had begun.

The smile with which Margery greeted him as soon as she

caught sight of him was reassuring to Michael. Surely no
child who was not getting well could look so radiant.

"Mr. Betts has just come up to say, 'How do you do?' to you,
dear," said her mother, "and see what lovely flowers he has
brought you."

"Oh, what beauties!" cried the child delightedly, "I haven't

had any like them, have I, mother? Thank you very, very
much, Mr. Betts. Please put them here, where I can see
them, mother."

"And are you feeling a little better, missy?" asked Michael.

"Oh yes, much better, thank you. Mother says I shall soon
be able to run about again, but I don't feel as if I should be
able to run fast for some time to come. I can't even play
with Noel yet. He seems so rough and noisy."

"I see you are able to amuse yourself with your book,"
Michael said.

"I like looking at the pictures," she replied, "but it tires me

to read much. It is funny you should come just now, Mr.
Betts, for I was only thinking of you a moment ago. I often
think of you when I look at my 'Pilgrim's Progress.'"

"That's because you bought it of me, I suppose, missy."

She shook her head, and her little face grew thoughtful.

"No, that's not the reason. It's because I never can tell to
what part of the book you belong. You can't be Christian or
Faithful, don't you see, because you say you never did
anything wrong in your life."

A deep, dull red suddenly suffused Michael's face.

"Don't say that, miss," he exclaimed in a tone of pain; "I

never ought to have said it. When I spoke so I did not know
myself."

"Then it wasn't true," said Margery.

"No, indeed, miss. If I'd spoken the truth, I should have

said that I'd been doing wrong all my life, and cherishing a
hard, proud, unloving spirit. I did not love God, nor even
my own brother, and you can't love one without loving the
other, you know, miss."

"I could never help loving Noel," said little Margery, "but
what did you do that was so wicked, Mr. Betts?"

"Don't ask me, miss. I would not like to tell you the bad
things I have done. Why, you've been one of the sufferers
by my wrong-doings. You ask your mother, and she'll tell
you how shamefully I wronged both her and you."

"No, no," said Mrs. Lavers, laying her hand gently on the old
man's arm, "Margery will never hear of that from me, Mr.
Betts. That's all over and done with. Don't speak of that
again, please."

Margery looked curiously from one to the other.

"Then you had a burden all the time, Mr. Betts?" she said.

"Ay, that I had, missy, and a burden which grew heavier

and heavier, when once I began to feel it."
"Why that was just like Christian," said little Margery,
looking much interested; "and have you lost your burden
now, Mr. Betts?"

"Yes, thank God, I have lost it, miss. I lost it as Christian

lost his, at the foot of the cross. In other words, missy, I
believe that God has forgiven me my sins for the sake of
Jesus Christ, who died for me and such sinners as me."

"Then you are very happy now," said little Margery.

"I'm happier, miss; yes, truly, I'm happier than ever I was
before, but I can't forget the past. I'd give anything to be
able to live the years of my life over again."

"What a number you would have to live!" said little Margery

thoughtfully. "For you're very old, aren't you, Mr. Betts?"

"Ay, missy, I'm old," he answered.

He felt old indeed when a little later, he found himself by his

brother's bedside. To think that that big, sturdy girl was the
daughter of his brother Frank! It did not seem so very long
ago that he had been "little Frank," his mother's spoiled
darling. He had always seemed so very much younger than
he, Michael, was; but now he lay there a haggard, wasted,
aged-looking man, drawing near to death. His feet were on
the brink of the dark river now. A change had set in during
the night. Michael needed not to be told that his brother
had but a few hours to live.

"I would not mind if it were not for Kate," the dying man
murmured, turning towards his daughter with love and
yearning in his glance. "I don't like to leave her alone in the
world."
"She shall not be alone," said Michael, "there shall always
be a home for her with me."

"Do you hear that, Kate?" the sick man asked with
brightening eyes. "Your uncle says you shall have a home
with him."

But the girl's look did not brighten.

"I don't care what becomes of me if you leave me, father,"

she said almost sullenly; then added, with passionate
emotion as she bent over him, "If only you would get better,
we might be so happy yet."

A lump rose in Michael's throat as he watched the girl's

look, and heard her words. No one had ever loved him like
that.

"Frank," he said slowly, "folks reckon me a well-to-do man;

but you're richer than I am. I've no one to love me, or to
care whether I live or die."

His brother turned his eyes on him and understood.

"She'll love you, Michael; she'll love you too, if you're good
to her. She is a good girl, is Kate, though she has had a
rough bringing up. I called her Katharine, you know, after
our mother. I've tried to tell her what our mother was, that
she might be like her. But I've been a poor father to her.
Mine has been a wasted, ill-spent life, and now I can but
give it back into the hands of God, trusting in His mercy
through Jesus Christ."

He lay back exhausted by the effort he had made in saying

so much. His life was ebbing fast. He said little more save in
feeble, broken utterances. The end came peacefully about
midnight, and the life which, with its errors and failures,
God alone could truly judge, was sealed by the hand of
death.

Michael took the weeping girl to his own home, and did his
best to comfort her. Mrs. Wiggins predicted that Kate would
not long live with her uncle. It seemed to her impossible
that so ill-assorted a pair could get on together, or a girl
accustomed to a free, independent life, put up with an old
man's fidgets. But the result proved her prediction false.
Kate was of a warm, affectionate nature, and pity
constrained her to be patient with the poor, lonely old man,
whilst he was disposed to cling at any cost to the only being
who belonged to him.

Their common interest in Mrs. Lavers and sweet little

Margery was a lasting bond of sympathy. Mrs. Lavers still
showed herself a true friend to Kate. She encouraged the
girl to come often to her house, and sometimes of an
evening, she and her children would "drop in" to pay a visit
to old Michael and his niece. The little ones loved to explore
the marvels of Mr. Betts' shop, and never ceased to wonder
at "the heaps and heaps of books." Mrs. Lavers was able to
give Kate many a useful hint which helped her to adapt
herself to her new position.

By-and-by, Kate came to take an intelligent interest in the

book trade, and developed quite a talent for mending and
covering dilapidated volumes. Customers were surprised to
find now in the shop a bright, quick, dark-eyed damsel, who
passed lightly to and fro, fetching and carrying books as her
uncle directed her. She learned his ways more quickly than
any youth would have done, and was careful to observe
them. She found her new work infinitely preferable to
making matches, and had a sense of responsibility in
connection with it, which heightened her self-respect, and
made life seem well worth living.