in 
and Art. 
Literature 
153 
kind; it is taken from one of the cafcs from French churches exhibited 
in the Kenfington Mufeum. 
Sometimes the mediaeval artilt, without giving any unufual form to 
his human figures, placed them in flrange poilures, or joined them in 
iingular combinations. Thefe latter are commonly of a playful chai-after, 
or fometimes they reprefent droll feats of ikill, or puzzles, or other 
fubjefzts, all of which have been publiihed piitorially and for the amule- 
ment of children down to very recent times. There were a few of thefe 
groups which are of rather frequent occurrence, and they were evidently 
favourite types. One of thefe is given in the annexed cut, No. I05. It 
 is taken from one of the carved mifereres of the {tails in Ely cathedral, as  
given in Carter, and reprefents two men who appear to be rolling over  
each other. The upper figure exhibits animal's ears on his cap, which 
feem to proclaim him a member of the fraternity of fools: the ears of 
the lower figure are concealed from view. This group is not a rare one, 
efpecially on fimilar monuments in France, where the architectural 
antiquaries have a technical name for it; and this {hows us how even the 
particular forms of art in the middle ages were not confined to any par- 
ticular country, but more or leis, and with exceptions, they pervaded all 
X thofe