Sometimes the mediæval artist, without giving any unusual form to his human figures, placed them in strange postures, or joined them in singular combinations. These latter are commonly of a playful character, or sometimes they represent droll feats of skill, or puzzles, or other subjects, all of which have been published pictorially and for the amusement of children down to very recent times. There were a few of these groups which are of rather frequent occurrence, and they were evidently favourite types. One of these is given in the annexed cut, No. 105. It is taken from one of the carved misereres of the stalls in Ely cathedral, as given in Carter, and represents two men who appear to be rolling over each other. The upper figure exhibits animal's ears on his cap, which seem 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, especially on similar monuments in France, where the architectural antiquaries have a technical name for it; and this shows us how even the particular forms of art in the middle ages were not confined to any particular country, but more or less, and with exceptions, they pervaded all those which acknowledged the ecclesiastical supremacy of the church of Rome; whatever peculiarity of style it took in particular countries, the same forms were spread through all western Europe. Our next cut, No. 106, gives another of these curious groups, consisting, in fact, of two individuals, one of which is evidently an ecclesiastic. It will be seen that, as we follow this round, we obtain, by means of the two heads, four different figures in so many totally different positions. This group is taken from one of the very curious seats in the cathedral of Rouen in Normandy, which were engraved and published in an interesting volume by the late Monsieur E. H. Langlois. [Illustration: _No. 106. A Continuous Group._] [Illustration: _No. 107. Border Ornament._] [Illustration: _No. 108. A Triumphal Procession._]