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In order to learn the way to work such subjects we must go to the XVIth and XVIIth century petit point pictures, and to the detail in fine tapestries. The wrong method of going to work is to imitate the effect sought after by the painter. It is a mistake in embroidery design to be too naturalistic.
They are of the XVIth century, which was the most brilliant period of painting on glass in France. Mr Langlois, in his excellent work, which I have already cited, gives a description of the painted glass windows. The whole interior of the chapel, which is situated at the extremity on the left side, and facing the east, is remarkable for the beauty of its windows.
Ovid never again committed the offence, quite sufficient to convince us that it went against his grain to have so written in his XVIth Heroic; he knew that it was not elegant; it was not, in fact, correct, nor in his style; and he would not have done it but that he was cramped by verse.
One of these paintings represents the audience given by Louis XVIth to the Chamber of commerce of Rouen, on the 28th june 1786, in the great hall of the archbishop's palace, called the Salle des États. All the figures are of natural size, and are striking likenesses. The subject of the other painting is allegorical.
S.L. Lee, editor of Huon of Bordeaux, in answer to my inquiries writes as follows: "Almost all the characters in this play are the traditional heroes of the French Charlemagne romances, and stand in the same relation to one another as in the Lyf of Charles the Grete and the Four Sons of Aymon, both of which were first printed by Caxton, and secured through later editions a wide popularity in England during the XVIth century.
It will be seen that the error, which is committed twice, occurs in the same poem, the XVIth Heroic, or The Epistle of Helen to Paris, and under the same circumstance of pressure, the want of a word that began with a vowel, because a word beginning with a consonant could not, of course, follow the last foot of a dactyle ending with a consonant; therefore Ovid took refuge in what is called "poetical license," which is a gentle term for expressing departure from syntax.
To his immortal honour, Lewis the XVIth, by his edict of the 17th of November, 1787, accorded to all his Non-catholic subjects the full and complete enjoyment of all the rights of his Roman-catholic subjects. On a division in the Parliament, this edict was registered by a majority of 96 votes against 16.
The XVIth and XVIIth century pictorial subjects worked upon fine canvas in cross or tent stitch afford instances of most interesting work in canvas stitches. Some of these, though, as a rule, very much smaller in size, equal, in their way, the finest tapestries.
Some parts nevertheless have escaped destruction. Such is a very curious building, which had been erected about the end of the XVIth century during the life of the abbot Thomasse Daniel. This edifice is extremely remarkable from the sculptures which cover the whole front, and chiefly represent pointed windows.
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