hough he
did singularly little for either) tried to obscure the defeat he had
just sustained by the election of his solemn rival Charles V. as
Emperor. The interview lasted from the 7th to the 24th of June 1520,
and there the chronicler describes how the two Kings "se virent et
parlementerent ensemble apres midi environ les vespres, en la terre
dudit Roy d'Angleterre, en une petite vallee nommee le valdore entre
ladite ville d'Ardres et le chateau de Guynes."

The third or central panel (which is the best carved and almost the
best preserved) contains the actual meeting of the Kings. At the first
(beginning from the left) is shown the Chateau of Guynes; from the
windows and galleries men and women are looking out, and on the ground
before the gate are the small saluting-cannon of the period, almost
invisible from the decay of the stone. A few of the last of the
English suite are just issuing from the gates, some a-foot and some on
horseback; both men and horses wear great feathered plumes, and the
men on foot have a circular headdress of feathers like an aureole. In
the second panel, two horsemen bearing maces ride in front of an
ecclesiastic who carries a processional cross. Behind it is the great
Cardinal Wolsey, in violet-coloured velvet, riding on a mule, with
pages. Fisher, Bishop of Rochester, was with him; and the Order of the
Garter, whose motto could be read upon a horseman's knee some sixty
years ago, was worn by Charles Brandon, Duke of Suffolk. It has
disappeared now, and so much has gone with it, owing to the atmosphere
of Rouen, which has more in common with Oxford than its architectural
surroundings, that the careful plaster-casts preserved in Paris (and
photographed by the late M. Paul Robert in his "Trocadero" Series, iv.
29) will soon be the best memorial of sculptures, as valuable to
England as they are to France, and equally neglected by both. In 1821
M. Delaqueriere issued a careful description of them (published by
Firmin Didot, Paris), and to a second edition (published in 1841) he
added a detailed drawing of the whole gallery by Polycles Langlois,
and five larger drawings of each of the panels originally done, in
1823, for Nodier's well-known "Voyages Pittoresques." It is the
central panel from these that I reproduce here, and Miss James's
drawing will show you the relative position of the procession and of
the frieze of the Triumph above it on the left wing of the house. In
1841, plaster-casts