Henry II. into Paris, published in 1549, and his entry into Rouen, published in the next year. In the latter the captains of Normandy lead the march; they are followed by ranks of foot-soldiers, trumpeters, men holding aloft laurel wreaths, other men with antique arms and banners, and a band which, with a reminiscence from Roman festivals, carry lambs in their arms for sacrifice to the gods; next succeed new ranks of soldiers, then elephants and captives, the fool and musicians leading on Flora and her nymphs, after whom comes the Car of Happy Fortune, on which the royal family are enthroned, and the triumphal Chariot of Fame; the procession closes with men-at-arms and two captains, with succeeding scenes of some places by which the pageant had passed. In this work the French Renaissance shows itself in the prime of its career, when some simplicity and nobility of design were still kept, and the tendency toward refinement of line and multiplication of ornament were still held in check by a regard for unity of effect. The Entry of Henry II. into Paris is, perhaps, even more excellent. The two works rank with the best French wood-engraving in the sixteenth century.
The characteristics by which the French Renaissance differed from the Renaissance in Italy are more clearly and easily seen in the reproduction of the Dream of Poliphilo, which was published in 1554, and is ascribed to Cousin. The French artist did not copy the beautiful designs of the Venetian; he kept the general character of each woodcut, it is true, but he varied the style. He made Poliphilo elegant in figure, taller and more modish in gesture and attitude; he represented the landscape in greater detail and with more realism; he gave greater height and more care-
