Banquet’s feast forms the second compartment of the tapestry of Nancy in its present state, and is represented in our cut No. 255. When compared with the morality, it presents some variations. In front, Banquet is standing before the table, opposite to Je-Boy-à-Vous and Je-Pleige-d’Autant, and appears to be replying to Bonne-Compagnie, who is seated between Passe-Temps and Acoustumance. Further to the left Banquet appears again, with his hand on his sword, addressing the Diseases, who are at the entrance of the hall, waiting for his signal for the attack. At the lower corner on the left we see Supper, talking with another important personage, probably intended to represent Dinner. Above, to the right, through a window, we see Banquet again, with one of his attendants fastening on his armour, while another holds his casque, which he has not yet placed on his head. The first of the inscriptions in this compartment of the tapestry, which is on the left, tells how, while the guests are feasting in all jollity, Banquet and his rout arm and come to slaughter the whole assembly-- _Chiere ilz tyrent joyeulsement,_ _Y estant Bancquet et la route_ _Qui s’armerent et là proprement_ _Occirent l’assemblée toute._ The second inscription consists of eight lines moralizing on the final ruin which often falls on those who make enjoyment the business of their lives:-- _Les trois folz ont grant volonté_ _De cherche[r] leur malle meschance;_ _Quant on a bien ris et chanté,_ _A la fin fault tourner la chance._ _Ha! vous vellez avoir plaisance!_ _Bien l’auré vous ung tandis;_ _Mès gens quy prenent leur aisence,_ _En fin se treuvent plus mauldiz._ It is remarkable that these eight lines, taken from the tapestry, are introduced into the morality, and placed in the mouth of the fool at the end of the first scene. [Illustration: _No. 255. A Banquet in the Fifteenth Century._] It will be remarked at once that there is a much greater display of luxury in the banquet scene than in the dinner scene. Upon the table are two peacocks, each with a shield hung to its neck, no doubt to show the armorial bearings of the host; a boar’s head, dressed in the most fashionable manner; a subtelty, representing a ship filled with birds, surrounded by a sea full of fishes, and having a tall mast, with a sail made of silk and ermine, and surmounted by a figure of a naked female, intended probably to represent the goddess Venus. There are also on the table four candles, of coloured wax. A noble dresser stands against the wall, covered with vessels of gold and of glass, but the metal far predominates. The minstrels are standing apparently on the floor on a level with the guests, and consist of a man playing on the cittern, or lute, a harper, and one who plays on the pipe and drum, the latter instrument a substitute for the tabor. The valets with the dogs are again introduced, but we miss the court fool.