Other displays in France during the eighteenth century were those on the occasions of the birth of the Duke of Brittany, 1704; birth of the Dauphin, 1730; the convalescence of the King, 1744; and the return of the King to Paris, 1745. Also there is in existence a series of prints which, but for the fact that they are described as fireworks, would be taken to be scenic tableaux; whether the figures are human beings or wax-works is not indicated. These were erected in celebration of the following events:—The taking of Tournay, the taking of Chateau Grand, Victory over the Allies, all dated 1745; the taking of Ypres, 1747, all of which took place in Paris before the Hotel de Ville. Similar displays were given in Lyons in 1765 to celebrate the taking of Fort San Philippe, and at Soleure in 1777, in honour of the Swiss Guard. Displays took place at Versailles (1751) on the occasion of the birth of the Duke of Burgundy. In 1758–9 came a further series of victory celebrations in honour of the victory of Lutzelberg, over the English in America, and over the Allies at Bergheri, all of which appear to have been of the “tableau” type mentioned above. There were also displays for the peace celebrations on the Seine, 1763, the birth of the Dauphin, 1782, in the Place de Geneve, and peace rejoicings, 1783, before the Hotel de Ville. Ruggieri, however, states in his book that the display fired on the marriage of Louis XVI (or, as he then was, the Dauphin) was the only display since the great fetes of 1739 which showed any considerable advance in the art; he may, however, be in some degree biased as his father was concerned in each of these displays. [Illustration: Firework Display at Nuremberg, 1650. From a contemporary engraving] CHAPTER IV PYROTECHNY IN EUROPE (_continued_) During the later part of the seventeenth century, and subsequently, many prints appeared depicting firework displays; their number seems quite out of proportion to the total number of prints published in that period. Possibly this may be taken as some indication of the popularity of firework displays at the time, or may give the measure of the favour in which they were held by the artists of the day. Many of these prints are of little value to the student of pyrotechny, as they merely depict the more or less elaborate structure for the display by daylight, and whatever may be their architectural or artistic merit there is generally no indication of what actual fireworks were to be used, or how they were to be displayed. In some cases a list of the works is given under the engraving, adding greatly to its value in the eyes of the pyrotechnist, and some, although they are considerably in the minority, are intended to represent the display in progress, although on the rather futuristic method of showing everything going off at one time.