The tapestry presents an allegorical history, of which the object is to depict the inconveniences consequent on what is called "good cheer." Later on this formed the subject of "a morality." Originally this tapestry was only one vast page, the requisite divisions being wrought in the form of ornamented columns. It was afterwards cut in pieces, and unfortunately the natural divisions of the subject were not attended to in the severment. More unhappily still the pieces have since been rejoined in a wrong order; and after every possible endeavour to read them aright, the publishers are indebted to the "Morality" before referred to, which was taken from it, and was entitled "La Nef de Sante, avec le gouvernail du corps humain, et la condamnacion des bancquetz, a la louenge de Diepte et Sobriete, et la Traictie des Passions de l'ame." Banquet, Bonnecompagnie, Souper, Gourmandise, Friandise, Passetemps, Je pleige d'autant, Je boy a vous, and other rare personifications, not forgetting that indispensable guest _then_ in all courtly pastime, Le fol, "go it" to their hearts' content, until they are interrupted _vi et armis_ by a ghastly phalanx in powerful array of Apoplexie, Ydropsie, Epilencie, Pleurisie, Esquinancie, Paralasie, Gravelle, Colicque, &c. TAPISSERIE DE DIJON.--"On conviendra qu'il serait difficile de trouver un monument de ce genre plus fidele sur le rapport historique, plus interessant pour les arts, et plus digne d'etre reproduit par la gravure. Je ferai en outre remarquer combien cet immense tableau de laine, qui est unique, renferme de details precieux a la fois pour la panoplie, pour les costumes, et l'architecture du commencement du 16 siecle, ainsi que pour l'histoire monumentale de Dijon." This tapestry, judging by the engravings in the work we quote, must be very beautiful. The groups are spirited and well disposed; and the countenances have so much _nature_ and expression in them, as to lead us readily to credit the opinion of the writer that they were portraits. The buildings are well outlined; and in the third piece an excellent effect is produced by exposing--by means of an open window, or some simple contrivance of the sort--part of the interior of the church of Notre Dame, and so displaying the brave leader of the French army, La Tremouille, as he offers thanks before the shrine of the Virgin. The tapestry was worked immediately after the siege of Dijon, (1513) and represents in three scenes the most important circumstances relating to it; the costumes, the arms, and the architecture of the time being displayed with fidelity and exactitude. The first represents the invading army before the walls; the second a solemn procession in honour of Notre-Dame-de-Bonne-Espoir. In the midst is elevated the image of the Virgin, which is surrounded by the clergy in their festal vestments, by the religious communities, by the nobility, the bourgeois, and the military, all bearing torches.