On the fourth panel, behind four mace-bearers, rides an ecclesiastic bearing what was once a double cross: the dove that flew above his head has entirely disappeared. Then comes Cardinal de Boissey, the Papal Legate, and among the other Cardinals (who may be recognised by their hatstrings falling on their chests) are those of Bourbon, Albret, and Lorraine. Much of this has been destroyed, but there is enough left to realise what Du Bellay says about the ruinous extravagance of the dresses:--"Many of the Frenchmen," he writes, "carried the price of woodland, watermill, and pasture on their backs." Yet the taste of the Englishmen, who had not spent so much, was acknowledged to have produced as splendid an effect as the gorgeous outlay of the French; as Fleurange particularly records of the English pavilion made of wood, and drapery and glass, "elle etait trop plus belle que celle des Francais, et de peu de coutance." In one point, however, the ladies of Paris asserted a superiority they have retained almost ever since; the Englishwomen confessed themselves beaten; but when they followed the fashion of their fair rivals, it was not much better; for, says the truthful historian, "what they lost in modesty they did not make up in grace." Most unfortunately, on the fifth and last panel, though the stair-rail has preserved some of its details better than any of the rest, the superiority of these French ladies cannot be sufficiently studied, though several of their heads may be seen watching the procession from the windows and balconies of Ardres. The plumed hats and horses of the escort are particularly clear here, and they are more numerous than in the famous "Triumph of Maximilian" or in the "Entry of Charles V. into Bologna." The figure of the courtier just mounting his horse is the one I like best of all except the dignified personage who bears the cross before the French ecclesiastics. If the English ambassador in 1596 was easily able to recognise the subject of these carvings, no less quickly would the Cardinal de Florence, the Papal Legate who came to Rouen in the same year, and was also lodged in this house, remember the originals from which were taken the carvings on the frieze above the windows on this wall. For though later generations have misunderstood them, just as they imagined the lower carvings to be the Council of Trent, it is quite clear from some words first discovered on the stone in 1875, that the frieze was inspired by the "Triumphs" of Petrarch. These words are as follows; and I have added their proper continuation and beginning in italics:-- "_Amor vincit mundum Pudicitia vincit amorem Mors vincit pudicitiam_ Fama vincit mortem Tempus vincit _famam_ _Divinitas seu Eternitas omnia vincit_."