Our tapestries show the figures of ladies and gentlemen present at this pretty ceremony--too pretty to associate with desperate Jeanne d'Arc, who at that very time was rousing France to war to throw off the foreign yoke. The ladies fair and masters bold are intensely human little people, for the most part paired off in couples as men and women have been wont to pair in gardens since Eden's time. They are dressed in their best, that is evident, and by their distant, courteous manners show good society. The faces of the ladies are childlike, dutiful; those of the men more determined, after the manner of men. But the interest of the set centres in the tableau wherein are but three figures, those of two men and a woman. Here lies a piquant romance. Who is she, the grand and gracious lady, bending like a lily stalk among the roses, with a man on either side? A token is being exchanged between her and the supplicant at her right. He, wholly elegant, half afraid, bends the knee and fixes her with a regard into which his whole soul is thrown. She, fair lady, is inclining, yet withdrawing, eyes of fear and modesty cast down. Yet whatever of temerity the faces tell, the hands are carrying out a comedy. Hid in the shadow of a copious hat, which the gentleman extends, lurks a rose; proffered by the lady's hand is a token--fair exchange, indeed, of lover's symbols--provided the strong, hard man to the left of the lady has himself no right of command over her and her favours. Thus might one dream on forever over history's sweets and romance's gallantries. It is across the sea, in the sympathetic Museum of Cluny that the beauty of early French work is exquisitely demonstrated. The set of _The Lady and the Unicorn_ is one of infinite charm. (Plates facing pages 44 and 45.) In its enchanted wood lives a noble lady tall and fair, lithe, young and elegant, with attendant maid and two faithful, fabulous beasts that uphold the standards of maidenhood. A simple circle denotes the boundary of the enchanted land wherein she dwells, a park with noble trees and lovely flowers, among which disport the little animals that associate themselves with mankind. For four centuries these hangings have delighted the eye of man, and are perhaps more than ever appreciated now. Certain it is that the art student's easel is often set before them for copying the quaint design and soft colour. [Illustration: THE LADY AND THE UNICORN French Tapestry, Fifteenth Century. Musee de Cluny, Paris] [Illustration: THE LADY AND THE UNICORN French Tapestry, Fifteenth Century. Musee de Cluny, Paris]