In the book of Artillery by Diego Ufano, written in 1610, we read that only very simple fireworks were made in his time in Spain and Flanders, consisting of wooden framework supporting pots of fire wrapped round with cloth dipped in pitch, but that more than fifty years before magnificent spectacles could be seen in Italy.
In 1615, on the occasion of the marriage of Louis XIII, a display was given at Paris in the Place Royale, in which were included combats between men carrying illuminated arms.
In 1606 the Duc de Sully gave a spectacle which depicted a battle between savages and monsters, the former throwing darts and fire. A similar display had previously been given on the occasion of the entry of Henry II into Rheims, and it was repeated in 1612.
These spectacles, which are quoted as firework displays, cannot rightly be considered as such, fireworks playing a comparatively secondary part in the exhibitions.
A display of this nature to celebrate the capture of Rochelle was conducted by Clariner of Nuremberg, a celebrated pyrotechnist of the day.
During the reign of Louis XIV, 1638-1715, great advances were made in pyrotechny in France; great displays were given on the return of the King and Queen to Paris in 1660, on five consecutive days at Versailles in 1676, also on the occasion of the birth of the Dauphin in 1682, in Paris at the Louvre, Dijon, and Lyons.
A particularly fine display in celebration of the Peace of Riswick, 1669 (for which event displays took place in several countries), is mentioned by Frezier, who wrote a treatise on pyrotechny (1747); it was, he says, witnessing this display that inspired him to study the art.
One of the chief causes of progress in France was the
