The forges of Vulcan, in the grottos, commenced with the sound of the hammers of the Cyclops. The sparks, then produced, covered, in a few instants, the two basins, provided for the purpose, with an apparent sheet or volume of fire.
From the summit of a rock, came out a jet of brilliant fire, more than thirty feet in height, accompanied with four others of less elevation, representing torrents of fire as from volcanoes. To this succeeded a great jet of water, forty-five feet in height, leading with it, as it were, seventeen other jets, which surrounded the rocks, and rushing forth with avidity, produced, in appearance, a mixture of flame and water, which, in the end, consumed entirely the two grottos.
After this, the fire-works, behind the decoration, were exhibited. Two hundred and fifty boxes, and as many caissons, arranged on both sides of the turf, which descended to the grass, were first exhibited. This, however, was less brilliant than the fire from the Cyclops. To this succeeded a brilliant fire, placed before the illumination. This composition, elevating itself to a mean height, pleased equally by its form, as by its brilliant whiteness. This fire composed three distinct decorations, which succeeded as the one replaced the other, following the same order. The spouting waters, which decorated the gardens, together with the artificial fire, appeared in the form of cascades and fountains. The first decoration, at the head of the two great basins, exhibited two handsome cascades, in the form of a white sheet, and surmounted with an aigrette twenty-five feet in height. This was accompanied with two pattes d'oies (geese feet) of seven jets each, and accompanied also with fifty jets playing from each of the sides, twenty feet in height, and occupying the fore ground.
The second appeared under the form of the pattes d'oies, of eleven jets each, of which four, at the head of the basins, were large, and all projected a body of fire, fifty feet in height. They were intermixed, however, with the pots of aigrettes, twenty feet in height, which threw a crown, composed of stars, &c. to the height of fifty feet, which produced in the atmosphere a lively and brilliant light.
The third represented thirteen fountains of fire, twenty-five feet in height, and thirty feet in diameter, with an aigrette in each. In these, there were six circular, and six spiral fountains. The largest was placed between the two basins, with four others on the right and left.
The fountains, which represented the combat of animals, had in each of them two. The animals threw, at the same time, jets of water and fire, and, between each of the fountains, large brilliant jets or spouts. This part of the exhibition was finished, by throwing into the air the garnishing or furniture of the pots, which produced crowns, &c. of great splendour.
To these three decorations, succeeded the exhibition of twelve Italian pots, placed six in a row, and in the middle of two great basins, which produced repeated discharges.
The whole was then closed by setting fire to two great chandeliers, which were placed behind the grand decoration, and contained more than three thousand fusées.
It appears from history, that when Henry II, entered Rheims, there was a representation of several figures in fire; and in 1606, the duke of Sully made an exhibition of fire-works at Fontainbleau; and in 1612, Morel, commissary of artillery, prepared a splendid exhibition of the same kind. It appears, also, that the art of communicating fire from one piece of fire-work to another, as in the combined piece of nine mutations, and the pyric-piece (which will be noticed hereafter) was discovered by Ruggeri, artificer to the king, at Boulogne, in France, in 1743.