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Sintram was seated near the drawbridge, touching the strings of the lute, and shedding some tears on the golden chords, almost as Montfaucon's esquire had described him. Suddenly a cloudy shadow passed over him, and he looked up, expecting to see a flight of cranes in the air; but the sky was clear and blue.
Montfauçon's plates are generally much too small; and the more enlarged ones are too ornamental. It is right, first of all, that you should have an idea how this piece of tapestry is preserved, or rolled up. You see it here, therefore, precisely as it appears after the person who shows it, takes off the cloth with which it is usually covered.
The noble lady had just unbuckled her knight's armour with her own fair hands, on the field of battle alone were pages or esquires bidden handle Montfaucon's armour, and now she was throwing over his shoulders his mantle of blue velvet embroidered with gold, when the door opened gently, and Sintram entered the room, humbly greeting them.
The morning sun, as it were in homage, played over her beauty; and as she came in view of the camp of Jarl Eric, his soldiers lowered their weapons, whilst the chieftains bent low the crests of their huge helmets. Two of Montfaucon's pages remained in attendance on Gabrielle; for so noble a service not unwillingly bridling their love of fighting.
In Sculpture, Pliny and Cicero are the most noted critics. There is a fine article in the Encyclopaedia Britannica on this subject. In Smith's Dictionary are the Lives and works of the most noted masters. Müller's Ancient Art alludes to the leading masterpieces. Montfauçon's Antiquité Expliquée en Figures; Specimens of Ancient Sculpture, by the Society of Dilettanti, London, 1809; Ancient Marbles of the British Museum, by Taylor Combe; Millin, Introduction
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