The Abbatial Crosier; or, Bonaik and Septimine. A Tale of a Medieval AbbessSue, Eugène
History
The Abbatial Crosier; or, Bonaik and Septimine. A Tale of a Medieval Abbess
Sue, Eugène
France -- History -- To 987 -- Fiction
Thanks to the cape that almost wholly veiled Berthoald's face, he was
able to conceal from Charles the cruel agony that he became a prey to
the moment he heard Charles say that some day he might receive orders to
invade the country of the Bretons that had so far remained indomitable.
He bent a knee before the chief of the Franks and left the refectory in
such a state of wild and complex anxiety that he did not even have a
parting look for Septimine, who remained upon her knees amidst the
Saracen gold pieces that lay strewn around her.
The young officer crossed the courtyard of the abbey to reach his horse,
when, turning the corner of a wall, he found himself face to face with a
little grey-bearded man. It was the Jew Mordecai. Berthoald shivered and
walked quickly by; but although his face was hidden under the cape of
his cloak, his eyes encountered the piercing ones of the Jew, who smiled
sardonically while the young chief walked rapidly away.
The Jew had recognized Berthoald.
PART II.
THE ABBEY OF MERIADEK
CHAPTER I.
ELOI THE GOLDSMITH.
A gold and silversmith's shop is a sight agreeable to the eye of the
artisan who, freeman or slave, has grown old at the beautiful art made
illustrious by Eloi, the most celebrated of all Gallic goldsmiths. The
eye rests with pleasure upon the burning furnace, upon the crucible
where the metal boils, upon the anvil that seems to be of silver veined
with gold--so much gold and silver has been beaten on it. The
work-bench, equipped with its files, its hammers, its chip-axes, its
burins, its bloodstone and agate polishing stones is no less pleasing to
the eye. Then there are also the earthen molds into which the metal is
poured, and here and there upon little tables some models taken from the
debris of antique art that have been found among the ruins of Roman
Gaul. There is nothing from the grinding of the files to the panting
breath of the bellows, that is not like sweet music to the ear of the
artisan grown old at the trade. Such is the passion of this art that the
slave at times forgets his bondage, and has no thought but for the
marvels that he fashions for his master.
Public-domain text, read in full here on John Shaqi.
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