A seint (girdle) she wered, barred all of silk, A barme-cloth (apron) eke white as morwe (morning) milk Upon hire lendes (loins) full of many a gore. In the last line the expression "full of many a gore" means, probably, full made, spread out by means of many a gore; otherwise "full of gores" would have been sufficient, and the addition of "many" an inelegant piece of surplusage. However that may be, it is clear that the apron stuck out and extended round the person of the wearer in consequence of the number of these gores, or wedge-shaped pieces, which made the bottom much wider than the top. An apron, thus made up of a multitude of gores, might not unaptly be itself called in the plural a woman's gores, and this seems to have been formerly the case in Germany. Kriemhild is here said to wipe her eyes with snow-white gores, and, in the Gudrun, the heroine of that name is rated by the tyrannical Gerlind for wrapping up her hands indolently in her gores. It is of course impossible for a translator to render these two passages literally, at least if he wishes to be intelligible. (St. XLVIII.) The commentators are not particularly clear as to what these garments, called in the original "noble Ferrans robes," really were. Von der Hagan says there must have been a city of that name in the East, from which these robes came, while Lachmann says there is a stuff composed of silk and wool, which still goes by the name of _ferrandine_. The Dictionary of the French Academy mentions a silk stuff as _formerly_ going by that name. TENTH ADVENTURE (St. XLI.) Lachmann's Fifth Lay begins here, and concludes with St. DCCV. (St. LXIX.) The cord or girdle, thus worn by ladies, seems to have been tolerably strong, not merely from the use to which Brunhild put hers here, but also from the manner in which Florimel's is applied by Sir Satyrane.--"Faerie Queene," III, vii., 36. The golden ribband, which that virgin wore About her slender waste, he took in hand, And with it bownd the beast, that lowd did rore For great despight of that unwonted band. (St. LXXII.) Ἰλίῳ αἰπεινᾷ Πάρις οὐ γάμον, ἀλλά τιν' ἄταν ἀγάγετ' εὐναίαν ἐς Θαλάμους Ἑλέναν. Eurip. Androm. 103. (St. LXXXI.) If this and the following stanza are, as Lachmann thinks, an addition, they no doubt were added to supply a palpable defect in the narrative. If it were not for them, the company would be spoken of as rising from table (St. LXXXIV) when it is nowhere mentioned that they had sat down.