69) well observes, "rather a Pallas than the heroine of Orleans." The
name of the author was STODTS. Millin's _third_ plate--of this present
existing fountain, is desirable; in as much as it shews the front of
the house, in the interior of which are the basso-rilievos of the
_Champ de drap d'Or_: for an account of which see afterwards.

Millin allows that all PORTRAITS of her--whether in sculpture, or
painting, or engraving--are purely IDEAL. Perhaps the nearest, in
point of fidelity, was that which was seen in a painted glass window
of the church of the _Minimes_ at Chaillot: although the building was
not erected till the time of Charles VIII. Yet it might have been a
copy of some coeval production. In regard to oil paintings, I take it
that the portrait of JUDITH, with a sword in one hand, and the head of
Holofernes in the other, has been usually copied (with the omission of
the latter accompaniment) as that of JEANNE D'ARC. I hardly know a
more interesting collection of books than that which may be acquired
respecting the fate of this equally brave and unfortunate heroine.

[63] Far be it from me to depreciate the labours of Montfaucon. But those
who have not the means of getting at that learned antiquarian's
_Monarchie Françoise_ may possibly have an opportunity of examining
precisely the same representations, of the procession above alluded
to, in _Ducarel's Anglo-Norman Antiquities_, Plate XII. Till the year
1726 this extraordinary series of ornament was supposed to represent
the _Council of Trent_; but the Abbé Noel, happening to find a
salamander marked upon the back of one of the figures, supposed, with
greater truth, that it was a representation of the abovementioned
procession; and accordingly sent Montfaucon an account of the whole.
The Abbé might have found more than one, two, or three salamanders, if
he had looked closely into this extraordinary exterior; and possibly,