He next crossed a little hall which-just as certain rooms are arranged by their owners to serve as the setting for a single work of art (from which they take their name), and, in their studied bareness, contain nothing else besides-displayed to him as he entered it, like some priceless effigy by Benvenuto Cellini of an armed watchman, a young footman, his body slightly bent forward, rearing above his crimson gorget an even more crimson face, from which seemed to burst forth torrents of fire, timidity and zeal, who, as he pierced the Aubusson tapestries that screened the door of the room in which the music was being given with his impetuous, vigilant, desperate gaze, appeared, with a soldierly impassibility or a supernatural faith-an allegory of alarums, incarnation of alertness, commemoration of a riot-to be looking out, angel or sentinel, from the tower of dungeon or cathedral, for the approach of the enemy or for the hour of Judgment.
izan ere, bazirudien ezen haren begirada gartsu erne zorabiatuak, musika aditzen zèn aretoaren alboko Aubusson tapizerietan barna ere, militar kutsuko egonarriz nahiz naturaz gaindiko sinesmenez-alarmaren alegoria, itxaronaldiaren haragitze, borroka-deiaren oroitarri-, barrandatzen ziharduela, aingeru nahiz talaiari, gaztelu nahiz katedral bateko dorre gorenetik, etsaia noiz azalduko, edo Azken Judizioa noiz aldarrikatuko.