The Perilous Fountain with the Charter of Love

Then I turned toward the left;
original: "senestre." Following the mention of the right side (destre) on the previous page, the narrator now explores the left. In medieval literature, these movements often signal a comprehensive survey of a space.
There was no need for paint or powder,
It was an earthly paradise
Properly made to be looked upon.

¶ In the middle was a fountain
Which poured out several streams,
A thousand times clearer than the Seine
The Seine is the major river flowing through Paris; the author uses it here as a benchmark for water quality to emphasize the supernatural clarity of this fountain.
And very fresh for the little trees,
Which spread their branches
Over the graceful fountain,
Raised up on four spindles
original: "fuiseaulx." These are slender pillars or supports, likely carved to resemble the spindles used in spinning wool.
Of a precious stone.

¶ Pygmalion made the carvings
Pygmalion: A legendary figure from Greek mythology (and Ovid’s Metamorphoses) who fell in love with a statue he carved. He was often cited in medieval poetry as the ultimate master of sculpture.
Of the work, most subtly;
Assembled in a perfect square
By a strong and subtle cement.
Several images were nobly
Painted there in various fashions;
It was otherwise more perfect
Than that of the beautiful Narcissus.
Narcissus: A mythological youth who died after becoming obsessed with his own reflection in a spring. By comparing this fountain to that of Narcissus, the author suggests this work is even more beautiful and perhaps more spiritually significant than the famous classical site of vanity.

¶ Workmanship of such a fashion
Was never seen under the heavens;
The hand of the sovereign mason
original: "souuerain maczon." This is a common medieval metaphor for God as the Great Architect or Creator of the universe.
For a precious masterpiece
Made it so beautiful and graceful
So that it would be an exemplar for all.