The created cover of antiquity gives the fourteenth-century poet license to pay close attention to form, the delight of the image, a depth we can see in the description of the statue of Venus in the Knight 's Tale. A remarkable feature of this description is its three-dimensionality, a particular attention to extremities, props and supports that draws the attention away from the centre to the margins, a technique that allows the statue to be viewed as a carved and painted sculpture. From the fragment below, we can see how the narrator goes on with the support and moves smoothly downwards and then up, but not right through the centre; rather, through the margins:
Repeated references to the action of sight in this ekphrasis also switch on the sensory. With the line of sight located in the double position as that which can simply record with delight, the action of a gaze also appears to bring the statue almost to life. 'Glorious for to se ' in the first line of the description disrupts the declarative statement on the statue 's nudity and its pleasure, though the poet willingly focuses on covering up the exposure.
In the descriptions of the temples that follow, the boundries between art or image and reality increasingly blur, as the imagined eye that constructs the ekphrasis of Venus becomes a literal eye-witness ( 'saugh I ther ') and as the images described increasingly seem to take on animation and dimensionality. Within the temples images and 'portreyture '