ture in white stone, and rises to the height of sixty-four feet. It stands in the choir, whose richly-painted windows cover it with varied colours.

Note 17. Wisest of the Twelve Wise Masters.-P. 270.

The Twelve Wise Masters was the title of the original corporation of the Mastersingers. Hans Sachs, the cobbler of Nuremberg, though not one of the original twelve, was the most renowned of the Mastersingers, as well as the most voluminous. He flourished in the sixteenth century; and left behind him thirty-four folio volumes of manuscript, containing two hundred and eight plays, one thousand and seven hundred comic tales, and between four and five thousand lyric poems.

Note 18. As in Adam Puschman's song.-p. 270. Adam Puschman, in his poem on the death of Hans Sachs, describes him as he appeared in a vision :

" An old man,
Grey and white, and dove-like,
Who had, in sooth, a great beard,
And read in a fair, great book,
Beautiful with golden clasps."

NOTE 19.--The Occultation of Orion.-p. 286. Astronomically speaking, this title is incorrect; as I apply to a constellation what can properly be applied to some of its stars only. But my observation is made from the hill of song, and not from that of science, and will, I trust, be found sufficiently accurate for the present purpose. NOTE 20. As Lope says.—p. 306.

“ La cólera
de un Espanol sentado no se templa,
sino le representan en dos horas
hasta el final juicio desde el Génesis."

Lope de Vega.

NOTE 21. Abernuncio Satanas.—p. 311. “ Digo, Señora, respondió Sancho, lo que tengo dicho, que de los azotes abernuncio. Abernuncio, habeis de decir, Sancho, y no como decis, dijo el Duque.”—Don Quixote, part ii. ch. 35.

NOTE 22. Fray Carrillo.-p. 330.
The allusion here is to a Spanish epigram:

' Siempre Fray Carrillo estás
cansándonos acá fuera;
quien en tu celda estuviera
para no verte jamas !"

Böhl de Faber. Floresta, No. 611.

NOTE 23. Padre Francisco. p. 330. This is from an Italian popular song:

« • Padre Francesco,

Padre Francesco!'
-Cosa volete del Padre Francesco-

·V'è una bella ragazzina

Che si vuole confessar !'
Fatte l' entrare, fatte l'entrare !
Che la voglio confessare."
Kopisch. Volksthümliche Poesien aus allen Mun-

darten Italiens und seiner Inseln, p. 194.

NOTE 24. Ave! cujus calcem clare.—p. 333. From a monkish hymn of the twelfth century, in Sir Alexander Croke's Essay on the Origin, Progress, and Decline of Rhyming Latin Verse, p. 109.

NOTE 25. The gold of the Busné.—p. 344. Busné is the name given by the Gipsies to all who are not of their race.

NOTE 26. Count of the Calés.-p. 346. The Gipsies call themselves Calés. See Borrow's valuable and extremely interesting work, The Zincali; or, an Account of the Gipsies in Spain. London, 1941.

NOTE 27. Asks if his money-bags would rise ?-p. 352.

“¿Y volviéndome á un lado, ví á un Avariento, que estaba preguntando a otro (que por haber sido embalsamado, y estar léxos sus tripas no hablaba, porque no habian llegado si habian de resucitar aquel dia todos los enterrados), si resucitarian unos bolsones suyos ?”—El Sueño de las Calaveras.

NOTE 28. And amen! said my Cid Campeador.—p. 353.
A line from the ancient Poema del Cid:
" Amen, dixo mio Cid el Campeador."

Line 3044.

NOTE 29. The river of his thoughts. - p. 355.
This expression is from Dante:

“Si che chiaro
Per essa scenda della mente il fiume."
Byron has likewise used the expression ; though I do not recol-
lect in which of his poems.

NOTE 30. Mari Franca.-p. 356.
A common Spanish proverb, used to turn aside a question
one does not wish to answer :

“Porque casó Mari Franca

quatro leguas de Salamanca."

NOTE 31. Ay, soft, emerald eyes.—p. 358.
The Spaniards, with good reason, consider this colour of
the eye as beautiful, and celebrate it in song; as, for example,
in the well-known Villancico:

Ay ojuelos verdes,

ay los mis ojuelos,
ay hagan los cielos
que de mí te acuerdes !

Tengo confianza
de mis verdes ojos.”

Böhl de Faber. Floresta, No. 255.
Dante speaks of Beatrice's eyes as emeralds. Purgatorio,
xxxi. 116. Lami says, in his Annotazioni, “ Erano i suoi
occhi d' un turchino verdiccio, simile a quel del mare."

NOTE 32. The Avenging Child.-p. 360.
See the ancient ballads of El Infante Vengador and Ca-

NOTE 33. All are sleeping.- p. 361.
From the Spanish. Böhl’s Floresta, No. 282.

Note 34. Good night! Good night, beloved !- p. 384.

From the Spanish ; as are likewise the songs immediately following, and that which commences the first scene of act iii.

Note 35. The evil eye.-p. 408. “ In the Gitano language, casting the evil eye is called Querelar nasula, which simply means making sick, and which, according to the common superstition, is accomplished by casting an evil look at people, especially children, who, from the tenderness of their constitution, are supposed to be more easily blighted than those of more mature age. After receiving the evil glance, they fall sick, and die in a few hours.

“ The Spaniards have very little to say respecting the evil eye, though the belief in it is very prevalent, especially in Andalusia, amongst the lower orders. A stag's horn is considered a good safeguard, and on that account a small horn, tipped with silver, is frequently attached to the children's necks by means of a cord braided from the hair of a black mare's tail. Should the evil glance be cast, it is imagined that the horn receives it, and instantly snaps asunder. Such horns may be purchased in some of the silversmiths’ shops at Seville.”

BORROW's Zincali, vol. i. ch. ix.

NOTE 36. On the top of a mountain I stand.-p. 409.

This and the following scraps of song are from Borrow's Zincali, or an Account of the Gipsies in Spain.

The Gipsy words in the same scene may be thus interpreted:
John-Dorados, pieces of gold.
Pigeon, a simpleton.
In your morocco, stripped.
Doves, sheets.
Moon, a shirt.
Chirelin, a thief.
Murcigalleros, those who steal at nightfall.
Rastilleros, footpads.
Hermit, highway-robber.
Planets, candles.
Commandments, the fingers.

Saint Martin asleep, to rob a person asleep.
Lanterns, eyes.
Goblin, police-officer.
Papagayo, a spy.
Vineyards and Dancing John, to take flight.

NOTE 37. If thou art sleeping, maiden.-p. 425. From the Spanish ; as is likewise the song of the Contrabandista at page 426.

NOTE 38. Jöns Lundsbracka and Lunkenfus, and the great Riddar Finke of Pingsdaga.- p. 438.

Titles of Swedish popular tales.

NOTE 39. The feast of the Leafy Pavilions.- p. 441.

The Feast of the Tabernacles; in Swedish, Löfhyddohögtiden, the Leaf-huts’-high-tide.

Note 40. The altar-piece painted by Hörberg.p. 441.

The peasant-painter of Sweden. He is known chiefly by his altar-pieces in the village churches.

Note 41. Of the sublime Wallín.- p. 442. A distinguished pulpit-orator and poet. He is particularly remarkable for the beauty and sublimity of his psalms.

NOTE 42. The Blind Girl of Castèl-Cuillè.- p. 464. Jasmin, the author of this beautiful poem, is to the South of France what Burns is to the South of Scotland, -the representative of the heart of the people, ,-one of those happy bards who are born with their mouths full of birds (la bouco pleno d'aouzelous). He has written his own biography in a poetic form; and the simple narrative of his poverty, his struggles, and his triumphs, is very touching. He still lives at Agen, on the Garonne; and long may he live there, to delight his native land with native songs !

The following description of his person and way of life is taken from the graphic pages of “ Béarn and the Pyrenees,"

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