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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,
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
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.
' Siempre Fray Carrillo estás
Böhl de Faber. Floresta, No. 611.
NOTE 23. Padre Francisco. p. 330. This is from an Italian popular song:
« • Padre Francesco,
·V'è una bella ragazzina
Che si vuole confessar !'
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.
NOTE 29. The river of his thoughts. - p. 355.
“Si che chiaro
NOTE 30. Mari Franca.-p. 356.
“Porque casó Mari Franca
quatro leguas de Salamanca."
NOTE 31. Ay, soft, emerald eyes.—p. 358.
“Ay ojuelos verdes,
ay los mis ojuelos,
Böhl de Faber. Floresta, No. 255.
NOTE 32. The Avenging Child.-p. 360.
NOTE 33. All are sleeping.- p. 361.
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:
Saint Martin asleep, to rob a person asleep.
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,"