Note 27, page 53, line 9.

What banner streams afar from Vela's tower.

"En este dia, para siempre memorable, los estandartes de la Cruz, de St. Jago, y el de los Reyes de Castilla se tremoláran sobre la torre mas alta, llamada de la Vela; y un exercito prosternado, inundandose en lagrimas de gozo y reconocimiento, assistio al mas glorioso de los espectaculos."-Paseos en Granada, vol. i. p. 299.

Note 28, page 54, lines 5 and 6.

They reach those towers-irregularly vast
And rude they seem, in mould barbaric cast

Swinburne, after describing the noble palace built by Charles V. in the precincts of the Alhambra, thus proceeds: "Adjoining (to the north) stands a huge heap of as ugly buildings as can well be seen, all huddled together, seemingly without the least intention of forming one habitation out of them. The walls are entirely unornamented, all gravel and pebbles, daubed over with plaster by a very coarse hand; yet this is the palace of the Moorish kings of Granada, indisputably the most curious place within that exists in Spain, perhaps in Europe. In many countries you may see excellent modern as well as ancient architecture, both entire and in ruins; but nothing to be met with any where else can convey an idea of this edifice, except you take it from the decorations of an opera, or, the tales of the genii."-SWINBURNE'S Travels through Spain.

Note 29, page 54, line 8.

A genii palace-an Arabian heaven.

"Passing round the corner of the emperor's palace, you are admitted at a plain unornamented door, in à corner. On my first visit, I confess, I was struck with amazement as I stepped over the threshold, to find myself on a sudden transported into a species of fairy land. The first place you come to is the court called the Communa, or del Mesucar, that is, the common baths: an oblong square, with a deep bason of clear water in the middle; two flights of marble steps leading down to the bottom; on each side a parterre of flowers, and a row of orange-trees. Round the court runs a peristyle paved with marble; the arches bear upon very slight pillars, in proportions and style different from all the regular orders of architecture. The ceilings and walls are incrustated with fretwork in stucco, so minute and intricate, that the most patient draughtsman would find it difficult to follow it, unless he made himself master of the general plan."-SWINBURNE's Travels in Spain.

Note 30, page 54, line 42.

Borders the walls in characters of gold.

The walls and cornices of the Alhambra are covered with inscriptions in Arabic characters. "In examining this abode of magnificence," says Bourgoanne, "the observer is every moment astonished at the new and interesting mixture of architecture and poetry. The palace of the Alhambra may be called a collection of fugitive pieces; and whatever duration these may have, time, with which every thing passes away, has too much contributed to confirm to them that title."-See BOURGOANNE's Travels in Spain.

Note 31, page 54, line 49.

Tambour, and flute, and atabal, are there.

Atabal, a kind of Moorish drum.

Note 32, page 55, line 2.

Granada! for Castile and Aragon!

"Yansı entraron en la ciudad, y subieron al Alhambra, y encima de la torre de Comares tan famosa se levantò la señal de la Santa Cruz, y luego el real estandarte de los dos Christianos reyes. Y al punto los reyes de armas, à grandes bozes dizieron, Granada! Granada! por su magestad, y por la reyna su muger.' La serenissima reyna D. Isabel, que viò la señal de la Santa Cruz sobre la hermosa torre de Comares, y el su estandarte real con ella, se hincò de Rodillas, y diò infinitas gracias à Dios por la victoria que le avia dado contra aquella gran ciudad. La musica real de la capilla del rey luego à canto de organo cantò Te Deum laudamus. Fuè tan grande el plazer que todos lloravan. Luego del Alhambra sonaron mil instrumentos de musica de belicas trompetas. Los Moros amigos del rey, que querian ser Christianos, cuya cabeza era el valerosa Muca, tomaron mil_dulzaynas y añafiles, sonando grande ruydo de atambores por toda la ciudad."-Historia de las Guerras Civiles de Granada.

Note 33, page 55, line 4.

The festal lamps innumerably blaze.

"Los cavalleros Moros que avemos dicho, aquella noche jugaron galanamente alcancias y cañas. Andava Granada aquella noche con tanta alegria, y con tantas luminarias, que parecia que se ardia la terra."-Historia de las Guerras Civiles de Grenada.

Swinburne, in his Travels through Spain, in the years 1775 and 1776, mentions, that the aniversary of the surrender of Granada to Ferdinand and Isabella, was still observed in the city as a great fes tival and day of rejoicing; and that the populace on that occasion paid an annual visit to the Moorish palace.

Note 34, page 55, line 32.

To Afric's wilds the royal exile flies.

"Los Gomeles todos se passaron en Africa, y el Rey Chico con ellos, que no quisò estar en España, y en Africa le mataron los Moros de aquellas partes, porque perdiò à Granada."-Guerras Civiles de Granada.

Note 35, page 55, line 48.

Of him who knew not as a man to die.

Abo Abdeli, upon leaving Granada, after its conquest by Ferdinand and Isabella, stopped on the hill of Padul to take a last look of his city and palace. Overcome by the sight, he burst into tears, and was thus reproached by his mother, the Sultaness Ayxa,-" Thou doest well to weep, like a woman, over the loss of that kingdom which thou knewest not how to defend and die for, like a man."

Note 36, page 56, line 33.

Th' avenger's task is closed.

"El rey mandò, que si quedavan Zegris, que no viviessen en Granada, por la maldad qui hizieron contra los Abencerrages."Guerras Civiles de Granada.

Note 37, page 57, line 1.

'Midst the wild Alpuxarras.

"The Alpuxarras are so lofty, that the coast of Barbary, and the cities of Tangier and Ceuta, are discovered from their summits; they are about seventeen leagues in length, from Veles Malaga to Almeria, and eleven in breadth, and abound with fruit-trees of great beauty

and prodigious size. In these mountains the wretched remains of the Moors took refuge."-BOURGOANNE'S Travels in Spain.

Note 38, page 59, line 34.

Where but too blest if aught remain'd to fear. "Plût à Dieu que je craignisse!"-Andromaque.

Note 39, page 60 line 6.

Rival the tints that float o'er summer skies.

Mrs. Radcliffe, in her journey along the banks of the Rhine, thus describes the colors of granite rocks in the mountains of the Bergstrasse. "The nearer we approached these mountains, the more we had occasion to admire the various tints of their granites. Sometimes the precipices were of a faint pink, then of a deep red, a dull purple, or a blush approaching to lilac, and sometimes gleams of a pale yellow mingled with the low shrubs that grew upon their sides. The day was cloudless and bright, and we were too near these heights to be deceived by the illusions of aërial coloring; the real hues of their features were as beautiful as their magnitude was sublime."

THE WIDOW OF CRESCENTIUS.

In the reign of Otho III. Emperor of Germany, the Romans, excited by their Consul, Crescentius, who ardently desired to restore the ancient glory of the Republic, made a bold attempt to shake off the Saxon yoke, and the authority of the Popes, whose vices rendered them objects of universal contempt. The Consul was besieged by Otho in the Mole of Hadrian, which long afterwards continued to be called the Tower of Crescentius. Otho, after many unavailing attacks upon this fortress, at last entered into negotiations; and, pledging his imperial word to respect the life of Crescentius, and the rights of the Roman citizens, the unfortunate leader was betrayed into his power, and immediately beheaded, with many of his partisans. Stephania, his widow, concealing her affliction and her resentment for the insults to which she had been exposed, secretly resolved to revenge her husband and herself. On the return of Otho from a pilgrimage to Mount Gargano, which, perhaps, a feeling of remorse had induced him to undertake, she found means to be introduced to him, and to gain his confidence; and a poison administered by her was soon afterwards the cause of his painful death."-See SISMONDI, History of the Italian Republics, vol. i.

"L'orage peut briser en un moment les fleurs qui tiennent encore la tête levée. Mad. de Staël.

'MIDST Tivoli's luxuriant glades,
Bright foaming falls, and olive shades,
Where dwelt, in days departed long,
The sons of battle and of song,

No tree, no shrub its foliage rears,
But o'er the wrecks of other years,

Temples and domes, which long have been
The soil of that enchanted scene.

There the wild fig-tree and the vine
O'er Hadrian's mouldering villa twine ;1

The cypress, in funereal grace,
Usurps the vanish'd column's place;
O'er fallen shrine, and ruin'd frieze;
The wall-flower rustles in the breeze ;
Acanthus-leaves the marble hide
They once adorned, in sculptured pride,
And nature hath resumed her throne
O'er the vast works of ages flown.

Was it for this that many a pile, Pride of Ilissus and of Nile, To Anio's banks the image lent Of each imperial monument ?2 Now Athens weeps her shatter'd fanes, Thy temples, Egypt, strew thy plains; And the proud fabrics Hadrian rear'd From Tibur's vale have disappear'd. We need no prescient sibyl there The doom of grandeur to declare; Each stone, where weeds and ivy climb, Reveals some oracle of Time; Each relic utters Fate's decree, The future as the past shall be.

Halls of the dead! in Tibur's vale, Who now shall tell your lofty tale? Who trace the high patrician's dome, The bard's retreat, the hero's home? When moss-clad wrecks alone record There dwelt the world's departed lord. In scenes where verdure's rich array Still sheds young beauty o'er decay, And sunshine on each glowing hill, Midst ruins finds a dwelling still.

Sunk is thy palace-but thy tomb, Hadrian! hath shared a prouder doom,3 Though vanish'd with the days of old Its pillars of Corinthian mould ; And the fair forms by sculpture wrought, Each bodying some immortal thought, Which o'er that temple of the dead, Serene, but solemn beauty shed, Have found, like glory's self, a grave In time's abyss, or Tibur's wave:4 Yet dreams more lofty, and more fair, Than art's bold hand hath imaged o'er, High thoughts of many a mighty mind, Expanding when all else declined, In twilight years, when only they Recall'd the radiance pass'd away, Have made that ancient pile their home, Fortress of freedom and of Rome.

There he, who strove in evil days Again to kindle glory's rays, Whose spirit sought a path of light, For those dim ages far too bright,Crescentius long maintain'd the strife Which closed but with its martyr's life, And left the imperial tomb a name,