[1] Pronounce as in the English word crow.

[2] Translation by Duncan Craig, author of Miejour.

[3] It is difficult to find any but contradictory evidence about the frescoes of the Papal Palace, but most writers ascribe them to Giotto or Giottino, or their school.

[4] "Memoires pour l'histoire naturelle de la province de Languedoc."—Astuc.

[5] Some of these originally Celtic names appear to have been Romanised. My chief authorities for these details are LenthÉrie and Paul MariÉton.

[6] In this author I have found the clearest short account of this period, and have taken the main facts in the following few paragraphs from his much-quoted volume.

[7] It is a curious fact, and somewhat difficult for the Western mind to realise, that just at this darkest moment of European history—or at any rate during the three later centuries of the period—the woman of Japan "held a higher social and intellectual rank than she then did in any other part of the world."

In an interesting work on "Feudal and Modern Japan," by Arthur May Knapp, occur the following arresting passages:—

"Aston also, in speaking of the fact that the author of this classic" (the "JÔsa Nikki") "professes to write as a woman, calls attention to the extraordinarily preponderant influence of woman in the field of ancient Japanese literature. It has long been recognised that woman occupies a much higher place in Japan than in any other Oriental country, but it is none the less surprising, especially in view of the supposed lack of intelligence among the sex in Japan to-day, to be told that by far the larger number of works of the best age of Japanese literature were of feminine authorship."

The writer quotes from the transactions of the Asiatic Society of Japan to the same effect: "that a very large proportion of the best writings of the best age of Japanese literature was the work of women."

This golden age in Japan was from the eighth to the eleventh century. During that time the men were chiefly engaged in pedantic studies in Chinese, while the women were developing a native and living literature. And during that time and for centuries before, the women of the West had not so much as arrived at the possession of human rights worthy the name!

[8] See "History of ProvenÇal Poetry," Fauriel, Rowbotham, Hueffer, etc.

[9] "When Aurora enshrined in her robe of satin, unbars without noise, the doors of the morning."—Jasmin.

[10] b.c. 46.

[11] Gallienus made this edict of withdrawal a.d. 260.

[12] Mentioned by M. Fauriel in his work on ProvenÇal Poetry.

[13] The story is given very fully by Duncan Craig in his book Miejour from which these verses and details are taken.

[14] This translation is taken from a small volume, entitled "Some Poets of the People in Foreign Lands," by J. W. Crombie (Elliot Stock).

[15] The translation of this and the following songs is given by Hueffer in his book on the troubadours.

[16]

[17] Mistral's poetical version of the story occurs in his "Nerto" as follows:—

[18] The Crau is pronounced as the English word "crow."

[19] LenthÉric also mentions an analogous story in the Book of Joshua (x. 7, 8, 9): "The Lord caused stones to fall from the sky on the enemies of Israel." Moreover, it appears that Joshua's camp was called Galgal (Hebrew, rolled stone), and a few miles from Betheron has been found a "Crau" like that of Provence.

[20] Presumably the rhyme has reference to "Le guet de Saint Victor," a cavalcade that has taken place at Marseilles from time immemorial, just after sunset, on the eve of the fÊte, or procession itself; the latter a ceremony of imposing magnificence.

[21] Baux means cliffs in ProvenÇal.

[22] The name of the inn has unfortunately been changed since the days of the discovery of the golden hair.

[23] The story has already been sketched in Chapter VII.

[24] See Justin Smith's Troubadours at Home.

[25] See "History of ProvenÇal Poets," M. Fauriel.

[26] Ross and McGibbon.

[27] Of the AcadÉmie FranÇaise and Professor of the College de France.

[28] Gaston Paris.

[29] Other verses of his on this occasion are quoted at head of chapter.

[30] An ancient bed of river, now deserted by main streams.

[31] When the Rhone makes new mouths it deserts its old course, leaving stagnant canals which are called Aigues Mortes.

[32] See illustrations, pp. 86 and 391.

[33] Maulde de la ClaviÈre, "Women of the Renaissance."