"Roque, bring closer that torch."

Roque obeyed—Theodora indeed slept, but it was the sleep of death.

Struck with consternation, the wretched old man clasped the lifeless body in his arms, and called eagerly on his child by the most endearing of names. Alas! it was too late: the spark of life had fled for ever, and the dull glare of the torch that fell upon her countenance soon confirmed the mournful truth. Pale and bloodless was her cheek, and cold were those beauteous limbs. The angel of death had spread his sable pinions over her dewy brow, and closed her eyes in eternal sleep. The despairing father now strove to raise his daughter in his arms, when something fell from her nerveless grasp. Roque immediately took it up—he gave a start, and uttered a most piteous moan, as he presented the object to Don Manuel. It was the portrait of Gomez Arias. That melancholy testimonial told that the heavenly spirit had lately taken its flight, for it was yet moist with her tears, the last effort of her departing soul—the last sad evidence of a woman's love.

Non come fiamma, che per forza è spenta,
Ma che per se medesma si consuma,
Se n'andò in pace l'anima contenta.
Petrarca.

THE END.

GUNNELL AND SHEARMAN, PRINTERS, SALISBURY SQUARE.

NOTES:

  1. [1] The unfortunate passion of Don Rodrigo, the last of the Goths, for Florinda, surnamed La Cava, was the primary cause of the Moorish invasion, and the disastrous wars which followed. Count Julian, father of the frail fair one, highly indignant at the affront he had received, resolved to take the most signal vengeance. His views were warmly espoused by Don Oppas, Archbishop of Toledo, who was the most influential man in the kingdom. These two noblemen betrayed their country to the Moors, who, invited by them, landed in Spain, under the command of Tarik and Muza.
  2. [2] The Black.
  3. [3] Champion of the Lists.
  4. [4] For this and for my King.
  5. [5] A kind of small mantle.
  6. [6] I am like my name.
  7. [7] I will bear him to the skies,
    That he may have the greater fall.
  8. [8] Know him by his deeds.
  9. [9] The game of the Ring.
  10. [10] The Chirimia was a musical instrument made of wood, resembling somewhat a wooden flageolet, though much longer: it contained ten holes; the wind pipe was thin, and made of reed. Præcentoria tuba, fistula musica. The Dulzaina was an instrument like the Chirimia, only upon a smaller scale, and capable of producing sounds more acute and sharp.—Tibia.
  11. [11] Gallants.
  12. [12] Pera. The military term is imperial; a small tuft of hair.
  13. [13] Jester.
  14. [14] Reja, a small grated window.
  15. [15] Anglice, a beldam.
  16. [16] I am an old Christian.
  17. [17] A porch,—the entrance of a building.
  18. [18] From a poor sinner like myself.
  19. [19] Jew.
  20. [20] St. James of Compostela, patron of Spain.
  21. [21] Girl.
  22. [22] God forgive me.
  23. [23] Sluggard.
  24. [24] The Adarga was a peculiar sort of shield or short buckler used by the Spaniards in those times. The presentation of the adarga was equivalent to an offer of peace. It was a practice often resorted to by the persons entrusted with a mission to the enemy.
  25. [25] Thieves.
  26. [26] A Maravedi was a coin of such diminutive value as to answer to the one-third of an English farthing.
  27. [27] The square.
  28. [28] The Persians, and even the Turks, when speaking of a brave man, generally compare him to a lion;—their poetry is full of this simile, and there is nothing more common than to hear them say aslan, lion, or caplan, tiger.
  29. [29] The brave man who protects the helpless is a Lion.
  30. [30] New Square.
  31. [31] At the period in which my Romance takes place, the revival of the art of painting was in its infancy. I am aware, therefore, that some scrupulous folks will be apt to find fault with me for having introduced a gallery of pictures with the same confidence as if I were writing a novel of the present day. Yet this seeming anachronism does not exist. The Moors, though they certainly could not boast of a Rafael or a Titian, had exercised themselves in the art, and, according to some authorities, even excelled in portrait painting. I do not intend to maintain that either the Moorish or Christian artists of the period had arrived at any eminence: for my purpose, it is enough that they did exist at the time: let imagination do the rest.
  32. [32] Our lady protect us.
  33. [33] In those times, when war was the only meritorious occupation of the gentle blood, the Jews, though despised and persecuted, were in some respects men of great consequence in a state. They were not only, as in the present day, the most expert and assiduous in money transactions, but cultivated the science of medicine with much success; when no other career was deemed compatible with honor and glory but the profession of arms or the church.
  34. [34] Samaritan—term of reproach.
  35. [35] God defend us.
  36. [36] God bless me.
  37. [37] Satan.
  38. [38] Old Christian.
  39. [39] Accursed.
  40. [40] A kind of ruffle or frill, worn formerly round the neck—a collar.
  41. [41] The Hill of the Martyrs.
  42. [42] On the hill of the Martyrs, so called from the supposed cruelties that the Moors had exercised against the Christian prisoners who fell into their hands, Queen Isabella caused a chapel to be erected, which became the object of many a pious pilgrimage.
  43. [43] May she rest in peace.
  44. [44] A devotee.
  45. [45] History describes Don Alonso de Aguilar as one of the most valiant and renowned amongst the celebrated warriors of that period. His death has been the subject of many and some very good ballads or romances, but it is better known and appreciated among the reading portion of the Spaniards by the description given by Hurtado de Mendoza in his work entitled, "Guerra de Granada." It is a masterly composition. Indeed the whole work passes amongst the literati as the most elegant and classic piece of Spanish history.
  46. [46] The seven Sleepers.