[354] See Child's English and Scottish Ballads, vol. ii. pp. 244, et seq.
[355] Bolza, Canz. Pop. Comasche, No. 49. Here is the Scotch version from Lord Donald:
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What will ye leave to your true-love, Lord Donald, my son? What will ye leave to your true-love, my jollie young man? The tow and the halter, for to hang on yon tree, And lat her hang there for the poisoning o' me. |
[356] This is the Scotch version, with the variant of Lord Randal:
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What gat ye to your dinner, Lord Randal, my son? What gat ye to your dinner, my handsome young man? I gat eels boiled in broo; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down. What became of your bloodhounds, Lord Randal, my son? What became of your bloodhounds, my handsome young man? O, they swelled and they died; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down. |
[357] In Passano's I Novellieri Italiani in Verso I find, at p. 20, the notice of a poem, in octave stanzas, which corresponds exactly to the Heir of Lynn. Published at Venice, 1530, 1531, 1542, it bears this title: "Essempio dun giovane ricchissimo; qual consumata la ricchezza: disperato a un trave si sospese. Nel qual il padre previsto il suo fatalcorso gia molti anni avanti infinito tesoro posto havea, et quello per il carico fracassato, la occulta moneta scoperse." The young man's name is Fenitio. I have not seen this poem, and since it is composed in ottava rima it cannot be classed exactly with the Avvelenato. Passano also catalogues the Historia di tre Giovani disperati e di tre fate, and the Historia di Leon Bruno, which seem to contain ballad elements.
[358] Muratori, Rer. Ital. Script. viii. 712.
[359] A curious letter describing the entrance of the Battuti into Rome in 1399 may be read in Romagnoli's publication Le Compagnie de' Battuti in Roma, Bologna, 1862. It refers to a period later by a century than the first outbreak of the enthusiasm.
[360] Some banners—Gonfaloni or Stendardi—of the Perugian fraternities, preserved in the Pinacoteca of that town, are interesting for their illustration of these religious companies at a later date. The Gonfalone of S. Bernardino by Bonfigli represents the saint between heaven and earth pleading for his votaries. Their Oratory (Cappella di Giustizia) is seen behind, and in front are the men and women of the order. That of the Societas Annuntiatæ with date 1466, shows a like band of lay brethren and sisters. That of the Giustizia by Perugino has a similar group, kneeling and looking up to Madonna, who is adored by S. Francis and S. Bernardino in the heavens. Behind is a landscape with a portion of Perugia near the Church of S. Francis. The Stendardo of the Confraternità di S. Agostino by Pinturicchio exhibits three white-clothed members of the body, kneeling and gazing up to their patron. There is also a fine picture in the Perugian Pinacoteca by Giov. Boccati of Camerino (signed and dated 1447) representing Madonna enthroned in a kind of garden, surrounded by child-like angels with beautiful blonde hair, singing and reading from choir books in a double row of semi-circular choir-stalls. Below, S. Francis and S. Dominic are leading each two white Disciplinati to the throne. These penitents carry their scourges, and holes cut in the backs of their monastic cloaks show the skin red with stripes. One on either side has his face uncovered: the other wears the hood down, with eye-holes pierced in it. This picture belonged to the Confraternity of S. Domenico.
[361] Cantici di Jacopone da Todi (Roma, Salviano, 1558), p. 64. I quote from this edition as the most authentic, and reproduce its orthography.