The name is wanting, but Orpheus was there. The survival of the soul of Orpheus in the _zufolo_ or pipe, and in the sprite, reveals the mystic legend which indicates his existing to other times. In this it is said that his head after death predicted to Cyrus the Persian monarch that he too would be killed by a woman (_Consule Leonic_, _de var. histor._, lib. i. cap. 17; _de Orphei Tumulo in monte Olympo_, &c., cited by _Kornmann de Miraculis Mortuorum_, cap. 19). The legend of Orpheus, or of a living wife returning from another world to visit an afflicted husband, passed to other lands, as may be seen in a book by Georgius Sabinus, _in Notis ad Metamorp_. _Ovidii_, lib. x. _de descensu Orphei ad Inferos_, in which he tells how a Bavarian lady, after being buried, was so moved by her husband’s grief that she came to life again, and lived with him for many years, _semper tamen fuisse tristem ac pallidem_—but was always sad and pale. However, they got on very well together for a long time, till one evening _post vesperi potum_—after he had taken his evening drink—being somewhat angry at the housemaid, he scolded her with unseemly words. Now it was the condition of his wife’s coming back to life and remaining with him that he was never to utter an improper expression (_ut que deinceps ipse abstineret blasphemis conviciandi verbis_). And when the wife heard her husband swear, she disappeared, soul and body, and that in such a hurry that her dress (which was certainly of fine old stiff brocade) was found standing up, and her shoes under it. A similar legend, equally authentic, may be found in the “Breitmann Ballads,” a work, I believe, by an American author. On which subject the learned Flaxius remarks that “if all the men who swear after their evening refreshments were to lose their wives, widowers would become a drug in the market.” Of the connection between _aura_ as air, and as an _air_ in music, I have something curious to note. Since the foregoing was written I bought in Florence a large wooden cup, it may be of the eleventh century or earlier, known as a _misura_, or measure for grain, formerly called a _modio_, in Latin _modus_, which word has the double meaning of measure for objects solid or liquid, and also for music. Therefore there are on the wooden measure four female figures, each holding a musical instrument, and all with their garments blowing in one direction, as in a high wind, doubtless to signify _aura_, Italian _aria_, air or melody. These madonnas of the four _modes_ are rudely but very gracefully sketched by a bold master-hand. They represent, in fact, Eurydice quadrupled.