Now, as ever, Brahms returned with delight to the fresh naïveté of the folk-song, and numerous examples of his settings of texts obtained from German, Bohemian, Italian sources are to be found in these books, of which 'Sonntag,' Op. 47, No. 3, and 'Am Sonntag Morgen,' Op. 49, No. 1, are perhaps the best known. 'Gold überwiegt die Liebe' is a touching little lament (No. 4 of Op. 48). The text of 'Von ewiger Liebe' is itself a Wendic folk-song, but the composer's treatment has placed it amongst the finest works of German art in song-form. As a rule, however, Brahms set folk-songs as such, and his treatment of them was direct, and, so to say, unstudied. He has set for a single voice popular texts of more than twenty nationalities besides his own, and, as he found them, as they appealed to him, so he composed them, without attempt either to interfere with the frank naturalness of the words, or to give national colour to his music. Such musical references as he occasionally makes in his songs to the origin of his texts are so unobtrusive as to be hardly noticeable, excepting by a special student of the subject.[32] 'Vergangen ist mir,' Op. 48, No. 6, points back to the tonal system of the Middle Ages. Like 'Sehnsucht,' Op. 14, No. 8, it is composed in the Dorian mode. The enumeration of the great song publications of 1868 is not yet at an end. The issue by Rieter-Biedermann of Books 3, 4, 5, containing in all nine numbers, of the 'Magelone Romances,' of which the first two books had appeared in 1865, completed a song-cycle which ranks among the few supreme achievements of its class, increasing to the number of four a special group of names which had hitherto included those only of Beethoven, Schubert, and Schumann.