P. 30. To this list of operas add Cherubini's _Les Abencérages_, Donizetti's _La Favorita_, Camille Erlanger's _La Sorcière_, Lecocq's _Giroflé-Girofla_, Wallace's _Maritana_, d'Albert's _Tiefland_, Verdi's _Don Carlos_, Sir Arthur Sullivan's _The Chieftain_, and Julius Eichberg's _The Doctor of Alcántara_. P. 36. Probably Pastora Imperio is the foremost of all contemporary Spanish dancers. She is a gipsy, the daughter of the dancer, La Mejorana, and Víctor Rojes, a tailor to bull-fighters, and she married the _torero_, El Gallo. She made her début at the Japonés, the best variety theatre in Madrid, opened in 1900. In 1902 she went to the Novedadés in the Calle Alcala, where La Argentina, then known as Aidá, and the famous Amalia Molina first appeared in Madrid. The Brothers Quintero have inscribed a sonnet to Pastora Imperio and they wrote their "Historia de Sevilla" for her use. Julio Romero de Torres has painted her. And Benavente, himself, the greatest, perhaps, of modern Spanish writers, has written a description of her dancing: "Her flesh burns with the consuming heat of all eternity, but her body is like the very pillar of the sanctuary, palpitating as it is kindled in the glow of sacred fires.... Watching Pastora Imperio life becomes more intense. The loves and hates of other worlds pass before our eyes and we feel ourselves heroes, bandits, hermits assailed by temptation, shameless bullies of the tavern--whatever is highest and lowest in one. A desire to shout out horrible things takes possession of us: _Gitanaza!_ Thief! Assassin! Then we turn to curse. Finally, summing it all up, in a burst of exaltation we praise God, because we believe in God while we look at Pastora Imperio, just as we do when we read Shakespeare." Recently La Imperio has been appearing in a one act piece, the music of which was arranged from de Falla's _El Amor Brujo_. Amalia Molina, mentioned above, was in her prime ten years or so ago.... Zuloaga has painted several portraits of Anita Ramirez and other Spanish dancers. One of his most admired pictures is of a gipsy dancer in _torero_ costume. Here, too, I may speak of La Goya, a delightful music-hall singer who has won fame not only in Spain but in South America as well. She has made a special study of costumes. Of a more popular type, but not more of a favourite, is Raquel Meller. P. 43. "the tail of a peacock": In Catulle Mendès's song, _La Pavana_, set to music by Alfred Bruneau, he compares the pavane to a peacock. P. 46. "its origin in the twelfth century": Tomás Bretón writes me that he considers it ridiculous to attribute any such age to the jota. His researches on the subject are embodied in a pamphlet (1911) entitled "Rápida ojeada histórica sobre la música española."