jumping upon the gun, made a solemn vow never to quit it alive during the siege."
After the retreat of the French, "a pension was settled upon Augustina, and the daily pay of an artilleryman. She was also to wear a small shield of honour, embroidered upon the sleeve of her gown, with 'Zaragoza' inscribed upon it" (Southey's Peninsular War, ii. 14, 34).
Napier, "neither wholly believing nor absolutely denying these exploits," which he does not condescend to give in detail, remarks "that for a long time afterwards, Spain swarmed with Zaragoza heroines, clothed in half-uniforms, and theatrically loaded with weapons."
A picture of "The Defence of Saragossa," painted by Sir David Wilkie, which contained her portrait, was exhibited in the Royal Academy in 1829, and was purchased by the king (Napier's History of the War in the Peninsula, i. 45; Life of Sir D. Wilkie, by John W. Mollett, 1881, p. 83).
Compare, too, The Age of Bronze, vii. lines 53-56—
"... the desperate wall
Of Saragossa, mightiest in her fall;
The man nerved to a spirit, and the maid
Waving her more than Amazonian blade."]
12.
The seal Love's dimpling finger hath impressed
Denotes how soft that chin which bears his touch.
"Sigilla in mento impressa Amoris digitulo
Vestigio demonstrant mollitudinem."
[The quotation does not occur in Aulus Gellius, btit is a fragment in iambic metre from the Papia papæ περί ἐγκωμίων of M. Terentius Varro, cited by the grammarian Nonius Marcellus (De Comp. Doct., ii. 135, lines 19-23). Sigilla is a variant of the word in the text, laculla, a diminutive of lacuna, signifying a dimple in the chin. Lacullum is not to be found in Facciolati. (Vide Riese, Varro. Satur. Menipp. Rel., 1865, p. 164.)]
13.
Oh, thou Parnassus!
These stanzas were written in Castri (Delphos), at the foot of Parnassus, now called Λιακυρα (Liakura), Dec. [16], 1809.
