Canto IV LXIII

E. H. Coleridge's notes to Childe Harold's Pilgrimage, The Works of Lord Byron, Poetry vol. II (John Murray, 1899; Project Gutenberg #25340). Bracketed passages are the editor's; unbracketed are Byron's own (Cantos I-III) or John Cam Hobhouse's (Canto IV, his 'Historical Notes'). Digit footnotes ('[17]') are informational and numbered continuously through the whole book; end-notes keyed '[n.B.]' (Byron) or '[n.H.]' (Hobhouse) follow each canto and are numbered afresh from 1 there. Both kinds are placed here by matching each note's own quoted words against the site's text, not by the number or stanza the note states, because the site's text (Gutenberg #5131) and this edition (#25340) are different editions with different stanza counts in Canto I. Lettered footnotes ('[h]', '[dn]') are manuscript and edition variant readings and are not harvested, matching the treatment of Don Juan's and byron-works-3's lettered notes.

1. Stanza 1, line 3 [The Duomo, crowned with Brunelleschi's cupola, and rich in sculpture and stained glass, is, as it were, a symbol of Florence, the shrine of art. Browning, in his inspired vision of St. Peter's at Rome in Christmas Eve, catches Byron's note to sound a loftier strain--
   
   "Is it really on the earth This miraculous dome of God?"
   
   "It is somewhere mentioned that Michael Angelo, when he set out from Florence to build the dome of St. Peter's, turned his horse round in the road to contemplate that of the cathedral, as it rose in the grey of the morning from among the pines and cypresses of the city, and that he said, after a pause, 'Come te non voglio! Meglio di te non posso.' He never, indeed, spoke of it but with admiration; and, if we may believe tradition, his tomb, by his own desire, was to be so placed in the Santa Croce as that from it might be seen, when the doors of the church stood open, that noble work of Brunelleschi."--Rogers's Italy: Poems, ii. 315, note to p. 133, line 5--"Beautiful Florence."]
2. Stanza 2, line 2 [Byron, contrary to traditional use (see Wordsworth's sonnet, "Near the Lake of Thrasymene;" and Rogers's Italy, see note, p. 378), sounds the final vowel in Thrasym[=e]ne. The Greek, Latin, and Italian equivalents bear him out; but, most probably, he gave Thrasymene and himself an extra syllable "vel metri vel euphoniae causa."]
3. Stanza 3, line 5 ["Tantusque fuit ardor armorum, adeo intentus pugnae animus, ut eum motum terrae, qui multarum urbium Italiae magnas partes, prostravit, avertitque cursu rapidos amnes, marce fluminibus invexit, montes lapsu ingenti proruit, nemo pugnantium senserit" (Livy, xxii. 5). Polybius says nothing about an earthquake; and Ihne (Hist, of Rome, ii. 207-210) is also silent; but Pliny (Hist. Nat., ii. 84) and Coelius Antipater (ap. Cic., De Div., i. 35), who wrote his Annales about a century after the battle of Lake Thrasymenus (B.C. 217), synchronize the earthquake and the battle. Compare, too, Rogers's Italy, "The Pilgrim:" Poems, 1852, ii. 152--
   
   "From the Thrasymene, that now Slept in the sun, a lake of molten gold, And from the shore that once, when armies met, Rocked to and fro unfelt, so terrible The rage, the slaughter, I had turned away."
   
   Compare, too, Wordsworth's sonnet (No. xii.), "Near the Lake of Thrasymene" (Works, 1888, p. 756)--
   
   "When here with Carthage Rome to conflict came, An earthquake, mingling with the battle's shock, Checked not its rage; unfelt the ground did rock, Sword dropped not, javelin kept its deadly aim,-- Now all is sun-bright peace."]
4. Stanza 3, line 5 "And such was their mutual animosity, so intent were they upon the battle, that the earthquake, which overthrew in great part many of the cities of Italy, which turned the course of rapid streams, poured back the sea upon the rivers, and tore down the very mountains, was not felt by one of the combatants." Such is the description of Livy. It may be doubted whether modern tactics would admit of such an abstraction.
   
   The site of the battle of Thrasimene is not to be mistaken. The traveller from the village under Cortona to Casa di Piano, the next stage on the way to Rome, has for the first two or three miles, around him, but more particularly to the right, that flat land which Hannibal laid waste in order to induce the Consul Flaminius to move from Arezzo. On his left, and in front of him, is a ridge of hills bending down towards the lake of Thrasimene, called by Livy "montes Cortonenses," and now named the Gualandra. These hills he approaches at Ossaja, a village which the itineraries pretend to have been so denominated from the bones found there: but there have been no bones found there, and the battle was fought on the other side of the hill. From Ossaja the road begins to rise a little, but does not pass into the roots of the mountains until the sixty-seventh milestone from Florence. The ascent thence is not steep but perpetual, and continues for twenty minutes. The lake is soon seen below on the right, with Borghetto, a round tower, close upon the water; and the undulating hills partially covered with wood, amongst which the road winds, sink by degrees into the marshes near to this tower. Lower than the road, down to the right amidst these woody hillocks, Hannibal placed his horse, in the jaws of, or rather above the pass, which was between the lake and the present road, and most probably close to Borghetto, just under the lowest of the "tumuli." On a summit to the left, above the road, is an old circular ruin, which the peasants call "the tower of Hannibal the Carthaginian." Arrived at the highest point of the road, the traveller has a partial view of the fatal plain, which opens fully upon him as he descends the Gualandra. He soon finds himself in a vale enclosed to the left, and in front and behind him by the Gualandra hills, bending round in a segment larger than a semicircle, and running down at each end to the lake, which obliques to the right and forms the chord of this mountain arc. The position cannot be guessed at from the plains of Cort …