{49} Borrow’s personal appearance, as we know from the later portrait by his most intimate friend, Dr. Thomas Gordon Hake, must have been sufficiently striking at any period of his life.  “His figure was tall and his bearing very noble.  He had a finely moulded head and thick white hair—­white from his youth; his brown eyes were soft, yet piercing; his mouth had a generous curve—­his nose was somewhat of the Semitic type, which gave his face the cast of a young Memnon.”  This is confirmed by the assurance in Lavengro that a famous heroic painter was extremely anxious to secure Don Jorge as a model for the face and figure of Pharaoh!

{52} “I am not cunning.  If people think I am it is because, being made up of art themselves, simplicity of character is a puzzle to them.”—­Romany Rye, chap. xi.

{61} Gypsy lad.

{62} Blacksmith.

{63a} Tell fortunes.

{63b} Hill Tower:  i.e.  Norwich.

{63c} Farewell.

{64} Blacksmith.

{65a} Smith.

{65b} The “Wayland Smith” referred to in Kenilworth.

{67a} Horse.

{67b} Horseshoe.

{67c} Striking.

{69a} Horse.

{69b} Knife.

{69c} Hoof.

{69d} Horseshoe nail.

{69e} Great file.

{69f} Tool box.

{71} Poison.

{82} Gipsy chap.

{84a} Going to the village one day.

{84b} Road my gypsy lass.

{86} Mort, i.e., woman, concubine, a cant term.

{87} Again.

{90a} Old man.

{90b} Wretch, hussy.

{91} An old word for knife, used by Urquhart and also by Burns.

{93a} Carcase.

{93b} Knife.

{94a} Donkey.

{94b} Lad.

{106} The main characters in Lavengro are three:  the scholar (Borrow himself), the gypsy (Mr. Petulengro), and the priest, or popish propagandist.  This last is the man in black.  The word-master has in the course of his travels heard a good deal about this man, and he is able to identify him almost at once by his predilection for gin and water, cold, with a lump of sugar in it.  He hears of him first from his London friend, Francis Ardry, then from an Armenian merchant whom he met in London, and then again from a brother-author, who describes a silly and intrusive Anglican parson, called Platitude, as a puppet in the hands of “the man in black.”  The latter he characterises as a sharking priest, who has come over from Italy to proselytize and plunder; he has “some powers of conversation and some learning, but he carries the countenance of an arch-villain; Platitude is evidently his tool.”