[1] _Recipe for Poumpo_: Flour, 101/2 oz.; brown sugar, 31/2 oz.; virgin
olive oil (probably butter would answer), 31/2 oz.; the white and the
yolk of one egg. Knead with enough water to make a firm paste. Fold
in three and set to rise for eight or ten hours. Shape for baking,
gashing the top. Bake in a slow oven.
[2] _Vin cue_, literally cooked wine, is made at the time of the vintage
by the following recipe: Boil unfermented grape-juice in a well
scoured cauldron [or porcelain-lined vessel] for a quarter of an
hour, skimming thoroughly. Pour into earthen pans, and let it stand
until the following day. Pour again into the cauldron, carefully, so
as to leave the dregs, and boil until reduced to one-half--or less,
or more, according to the sweetness desired. A good rule is to boil
in the wine a quince stuck full of cloves--the thorough cooking of
the quince shows that the wine is cooked too. Set to cool in earthen
pans, and when cold bottle and cork and seal. The Provencal
cooked-wine goes back to Roman times. Martial speaks of "Cocta fumis
musta Massiliensis."
[3] The admirable edition of Saboly's noels, text and music, published
at Avignon in the year 1856 by Francois Seguin has been reissued by
the same publisher in definitive form. It can be obtained through
the Librarie Roumanille, Avignon.
[4] As yet (1902) these high hopes have not been fully realized. In the
past eight years dramatic performances repeatedly have been given in
the Orange theatre, and always with a brilliant success; but their
establishment as fixtures, to come off at regular intervals, still
is to be accomplished.
[5] The dimensions of the theatre are: width, 338 feet; depth, 254 feet;
height of facade and of rear wall of stage, 120 feet; radius of
auditorium, 182 feet.
[6] The conventions of the Greek theatre--and, later, of the Roman
theatre--prescribed that through the great central portal kings
should enter; through the smaller side portals, queens or princesses
(on the left) and guests (on the right); from the portals in the
wings, natives of the country (on the left) and strangers (on the
right). The conventional entrances from the wings arose from the
fact that the spectators in the Dionysiac theatre, on the Acropolis,
saw beyond the stage on the one side the white houses of Athens and
on the other the plains of Attica: and so to them the actors coming
from the Athenian side were their own people, while those entering
from the side toward Attica were strangers. In the modern French
theatre the "court" and "garden" entrances still preserve this
ancient tradition.
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