ed—by the fact that during these years—from 1866 to 1870–she was constantly travelling from town to town and from lodging to lodging, as a member of various theatrical companies; this nomadic existence did not promote the careful and methodical storage of her letters. It may, of course, be added that no such obvious interest attached to these records as gathered round Sophy's doings after she had exchanged Paris and the Rue de Grenelle for Slavna and the Castle of Praslok.
When this migration has been effected, the historian is on much firmer ground; he is even embarrassed sometimes by the abundance of material of varying value. Apart from public records and general memory (both carefully consulted on the spot), the two main sources flow from Sophy's own hand. They are the Robins correspondence and the diary. Nearly to the end the letters are very constant, very full, very instructive; but they are composed with an obvious view to the tastes and interests of their recipient, and by no means always devote most space to what now seems of greatest interest. In one point, however, Miss Robins's tastes prove of real service. This lady, who rose to a respectable, if not a high, position as a Shakespearian actress, was much devoted to the study of costume, and Sophy, aware of this hobby, never omits to tell her with minute care what she herself wore on every occasion, what the other ladies wore, and what were the uniforms, military or civil, in which the men were arrayed. Trivial, perhaps, yet of great value in picturing the scenes!
In her letters Sophy is also copious in depicting places, houses, and landscapes—matters on which the diary is naturally not so full. So that, in spite of their great faults, the letters form a valuable supplement
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