PREFACE
however, to the relief of the fevered muse, during some very hot weather. The place was so dark that I could see my way to and from my inkstand, I remember, but by keeping the door to the court open—thanks to which also the muse, witness of many mild domestic incidents, was distracted and beguiled. In this retreat I was visited by the gentle Euphemia; I sat in crepuscular comfort pouring forth again, and, no doubt, artfully editing, the confidences with which she honoured me. She again, after her fashion, was what I might have called experimentally international; she muffled her charming head in the lightest, finest, vaguest tissue of romance and put twenty questions by. "Louisa Pallant," with still subtler art, I find, completely covers her tracks—her repudiation of every ray of legend being the more marked by the later date (1888) of her appearance. Charitably affected to her and thus disposed, if the term be not arrogant, to hand her down, I yet win from her no shadow of an intelligible account of herself. I had taken possession, at Florence, during the previous year, of a couple of sunny rooms on the Arno just at the point where the Borg' Ognissanti begins to bore duskily westward; and in those cheerful chambers (where the pitch of brightness differed so from that of the others just commemorated) I seem to have found my subject seated in extreme assurance. I did my best for it one February while the light and the colour and the sound of old Italy played in again through my open windows and about my patient table after the bold loud fashion that I had had, from so much before, to teach myself to think directly auspicious when it might be, and indirectly when it might n't.
