etc., 1818, Hobhouse explains that on his return to England he considered that this "appendix to the Canto would be swelled to a disproportioned bulk," and that, under this impression, he determined to divide his material into two parts. The result was that "such only of the notes as were more immediately connected with the text" were printed as "Historical Notes to Canto the Fourth," and that his longer dissertations were published in a separate volume, under his own name, as Historical Illustrations to the Fourth Canto of Childe Harold. To these "Historical Notes" an interest attaches apart from any consideration of their own worth and importance; but to understand the relation between the poem and the notes, it is necessary to retrace the movements of the poet and his annotator.
Byron and Hobhouse left the Villa Diodati, October 5, 1816, crossed the Simplon, and made their way together, viâ Milan and Verona, to Venice. Early in December the friends parted company. Byron remained at Venice, and Hobhouse proceeded to Rome, and for the next four months devoted himself to the study of Italian literature, in connection with archaeology and art. Byron testifies (September 14, 1817) that his researches were "indefatigable," that he had "more real knowledge of Rome and its environs than any Englishman who has been there since Gibbon." Hobhouse left Rome for Naples, May 21; returned to Rome, June 9; arrived at Terni, July 2; and early in July joined Byron on the Brenta, at La Mira. The latter half of the year (July—December, 1817) was occupied in consulting "the best authorities" in the Ducal Library at Venice, with a view to perfecting his researches, and giving them to the world as an illustrative appendix to Childe Harold. It is certain that Byron had begun the fourth canto, and written some thirty or more stanzas, before Hobhouse rejoined him at his villa of La Mira on the banks of the Brenta, in July, 1817; and it would seem that, although he had begun by saying "that he was too short a time in Rome for it," he speedily overcame his misgivings, and accomplished, as he believed, the last "fytte" of his pilgrimage. The first draft was Byron's unaided composition, but the "additional stanzas" were largely due to Hobhouse's suggestions in the course of
