I had often wondered why when people talked to me of Tintoretto I always found myself thinking of Turgéneff. It seemed to me strange that I should think of Turgéneff instead of thinking of Tintoretto; for at first sight nothing can be more far apart than the Slav mind and the Flemish. But one morning, some years ago, while I was musing by my fireplace in Victoria Street, Dolmetsch came to see me. He had a soiled roll of music under his left arm. I said, "How are you?" He said, "I am well. And you?" I said, "I, too, am well. What is that, my dear Dolmetsch, that you carry under your left arm?" He answered, "It is a Mass by Palestrina." "Will you read me the score?" I asked. I was afraid he would say no. But Dolmetsch is not one of those men who say no, and he read me the score. He did not read very well, but I had never heard it before, so when he finished I begged of him he would read it to me again. He said, "Very well, M**re, I will read it to you again." I remember his exact words, because they seemed to me at the time to be the sort of thing that only Dolmetsch could have said. It was a foggy morning in Victoria Street, and while Dolmetsch read again the first few bars, I thought how Renoir would have loved to paint in such an atmosphere the tops of the plane trees that flaccidly show above the wall of Buckingham Palace.... Why had I never been invited to Buckingham Palace? I did not want to go there, but it would have been nice to have been asked.... How _brave gaillard_ was Renoir, and how well he painted from that subfusc palette!... My roving thoughts were caught back to the divine score which Arnold Dolmetsch was reading to me. How well placed they were, those semibreves! Could anyone but Palestrina have placed them so nicely? I wondered what girl Palestrina was courting when he conceived them. She must have been blonde, surely, and with narrow flanks.... There are moments when one does not think of girls, are there not, dear reader? And I swear to you that such a moment came to me while Dolmetsch mumbled the last two bars of that Mass. The notes were "do, la, sol, do, fa, do, sol, la," and as he mumbled them I sat upright and stared into space, for it had become suddenly plain to me why when people talked of Tintoretto I always found myself thinking of Turgéneff. I do not say that this story that I have told to you is a very good story, and I am afraid that I have not well told it. Some day, when I have time, I should like to re-write it. But meantime I let it stand, because without it you could not receive what is upmost in my thoughts, and which I wish you to share with me. Without it, what I am yearning to say might seem to you a hard saying; but now you will understand me.