He had read with Marie de' Medici the history of the Egyptian Queen, and had brooded over it until against his will something of the fascination of the "Serpent of Old Nile" invested his comrade, and the name of Antony ever after called up in her memory also the inspired face of her fellow-student in the dangerous science of love. Realising vaguely the influence which like some mephitic perfume, an opiate of the soul, emanated from the purely literary reconstruction of such a character, he laid it aside for the heart-breaking story of Giulietta, whose very innocence moved him still more profoundly. It was midsummer, the quivering July heat brought out the pungent scent of the freshly clipped box-hedges, and set the mad flood stirring as in the brief action of the play. During the day the white glare drove the guests of the garden festivals into the shadiest recesses of the cypress labyrinths. The flowers themselves seemed to have vanished from the parterres, or, like the Cereus, bloomed only at night, plainly visible under the luminous sky, when the nightingales vied with the viols of the serenaders. On such a night as this Brandilancia, who had been reading late, closed his book and, after the departure of the last reveller, stepped upon the terrace to cool his brain heated by inspiration. A kindred restlessness brought Marie de' Medici to her balcony and he recklessly sprang upon a marble bench which almost enabled him to touch her hand. "Listen, dearest lady," he said, "it is your favourite story, which I have re-written with my own heart's blood." Enthralled, though only half comprehending, Marie de' Medici listened as he poured forth in impassioned improvisation lines which from that day to this no one who has ever loved has heard untouched. The actor's training gave to the burning words of the poet artistic expression worthy of the most finished theatrical production, and as such they lacked not their due appreciation and applause though from a most undesired audience. A low chuckling and a clapping of hands greeted the close of the recital, and the two successful impersonators of Romeo and Juliet saw to their confusion that the scene had been witnessed by a burly man-at-arms, who now stalked from the shadow of a group of cypresses. "Bravo!" he cried, "da Groto himself did not act that play so well, when I saw him years since in the Farnese theatre at Parma. But you have taken liberties with the lines and, per Bacco! have improved them. Whoever you may be you are too good an actor for such paltry assistance."