manhood. Soon after his great illness (which, I believe, changed him so much for the worse by hastening premature old age) at Colmar, he had written to his friends at Siena that he had very nearly been made a fool of by Death; but that, having escaped, he intended, by hurrying his work, to make a fool of Death instead. And in 1801 he wrote in his memorandum-book: "Health giving way year by year; whence, hurrying to finish my six comedies, I make it decidedly worse." Soon after, as Mme. d'Albany later informed his friend Caluso, Alfieri, finding that his digestion had become so bad as to produce inability to work after meals, began systematically to diminish his already extremely sober allowance of food; while, at the same time, he did not diminish the exercise, walking, riding, and driving, which he found necessary to keep himself in spirits. Knowing that death could not be far ahead, and accustomed since his youth to think that his life ought not to extend over sixty years, Alfieri was calmly and deliberately walking to meet Death. Calmly and deliberately; but not heartlessly. Engrossed in his studies, devoted to his own glory as he was, he was still full of a kind of mental passion for Mme. d'Albany. He was unfaithful to her for the sake of low women, he was neglectful of her for the sake of his work; he did not, perhaps, receive much pleasure from this stout, plain, prosaic lady (like one of Rubens's women grown old, as Lamartine later described her) whom he left to her letter-writing, her reading of Kant, of La Harpe, of Shakespeare, of Lessing; to her painting lessons, and long discussions on art with Monsieur Fabre. The woman whose presence, no longer exciting, was doubtless a matter of indifference to him. But, nevertheless, it seems to me probable that Alfieri never wrote more completely from his heart than when, composing the epitaph of the Countess, he said of Mme. d'Albany that she had been loved by him more than anything on earth, and held almost as a mortal divinity. "A Victorio Alferio ... ultra res omnes dilecta, et quasi mortale numen ab ipso constanter habita et observata." For a thought begins about the year 1796 to recur throughout Alfieri's letters and sonnets, and whenever he mentions the Countess in his autobiography; a thought too terrible not to be genuine: he or his beloved must die first; one or the other must have the horror of remaining alone, widowed of all interest on earth. How constantly this idea haunted him, and with what painful vividness, is apparent from a letter which I shall translate almost _in extenso_; as, together with those few words which I have quoted about Gori's death, it shows the passionate tenderness that was hidden, like some aromatic herb beneath the Alpine snow, under the harsh exterior of Alfieri.