I am to have for each _number_ £40; for the whole novel, therefore, £480. I have conferred with the authoress to-day, and am to get the first-proof sheets this week. The first number will be published in July. Miss Evans (or Mrs. Lewes) has a very striking countenance. Her face is large, her eyes deep set, her nose aquiline, her mouth large, the under jaw projecting, rather like Charles Quint; her voice and manner are grave, simple, and gentle. There is a curious mixture in her look; she either is or seems very short-sighted. Lewes is clever. Both were extremely polite to me; her I shall like much. I have no other news; no one asks about my pictures, though their success is decidedly great; hard times! Are you writing to Gussy? if so will you tell her that I mean to give her some lessons with Hallé when she comes to London? she shall have _three_ a week for a month. Tell Lina with my love not to be jealous, it will be her turn next. How is she? and how is Mamma? Give them my best love, and believe me, your affectionate boy, FRED. That George Eliot should write a Florentine story at a time when Leighton was available to illustrate it, was certainly a most fortunate coincidence. Each scene which he represents is impregnated with a feeling which records the strong hold Italy had on his artistic resources. With a few exceptions, these illustrations for "Romola" are the last examples of his art, when a dramatic or a humorous treatment was a prominent feature of the designs. The last picture exhibited at the Royal Academy in 1897--the passionate, despairing figure of "Clytie"--was notably one of these exceptions. Unfortunately Leighton's letters to George Eliot respecting the "Romola" drawings cannot be found, and were probably destroyed before the author's death. The following were preserved by Leighton:-- 16 BLANDFORD SQUARE, N.W., _Friday_. DEAR MR. LEIGHTON,--Thanks for the sight of the Vignettes. They are satisfactory. Your delicious drawing was with me all day yesterday and made the opera more delightful to me in the evening. I never saw anything comparable to the scene in Nello's shop as an illustration. There could not be a better beginning. I should very much like to have a little conversation with you, and will arrange to see you at any hour that will best suit you, in the evening if you like, any time after the morning working hours, which last till two o'clock. I know your time is very precious to you just now, but I think we shall both benefit by a little talk together after you have read the second proof.--Yours very truly, M.E. LEWES. F. LEIGHTON, Esq.