I don't wonder at your difficulty about the modification of _com_ into _ciom_. The writers of the fifteenth century, speaking of the insurrection of the _Ciompi_ which occurred in the previous century, say that the word was a corruption of the French _compère_, the same word of course as _compare_, constantly on the lips of the numerous French who were present in Florence during the dictatorship of the Duke of Athens. The likelihood of the derivation lies in the analysis of transition in the meaning of words _compère_ and _compare_, like the English "gossip," beginning with the meaning of godfather and ending with, or rather proceeding to that of companion. Our "gossip" has at least parted with its secondary meaning as well as its primary one. The unlikelihood of the derivation lies in the modification of the sounds, and I felt that unlikelihood as you have done. But in the absence of a Max Müller to assure me of a law to the contrary, I thought the statement of Tuscan writers a better authority than inferences. I ought to have written "is stated by the old historians." I am really comforted by the thought that you will mention doubts to me when they occur to you. My misery is the certainty that I must be often in error. Mr. Lewes shares my admiration of the two last illustrations.--Ever yours truly, MARIAN E. LEWES. F. LEIGHTON, Esq. 16 BLANDFORD SQUARE, N.W., _Tuesday_. DEAR MR. LEIGHTON,--Since I saw you I have confirmed by renewed reference my conclusion that _gamurra_ was the equivalent of our _gown_, _i.e._ the constant outer garb of femininity, varying in length and cut according to rank and age. The poets and novelists give it alike to the peasant and the "city woman," and speak of the _girdle_ around it. Perhaps it would have been better to call Tessa's gown a _gamurrina_, the word sometimes used and indicating, I imagine, just that abbreviation of petticoat that active work demands.