When morning came, with Alfieri’s assistance, the plan of escape was arranged.  In the company of a lady friend—­and also of her husband, now scared and penitent, but fearing to let her out of his sight—­she drove to a neighbouring convent, ostensibly to inspect the nuns’ needlework.  On reaching her destination she ran up the convent steps, entered the building, and the door was slammed and bolted behind her in the very face of Charles Edward, who had followed as fast as his dropsical legs would carry him up the steps.  The Prince, blazing at such an outrage, hammered fiercely at the door until at last the Lady Abbess herself showed her face at the grating, and told him in no ambiguous words that he would not be allowed to enter!  His wife had come to her for protection; and if he had any grievance he had better appeal to the Duke of Tuscany.

Thus ended the tragic union of the “Bonnie Prince” and his Countess.  Emancipation had come at last; and, while Louise was now free to devote her life to her beloved Alfieri, her brutal husband was left for eight years to the company of his bottle and the ministrations of his natural daughter, until a drunkard’s grave at Frascati closed over his mis-spent life.  The pity and the tragedy of it!

Louise of Albany and her poet-lover were now free to link their lives at the altar—­but no such thought seems to have entered the head of either.  They were perfectly happy without the bond of the wedding-ring, of which the Countess had such terrible memories; and together they walked through life, happy in each other and indifferent to the world’s opinion.

Now in Florence, now in Rome; living together in Alsace, drifting to Paris; and, when the Revolution drove them from the French capital, seeking refuge in London, where we find the uncrowned Queen of England chatting amicably with the “usurper” George in the Royal box at the opera—­always inseparable, and Louise always clinging to the shreds of her Royal dignity, with a throne in her ante-room, and “Your Majesty” on her servants’ lips.  Thus passed the careless, happy years for Countess and poet until, in 1803, Alfieri followed the “Bonnie Prince” behind the veil, and left a desolate Louise to moan amid her tears, “There is no more happiness for me.”

But Louise was not left even now without the solace of a man’s love, which seemed as indispensable to her nature as the air she breathed.  Before Alfieri had been many months in his Florence tomb his place by the Countess’s side had been taken by Francois Xavier Fabre, a good-looking painter of only moderate gifts, whose handsome face, plausible tongue, and sunny disposition soon made a captive of her middle-aged heart.  At the time when Fabre came thus into her life Madame la Comtesse had passed her fiftieth birthday—­youth and beauty had taken wings; and passion (if ever she had any—­for her relations with Alfieri seem to have been quite platonic) had died down to its embers.