eyes closed to keep out the rain; and how the smaller ones gather snails in the wet grass, which will appear with fried pumpkin at the labourer’s supper; how, yesterday, he climbed Mount Calvano—­that very brother of hers for his guide—­his mule carrying him with dainty steps through the plain—­past the woods—­up a path ever wilder and stonier, where sorb and myrtle fall away, but lentisk and rosemary still cling to the face of the rock—­the head and shoulders of some new mountain ever coming into view; how he emerged, at last, where there were mountains all around; below, the green sea; above, the crystal solitudes of heaven; and, down in that green sea, the slumbering Siren islands:  the three which stand together, and the one which swam to meet them, but has always remained half-way.  These, and other reminiscences, beguile the time till the storm has passed, and the sun breaks over the great mountain which the Englishman has just described.  He and little “Fortu” can now go into the village, and see the preparations being made for to-morrow’s feast—­that of the Virgin of the Rosary—­which primitive solemnity he also (by anticipation) describes.  He concludes with a brief allusion to the political scirocco which is blackening the English sky, and will not vanish so quickly as this has done; and thus hints at a reason, if the reader desires one, for his temporary rustication in a foreign land.

FOOTNOTES: 

[Footnote 72:  First in “Hood’s Magazine.”]

[Footnote 73:  Two of these are now in the National Gallery; one presented to it by Sir Charles Eastlake, the other after his death by Lady Eastlake.]

[Footnote 74:  Mr. Browning thus skilfully accounts for the discrepancy between the coarseness of his life and the refined beauty of much of his work.]

[Footnote 75:  The painter spoken of as “hulking Tom” is the celebrated one known as “Masaccio” (Tommasaccio), who learned in the convent from Lippo Lippi, and has been wrongly supposed to be his teacher.  He is also one of those who were credited with the work of Lippino, Lippo Lippi’s son.]

[Footnote 76:  The Bishop’s tomb is entirely fictitious; but something which is made to stand for it is now shown to credulous sight-seers in St. Praxed’s Church.]

[Footnote 77:  First in “Hood’s Magazine.”]

[Footnote 78:  These were correctly given in the MS., and appeared so in the first proofs of the book; but were changed from considerations of prudence.]

[Footnote 79:  A feigned name for one of the three wonder working images which are worshipped in France.]

[Footnote 80:  Mr. Browning allows me to give the true names of the persons and places concerned in the story.