638 APPENDIX

of feasting he had in hell after he was starved: least of all do they notice when, in the first dream of his despair, he dreamt he was hunting the wolf in the mountain which Dante is content to indicate with one line-

“Per che i Pisani veder Lucca non ponno”¹

(“Because of which the Pisans cannot see Lucca”).

They do not see why the Pisans should wish to see it. Or why, being only twelve miles away, it is so impossible they should!

Due north and south they lie to each other,-like this: L Lucca, P Pisa, as the black thick line for the Arno; they, as I said, twelve miles apart. Florence (F) thirty miles eastward-level with Pisa. Putting the triangle south instead of north from the river, and putting M for Maidstone, R for Rochester, and G for the bit of London round Grosvenor Square, beloved of Sydney Smith, the distances are about the same; and if Rochester and Maidstone were ultimately fighting with Grosvenor Square, and sparring aside for practice, you can fancy the sort of life the three loving cities led each other.

Chapter X. (“Fairies’ Hollow”) was to have given “Rosie’s last letters.” One of these was set up in type, and some extracts from it are given in the Introduction (above, pp. lxix., lxx.).

PASSAGES INTENDED FOR “DILECTA,” VOL. III.

CHAPTER I.: “GOLDEN WATER”

In one of the latest, and, on the whole, best directed, efforts of the benevolent University men who interest themselves in the East End of London, and are endeavouring to explain to the East End of London what sort of a place Florence was, in all the quarters of it, and what sort of places there were once at the East End of the world, as compared with Havannah, New York City, Naphtha Settlement, and other presently religious and artistic centres or capitals of its West End;-in one of the latest, I say, of these efforts at exposition of things hitherto unseen, and undreamed-of, to the newly-couched eyes of Islington and the Tower Hamlets,-one of the most zealous directors of the exhibition asked me to lend him for it my Rossetti drawing of the “Passover in the House of Zacharias,”-which I was only too glad to do;² and to obtain for him

¹ [Inferno, xxxiii. 30: compare Vol. V. p. 308, and Vol. XXI. p. 268.]

² [The reference is to the Whitechapel Fine Art Loan Exhibition, promoted by Canon Barnett of Toynbee Hall. “Golden Water” was No. 130 in the Exhibition of 1888, and “The Passover” No. 132. The latter drawing is reproduced on Plate XXXIV. in Vol. XXXIII. (p. 288). There is a reproduction of “Golden Water” at p. 100 of H. C. Marillier’s Dante Gabriel Rossetti.]

[Version 0.04: March 2008]