attachment to the Countess was undoubtedly deep and permanent, and although she seems to have forgotten him after his death, she felt for him when he was the only resource she had in the world. The intimacy might long have remained Platonic but for the extreme brutality of Charles Edward, which compelled the Countess to escape by Alfieri's contrivance to a convent where she saw neither her husband nor her lover. After a while the Cardinal of York, the Pretender's brother, offered her an asylum in a Roman palace, where her acquaintance with Alfieri became more intimate. Afterwards, legally separated by the interposition of the King of Sweden, she withdrew to Alsace, where Alfieri followed her. They eventually established themselves in Paris, and the death of Charles Edward made no change in their existence. Louise, though apparently not a warm-hearted, was a highly intellectual woman; half French, half German, she possessed a range of knowledge and accomplishment which Alfieri could hardly have found in any Italian woman at that date, and her sympathy, without doubt, contributed greatly to the development of his genius. Driven from France by the storms of the Revolution, which he had at first hailed with a warmth which he afterwards repented, Alfieri settled with his mistress at Florence. There he wrote the Misogallo, a furious denunciation of France, and exhausted by hard study and an ascetic life, died in October 1803, as, with an unconscious touch of irony, he was compelling himself to write comedies. There seems no ground for believing that he was privately married to the Countess, who honoured him with a monument beautifully sculptured by Canova. If, however, the mourning figure by the tomb represents the bereaved one, she has taken the
