, inasmuch as he had entered it with his lance in rest, talked of leaving his viceroy behind him, and had thoughts of bringing back the Medici. Singular logic this appeared to be on the part of an elect instrument of God! since the policy of Piero de’ Medici, disowned by the people, had been the only offence of Florence against the majesty of France. And Florence was determined not to submit. The determination was being expressed very strongly in consultations of citizens inside the Old Palace, and it was beginning to show itself on the broad flags of the streets and piazza wherever there was an opportunity of flouting an insolent Frenchman. Under these circumstances the streets were not altogether a pleasant promenade for well-born women; but Romola, shrouded in her black veil and mantle, and with old Maso by her side, felt secure enough from impertinent observation.

And she was impatient to visit Piero di Cosimo. A copy of her father’s portrait as Oedipus, which he had long ago undertaken to make for her, was not yet finished; and Piero was so uncertain in his work—sometimes, when the demand was not peremptory, laying aside a picture for months; sometimes thrusting it into a corner or coffer, where it was likely to be utterly forgotten—that she felt it necessary to watch over his progress. She was a favourite with the painter, and he was inclined to fulfil any wish of hers, but no general inclination could be trusted as a safeguard against his sudden whims. He had told her the week before that the picture would perhaps be finished by this time; and Romola was nervously anxious to have in her possession a copy of the only portrait existing of her father in the days of his blindness, lest his image should grow dim in her mind. The sense of defect in her devotedness to him made her cling with all the force of compunction as well as affection to the duties of memory. Love does not aim simply at the conscious good of the beloved object: it is not satisfied without perfect loyalty of heart; it aims at its own completeness.

Romola, by special favour, was allowed to intrude upon the painter without previous notice. She lifted the iron slide and called Piero in a flute-like tone, as the little maiden with the eggs had done in Tito’s presence. Piero was quick in answering, but when he opened the door he accounted for his quickness in a manner that was not complimentary.

“Ah, Madonna Romola, is it you? I thought my eggs were come; I wanted them.”

“I have brought you something better than hard eggs,
