statues and frescoes illustrating the life of Christ.  Butler had visited this sanctuary repeatedly, and was a great favourite with the townspeople, who knew that he was studying the statues and frescoes in the chapels, and who remembered that in the preface to Alps and Sanctuaries he had declared his intention of writing about them.  In August, 1887, the Varallesi brought matters to a head by giving him a civic dinner on the Mountain.  Everyone was present, there were several speeches and, when we were coming down the slippery mountain path after it was all over, he said to me:

“You know, there’s nothing for it now but to write that book about the Sacro Monte at once.  It must be the next thing I do.”

Accordingly, on returning home, he took up photography and, immediately after Christmas, went back to Varallo to photograph the statues and collect material.  Much research was necessary and many visits to out-of-the-way sanctuaries which might have contained work by the sculptor Tabachetti, whom he was rescuing from oblivion and identifying with the Flemish Jean de Wespin.  One of these visits, made after his book was published, forms the subject of “The Sanctuary of Montrigone.”  Ex Voto, the book about Varallo, appeared in 1888, and an Italian translation by Cavaliere Angelo Rizzetti was published at Novara in 1894.

“Quis Desiderio . . . ?”  (The Humour of Homer and Other Essays) was developed in 1888 from something in a letter from Miss Savage nearly ten years earlier.  On the 15th of December, 1878, in acknowledging this letter, Butler wrote:

I am sure that any tree or flower nursed by Miss Cobbe would be the very first to fade away and that her gazelles would die long before they ever came to know her well.  The sight of the brass buttons on her pea-jacket would settle them out of hand.

There was an enclosure in Miss Savage’s letter, but it is unfortunately lost; I suppose it must have been a newspaper cutting with an allusion to Moore’s poem and perhaps a portrait of Miss Frances Power Cobbe—pea-jacket, brass buttons, and all.

On the 10th November, 1879, Miss Savage, having been ill, wrote to Butler:

I have been dipping into the books of Moses, being sometimes at a loss for something to read while shut up in my apartment.  You know that I have never read the Bible much, consequently there is generally something of a novelty that I hit on.  As you do know your Bible well, perhaps you can tell me what became of Aaron.  The account given of his end in Numbers xx. is extremely ambiguous and unsatisfactory.  Evidently he did not come by his death fairly, but whether he was murdered secretly for the furtherance of some private ends, or publicly in a State sacrifice, I can’t make out.  I myself rather incline to the former opinion, but I should like to know what the experts say about it.  A very nice, exciting little tale might be made out of it in the style of the police stories in All the rear Round called “The Mystery of Mount Hor or What became of Aaron?”  Don’t forget to write to me.

Butler’s people had been suggesting that he should try to earn money by writing in magazines, and Miss Savage was falling in with the idea and offering a practical suggestion.  I do not find that he had anything to tell her about the death of Aaron.  On 23rd March, 1880, she wrote:

Dear Mr. Butler: Read the subjoined poem of Wordsworth and let me know what you understand its meaning to be.  Of course I have my opinion, which I think of communicating to the Wordsworth Society.  You can belong to that Society for the small sum of 2/6 per annum.  I think of joining because it is cheap.

“The subjoined poem” was the one beginning: “She dwelt among the untrodden ways,” and Butler made this note on the letter:

To the foregoing letter I answered that I concluded Miss Savage meant to imply that Wordsworth had murdered Lucy in order to escape a prosecution for breach of promise.

Miss Savage to Butler.

2nd April, 1880: My dear Mr. Butler: I don’t think you see all that I do in the poem, and I am afraid that the suggestion of a dark secret in the poet’s life is not so very obvious after all.  I was hoping you would propose to devote yourself for a few months to reading the Excursion, his letters, &c., with a view to following up the clue, and I am disappointed though, to say the truth, the idea of a crime had not flashed upon me when I wrote to you.  How well the works of great men repay attention and study!  But you, who know your Bible so well, how was it that you did not detect the plagiarism in the last verse?  Just refer to the account of the disappearance of Aaron (I have not a Bible at hand, we want one sadly in the club) but I am sure that the words are identical [I cannot see what Miss Savage meant.  1901. S. B.]  Cassell’s Magazine have offered a prize for setting the poem to music, and I fell to thinking how it could be treated musically, and so came to a right comprehension of it.

Although Butler, when editing Miss Savage’s letters in 1901, could not see the resemblance between Wordsworth’s poem and Numbers xx., he at once saw a strong likeness between Lucy and Moore’s heroine whom he had been keeping in an accessible pigeon-hole of his memory ever since his letter about Miss Frances Power Cobbe.  He now sent Lucy to keep her company and often spoke of the pair of them as probably the two most disagreeable young women in English literature—an opinion which he must have expressed to Miss Savage and with which I have no doubt she agreed.

In the spring of 1888, on his return from photographing the statues at Varallo, he found, to his disgust, that the authorities of the British Museum had removed Frost’s Lives of Eminent Christians from its accustomed shelf in the Reading Room.  Soon afterwards Harry Quilter asked him to write for the Universal Review and he responded with “Quis Desiderio . . . ?”  In this essay he compares himself to Wordsworth and dwells on the points of resemblance between Lucy and the book of whose assistance he had now been deprived in a passage which echoes the opening of Chapter V of Ex Voto, where he points out the resemblances between Varallo and Jerusalem.

Early in 1888 the leading members of the Shrewsbury Archæological Society asked Butler to write a memoir of his grandfather and of his father for their Quarterly Journal.  This he undertook to do when he should have finished Ex Voto.  In December, 1888, his sisters, with the idea of helping him to write the memoir, gave him his grandfather’s correspondence, which extended from 1790 to 1839.  On looking over these very voluminous papers he became penetrated with an almost Chinese reverence for his ancestor and, after getting the Archæological Society to absolve him from his promise to write the memoir, set about a full life of Dr. Butler, which was not published till 1896.  The delay was caused partly by the immense quantity of documents he had to sift and digest, the number of people he had to consult, and the many letters he had to write, and partly by something that arose out of Narcissus, which we published in June, 1888.

Butler was not satisfied with having written only half of this work; he wanted it to have a successor, so that by adding his two halves together, he could say he had written a whole Handelian oratorio.  While staying with his sisters at Shrewsbury with this idea in his mind, he casually took up a book by Alfred Ainger about Charles Lamb and therein stumbled upon something about the Odyssey.  It was years since he had looked at the poem, but, from what he remembered, he thought it might provide a suitable subject for musical treatment.  He did not,