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 The book fell open by itself at Lorenzo di Medici's carnival song, where a folded piece of paper lay in Gunnar's handwriting:

",—I may tell you now that I have arrived safely in Italy and am quite comfortable, and that"—the rest of the sheet was covered with words to learn. Beside the verbs he had written down the conjugations, and the margin all along the melodramatic poetry was tightly covered with notes: Quant's bella giovenezzaQuant'è bella giovinezza [sic], che se fugge tuttavia.

Even the commonest words were written down. Gunnar had probably tried to read the book directly he came to Italy, before he knew the language at all. On the first page was written "G. Heggen, Firenze, 1903"—that was before she knew him.

She began to read here and there. It was Leopardi's "Ode to Italy," which Gunnar was so enthusiastic about. She read it. The margin was full of notes and ink-spots.

It was as if he had sent her a message more intimate than any of his letters. Young, sound, firm, and active, he was calling her, asking her to come back to life—and work. Oh, if she could gather courage and begin work again! She wanted to try—to make her choice whether for life or death; she wanted to go out there where once she had felt herself free and strong—alone save for her work. She longed for her friends, the trusty comrades who never came too near to hurt one another, but lived side by side, each minding their own business and all sharing what they possessed in common: the belief in their ability and the joy of their work. She wanted to see again the country of mountains, with proud, severe lines and sunburnished colours.

A few days later she left for Berlin, where she stayed some time visiting the galleries, but, feeling tired and forlorn, she went on the Munich.

In the Alte Pinakothek she stopped before Rembrandt's