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Introduction

‘I observe,’ said Lamia, ‘that another of those somewhat numerous prose performances of yours, that are more or less remotely connected with Gardens, and which you were pleased, without any previous consultation with me, to entitle Lamia’s Winter-Quarters, is, like the first of the series, The Garden That I Love, to be issued in an equally luxurious form, and to be illustrated by the attractive talent of Mr. Elgood. But since this project, to which my attention was called by that now universal source of information, advertisements, has been alluded to, do you mind telling me why you called our delightful sojourn in a Tuscan villa overlooking Florence my winter-quarters rather than the Poet’s winter-quarters, or Veronica’s, or, for that matter, even yours?‘

Somewhat embarrassed, I replied:

‘To have called the book my winter-quarters would have savoured of egotism, and would, moreover, I fear, have failed in attractiveness.’

‘But against Veronica’s name, or the Poet’s, no such objection would lie?‘

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