This note is entered in the diary:—
"January 1, 1881. Faceva i miei doni alla sposa, alla figlia, al mio figlio Stefano. La sposa era felicissima di ricevere la sua cassetta."
Roberts Brothers had heard that a new book was in preparation, and they wrote in January, 1881:—
"Your third edition of 'Etching and Etchers' is really a magnificent specimen of book-making, and we understand two hundred copies have been sold in America. At all events, whatever the number sold, it is not to be had. We should like to have the American edition of the 'Graphic Arts,' and should be glad to receive the novel when it is ready."
But the novel had been put aside, the author being doubtful if it equalled "Marmorne" in quality. The whole of his time for writing was devoted to the "Graphic Arts," and the remainder to painting from nature, often with Mr. Pickering, and to the consideration of the necessary alterations to the boat in view of a summer cruise on the Saône. The reading of Italian was resumed pretty regularly, whilst the diary was kept in that language.
Early in the spring Mr. Seeley wrote:—
"I am afraid it is indispensable that we should meet in Paris, as the selection of engravings for reproduction is very important, though, like you, I grudge the loss of time. But the book is an important one, and we must do our very best to make it a success."
It was then decided that my husband should go to Paris with Richard, and they started on May 4, stopped a day at Sens to see the cathedral again, and to call upon Madame Challard (who had become a widow), and arrived in Paris at night.
The entries in the note-book (kept in Italian) record his visits to the Salon, to the Louvre, and to various public buildings. Also to the Bibliothèque, to study the works of the École de Fontainebleau, and to an exhibition of paintings in imitation of tapestry, which much interested him.
He also went with Richard to see Munkacsy's picture of "Christ before Pilate," and notes Richard's astonishment at it. He considered it himself as one of the finest of existing pictures. He also expresses the great pleasure he derived from Jacquemart's water-colors, their brilliancy and sureness of execution.