When at last, by leisurely stages, we arrived at Florence, I felt there was no use in doing things by halves. If you are going to start the Florentine School of Stenography and Typewriting, you may as well start it on a proper basis. So I took sunny rooms at a nice hotel for myself and Elsie, and hired a ground floor in a convenient house, close under the shadow of the great marble Campanile. (Considerations of space compel me to curtail the usual gush about Arnolfo and Giotto.) This was our office. When I had got a Tuscan painter to plant our flag in the shape of a sign-board, I sailed forth into the street and inspected it from outside with a swelling heart. It is true, the Tuscan painter's unaccountable predilection for the rare spellings 'Scool' without an h and 'Stenografy' with an f, somewhat damped my exuberant pride for the moment; but I made him take the board back and correct his Italianate English. As soon as all was fitted up with desk and tables we reposed upon our laurels, and waited only for customers in shoals to pour in upon us. I called them 'customers'; Elsie maintained that we ought rather to say 'clients.' Being by temperament averse to sectarianism, I did not dispute the point with her.

We reposed on our laurels—in vain. Neither customers nor clients seemed in any particular hurry to disturb our leisure.

I confess I took this ill. It was a rude awakening. I had begun to regard myself as the special favourite of a fairy godmother; it surprised me to find that any undertaking of mine did not succeed immediately. However, reflecting that my fairy godmother's name was really Enterprise, I recalled Mr. Cyrus W. Hitchcock's advice, and advertised.

'There's one good thing about Florence, Elsie,' I said, just to keep up her courage. 'When the customers do come, they'll be interesting people, and it will be interesting work. Artistic work, don't you know—Fra Angelico, and Della Robbia, and all that sort of thing; or else fresh light on Dante and Petrarch!'

'When they do come, no doubt,' Elsie answered, dubiously. 'But do you know, Brownie, it strikes me there isn't quite that literary stir and ferment one might expect in Florence. Dante and Petrarch appear to be dead. The distinguished authors fail to stream in upon us as one imagined with manuscripts to copy.'

I affected an air of confidence—for I had sunk capital in the concern (that's business-like—sunk capital!). 'Oh, we're a new firm,' I assented, carelessly. 'Our enterprise is yet young. When cultivated Florence learns we're here, cultivated Florence will invade us in its thousands.'

But we sat in our office and bit our thumbs all day; the thousands stopped at home. We had ample opportunities for making studies of the decorative detail on the Campanile, till we knew every square inch of it better than Mr. Ruskin. Elsie's notebook contains, I believe, eleven hundred separate sketches of the Campanile, from the right end, the left end, and the middle of our window, with eight hundred and five distinct distortions of the individual statues that adorn its niches on the side turned towards us.

At last, after we had sat, and bitten our thumbs, and sketched the Four Greater Prophets for a fortnight on end, an immense excitement occurred. An old gentleman was distinctly seen to approach and to look up at the sign-board which decorated our office.

I instantly slipped in a sheet of foolscap, and began to type-write with alarming speed—click, click, click; while Elsie, rising to the occasion, set to work to transcribe imaginary shorthand as if her life depended upon it.

The old gentleman, after a moment's hesitation, lifted the latch of the door somewhat nervously. I affected to take no notice of him, so breathless was the haste with which our immense business connection compelled me to finger the keyboard: but, looking up at him under my eyelashes, I could just make out he was a peculiarly bland and urbane old person, dressed with the greatest care, and some attention to fashion. His face was smooth; it tended towards portliness.