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Prades. - He understands the joy she takes in her nephew's company: Joachim is 'un garcon et un artiste de premiere ordre', and strongly resembles his father. His feeling for the [Prades] Festival, and his collaboration, are very important to Casals. Is happy about the arrangement for Robert Trevelyan's library [at Birkbeck College, London], it is just the right tribute to his memory. His compatriot Corredor is preparing a book of conversations with him: Röntgen, Tovey and Moór will figure as both great musicians and friends. Thinks Corredor will strike the right note. He is in the middle of preparations for the festival; many of the musicians have already arrives. Knows she would enjoy the music and the atmosphere.

Envelope labelled with contents by Trevelyan: 'Early drafts of Quern songs in Mallow and Asphodel; [early drafts of] Polyphemus; Sketches of Ariadne libretto for Emmanuel Moore [sic] 1898-9; Sketches of Epimetheus (Mallow & A)".

One small sheet, one larger bifolium plus single sheet, with drafts of "Neobulé" [from "Mallow and Asphodel"] with additions/corrections in pencil; some on the bifolium may be in another hand. Twelve sheets with drafts from "Epimetheus", plus two sheets of verse in the same metre but not appearing in the published text. Four pages from the seventh volume of the 1868 Tauchnitz edition of Shakespeare's works, with draft verse in pencil by Trevelyan around the printed text. Four bifolia and one single sheet with draft of dialogue between Theseus, Aegeus and Medea. Two sheets with drafts from "Polyphemus". Five bifolia and two single sheets with drafts of "Songs of Trojan captives grinding at a quern in the palace of Menelaus". One bifolium with drafts from both "Quern Songs" and "Archilochus on a Lemnian Trireme".

Prades. - Is glad that she has Corredor's book; the English edition [translated by Mangeot] will come out soon. He thinks he remembers that Moór spoke to him of his meeting with her husband; yes, Moór wrote operas which were put on in Germany and he thinks also in England.

Il Frullino, San Domenico di Fiesole, Florence:- Is 'established here till the end of the month', when he expects to return to England; is 'looking forward to spending some time at Welcombe' and beginning his 'new plans', as he has done all he means to for his book except revisions. It is 'very pleasant' here; the only other people there are Mrs [Mary] Costelloe, Logan [Pearsall Smith], and 'Mr [Bernard] Berenson the critic, who is a delightful person'.

Is 'writing the libretto of an opera on Theseus and Ariadne [the germ of The Bride of Dionysus?] for Mrs C., who is going to get it set to music by a Hungarian friend of hers, a wealthy musician of some considerable reputation'. Thinks the musician is called 'Moore' [ie Emánuel Moór], and he will 'put it on the stage in London at his own expense and make a great success of it'. Mary Costelloe is 'providing the plot', with Robert only writing the words, as 'a grand opportunity for trying [his] hand at all possible lyric meters'; so far they seem pleased with what he has done, but he has 'only just begun'. Thinks they 'might have made a better plot, but that is none of [his] business'; he has however 'persuaded them to alter it in some particulars'.

Left the Frys [Helen and Roger] 'quite happy in Rome'; they will return to England in about April. This is for him 'a great opportunity of seeing Florence, as Berenson is probably the best critic of Italian pictures since Morelli' and has already 'made a great reputation by his books'. The house is between Florence and Fiesole, 'about a quarter of an hour's bicycle ride from the Duomo'.

Is glad his father is 'well again and able to work'; is sorry Miss Martin has been unwell. Will see Charles before he starts [for America] if he does not leave before the 23rd.

Il Frullino, San Domenico di Fiesole, Florence:- Recent rainstorms have put off their planned 'expedition' to San Gigminano; does not think he will start back to England before 8th [March], but 'should be back soon after that'. Would 'like to stay in London for a few days before going to Welcombe', which he thinks might be in mid-March; does not mind where he sleeps and 'the night nursery would be very nice', but would like to 'sit in a room looking out onto the garden'. Hears they have been having 'severe snowstorms' which may have caused harm 'after the early Spring'.

Has just finished the first scene of his libretto [on Theseus and Ariadne], 'or rather Mrs Costelloe's': she 'seems very much pleased with it, and thinks it will sing well', but they will have to see 'what the musician [Emánuel Moór] thinks of it'. Is using 'almost all the metres in the world, and inventing some'.

Encloses 'a receipt for gnocchi' given to him by Mrs Costello which they have had a couple of times: 'it is very good indeed'. Has been 'seeing Mrs Ross, who used to know Papa'; she 'remembers him as a young swell about town, and he was her partner in her first dance'. She 'tells wonderful stories' about her mother Lady Duff Gordon and grandmother Mrs Austin; her niece Miss [Lina] Duff Gordon is coming on the San Gimignano expedition.

Is sorry his mother did not get tickets for [Wagner's] Ring: 'it was not a thing to be missed'. If he had heard about it sooner, he would 'have wired for a seat in one of the sets', but fears it is too late now, and he will 'have to go to the gallery'. Is glad his father is well. His parents must go to see Mrs Ross next time they are in Florence. Mrs Ross says the cook will probably understand 'how much flour to put into the water [for the gnocchi]'.