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Saint Eulalia appeared too late to find her proper niche in Monsignor Perrelli's ANTIQUITIES or to be commemorated in some worthy architectural monument by the Good Duke Alfred; too late and this is doubtless a lucky circumstance to become the victim of one of Father Capocchio's offensive sneers.
In this case, he liked to think it was the thigh-bone of a saint. He possessed an unusually strong dose of that Latin PIETAS, that reverence which consists in leaving things as they are, particularly when they have been described for the benefit of posterity, with the most engaging candour, by a man of Perrelli's calibre. Now an insinuation like this could not be slurred over.
Nowadays, having solved the problem of how to live on 85 pounds a year, he stayed for another reason as well: to annotate Perrelli's ANTIQUITIES. It sweetened his self-imposed exile.
We happen to know, nevertheless, that the name of a young dancer, a prime favourite at Court, cropped up persistently at the time in connection with this malodorous but otherwise insignificant episode." It were idle, at this hour of the day, to pursue the enquiry; the mutilation of Monsignor Perrelli's person, however, would explain better than anything else his equivocal attitude as historian.
And he, of course, got it from Eames who, as annotator of Perrelli's ANTIQUITIES, was in the habit of garnering old details anent private houses and so forth, and had possessed himself, in the course of his researches, of this particular pamphlet which he intended to reprint, together with others of its kind, in an appendix entitled, "Contemporary Social History."
He purposed to reproduce the pamphlet IN EXTENSO, in that particular appendix to his edition of Perrelli's ANTIQUITIES which dealt with "Contemporary Social History." . . . Mr. Heard knew nothing of all this as, jostled among the crowd, he watched the procession on that bright morning.
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