PGH began considering writing a piano concerto, the work that would eventually be named the Etruscan Concerto, in early 1953. Her short score is is dated 13 July 1954, suggesting that she had completed the first draft a few weeks before she arrived in Italy in August that year. Her destination was Fiesole, on the outskirts of Florence, a town based on the village of Faesulae, one of the main cities of the Etruscan confederacy. She had been to Florence once before, in April 1937 on holiday from studies in Paris. Then she must have visited the Museo archeologico nazionale, housed in a Medici palace, which holds terracottas, furniture, sarcophagi, ossuaries, vases and other Etruscan artefacts. In Fiesole in 1954 she could also have visited the Roman theatre, first-century baths, a Roman temple and tombs as well as an Etruscan museum, and on 29 August, on her way to Paris, she stopped in Ferrara and then Comácchio, which had been occupied by the Etruscans and Gauls. In a lagoon northwest of Comácchio is the remains of the Greco-Etruscan city of Spina where artefacts such as vases were found. The title of the concerto thus honours this visit to Italy as well as the vivid descriptions of Etruscan life in D.H. Lawrence’s Etruscan Places (1932). Unfortunately, even if it was personally a memorable experience, and even if seeing Etruscan remains and sites fuelled her interest in archaeology and the ancient world, she left no description in words. In Apollo magazine, however, Xavier F. Salomon recounts how he travelled to all the sites mentioned by Lawrence, including museums in Rome and Florence, and this gives the flavour of what PGH herself might have discovered only ten years after Lawrence himself had been there.