"Miriam! she, so accomplished and gifted!" exclaimed Hilda; "and he, a rude, uncultivated boy!No, no, no!""It would seem impossible," said the sculptor."But, on the other hand, a gifted woman flings away her affections so unaccountably, sometimes! Miriam of late has been very morbid and miserable, as we both know.Young as she is, the morning light seems already to have faded out of her life; and now comes Donatello, with natural sunshine enough for himself and her, and offers her the opportunity of ****** her heart and life all new and cheery again.People of high intellectual endowments do not require similar ones in those they love.They are just the persons to appreciate the wholesome gush of natural feeling, the honest affection, the ****** joy, the fulness of contentment with what he loves, which Miriam sees in Donatello.True; she may call him a ******ton.It is a necessity of the case; for a man loses the capacity for this kind of affection, in proportion as he cultivates and refines himself.""Dear me!" said Hilda, drawing imperceptibly away from her companion."Is this the penalty of refinement? Pardon me; I do not believe it.It is because you are a sculptor, that you think nothing can be finely wrought except it be cold and hard, like the marble in which your ideas take shape.I am a painter, and know that the most delicate beauty may be softened and warmed throughout.""I said a foolish thing, indeed," answered the sculptor."It surprises me, for I might have drawn a wiser knowledge out of my own experience.It is the surest test of genuine love, that it brings back our early simplicity to the worldliest of us."Thus talking, they loitered slowly along beside the parapet which borders the level summit of the Pincian with its irregular sweep.At intervals they looked through the lattice-work of their thoughts at the varied prospects that lay before and beneath them.
From the terrace where they now stood there is an abrupt descent towards the Piazza del Popolo; and looking down into its broad space they beheld the tall palatial edifices, the church domes, and the ornamented gateway, which grew and were consolidated out of the thought of MichaelAngelo.They saw, too, the red granite obelisk, oldest of things, even in Rome, which rises in the centre of the piazza, with a fourfold fountain at its base.All Roman works and ruins (whether of the empire, the far-off republic, or the still more distant kings) assume a transient, visionary, and impalpable character when we think that this indestructible monument supplied one of the recollections which Moses and the Israelites bore from Egypt into the desert.Perchance, on beholding the cloudy pillar and the fiery column, they whispered awestricken to one another, "In its shape it is like that old obelisk which we and our fathers have so often seen on the borders of the Nile." And now that very obelisk, with hardly a trace of decay upon it, is the first thing that the modern traveller sees after entering the Flaminian Gate!
Lifting their eyes, Hilda and her companion gazed westward, and saw beyond the invisible Tiber the Castle of St.Angelo; that immense tomb of a pagan emperor, with the archangel at its summit.
Still farther off appeared a mighty pile of buildings, surmounted by the vast dome, which all of us have shaped and swelled outward, like a huge bubble, to the utmost Scope of our imaginations, long before we see it floating over the worship of the city.It may be most worthily seen from precisely the point where our two friends were now standing.At any nearer view the grandeur of St.Peter's hides itself behind the immensity of its separate parts,--so that we see only the front, only the sides, only the pillared length and loftiness of the portico, and not the mighty whole.But at this distance the entire outline of the world's cathedral, as well as that of the palace of the world's chief priest, is taken in at once.In such remoteness, moreover, the imagination is not debarred from lending its assistance, even while we have the reality before our eyes, and helping the weakness of human sense to do justice to so grand an object.It requires both faith and fancy to enable us to feel, what is nevertheless so true, that yonder, in front of the purple outline of hills, is the grandest edifice ever built by man, painted against God's loveliest sky.
After contemplating a little while a scene which their long residence in Rome had made familiar to them, Kenyon and Hilda again let their glances fall into the piazza at their feet.They there beheld Miriam, whohad just entered the Porta del Popolo, and was standing by the obelisk and fountain.With a gesture that impressed Kenyon as at once suppliant and imperious, she seemed to intimate to a figure which had attended her thus far, that it was now her desire to be left alone.The pertinacious model, however, remained immovable.
And the sculptor here noted a circumstance, which, according to the interpretation he might put upon it, was either too trivial to be mentioned, or else so mysteriously significant that he found it difficult to believe his eyes.Miriam knelt down on the steps of the fountain; so far there could be no question of the fact.To other observers, if any there were, she probably appeared to take this attitude merely for the convenience of dipping her fingers into the gush of water from the mouth of one of the stone lions.But as she clasped her hands together after thus bathing them, and glanced upward at the model, an idea took strong possession of Kenyon's mind that Miriam was kneeling to this dark follower there in the world's face!
"Do you see it?"he said to Hilda.
