We will try it one of these days. And now, to reward you for that jolly exhibition, you shall see what has been shown to no one else."

She went to her easel, on which was placed a picture with its back turned towards the spectator. Reversing the position, there appeared the portrait of a beautiful woman, such as one sees only two or three, if even so many times, in all a lifetime; so beautiful, that she seemed to get into your consciousness and memory, and could never afterwards be shut out, but haunted your dreams, for pleasure or for pain; holding your inner realm as a conquered territory, though without deigning to make herself at home there.

She was very youthful, and had what was usually thought to be a Jewish aspect; a complexion in which there was no roseate bloom, yet neither was it pale; dark eyes, into which you might look as deeply as your glance would go, and still be conscious of a depth that you had not sounded, though it lay open to the day. She had black, abundant hair, with none of the vulgar glossiness of other women's sable locks; if she were really of Jewish blood, then this was Jewish hair, and a dark glory such as crowns no Christian maiden's head. Gazing at this portrait, you saw what Rachel might have been, when Jacob deemed her worth the wooing seven years, and seven more; or perchance she might ripen to be what Judith was, when she vanquished Holofernes with her beauty, and slew him for too much adoring it.

Miriam watched Donatello's contemplation of the picture, and seeing his simple rapture, a smile of pleasure brightened on her face, mixed with a little scorn; at least, her lips curled, and her eyes gleamed, as if she disdained either his admiration or her own enjoyment of it.

"Then you like the picture, Donatello?" she asked.

"O, beyond what I can tell!" he answered. "So beautiful!—so beautiful!"

"And do you recognize the likeness?"

"Signorina," exclaimed Donatello, turning from the picture to the artist, in astonishment that she should ask the question, "the resemblance is as little to be mistaken as if you had bent over the smooth surface of a fountain, and possessed the witchcraft to call forth the image that you made there! It is yourself!"

Donatello said the truth; and we forebore to speak descriptively of Miriam's beauty earlier in our narrative, because we foresaw this occasion to bring it perhaps more forcibly before the reader.

We know not whether the portrait were a flattered likeness; probably not, regarding it merely as the delineation of a lovely face; although Miriam, like all self-painters, may have endowed herself with certain graces which Other eyes might not discern. Artists are fond of painting their own portraits; and, in Florence, there is a gallery of hundreds of them, including the most illustrious, in all of which there are autobiographical characteristics, so to speak,—traits, expressions, loftinesses, and amenities, which would have been invisible, had they not been painted from within. Yet their reality and truth are none the less. Miriam, in like manner, had doubtless conveyed some of the intimate results of her heart knowledge into her own portrait, and perhaps wished to try whether they would be perceptible to so simple and natural an observer as Donatello.

"Does the expression please you?" she asked.

"Yes," said Donatello hesitatingly; "if it would only smile so like the sunshine as you sometimes do. No, it is sadder than I thought at first. Cannot you make yourself smile a little, signorina?"

"A forced smile is uglier than a frown," said Miriam, a bright, natural smile breaking out over her face even as she spoke.

"O, catch it now!" cried Donatello, clapping his hands. "Let it shine upon the picture! There! it has vanished already! And you are sad again, very sad; and the picture gazes sadly forth at me, as if some evil had befallen it in the little time since I looked last."

"How perplexed you seem, my friend!" answered Miriam. "I really half believe you are a Faun, there is such a mystery and terror for you in these dark moods, which are just as natural as daylight to us people of ordinary mould. I advise you, at all events, to look at other faces with those innocent and happy eyes, and never more to gaze at mine!"

"You speak in vain," replied the young man, with a deeper emphasis than she had ever before heard in his voice; "shroud yourself in what gloom you will, I must needs follow you."

"Well, well, well," said Miriam impatiently; "but leave me now; for to speak plainly, my good friend, you grow a little wearisome. I walk this afternoon in the Borghese grounds. Meet me there, if it suits your pleasure."





CHAPTER VI

THE VIRGIN'S SHRINE

After Donatello had left the studio, Miriam herself came forth, and taking her way through some of the intricacies of the city, entered what might be called either a widening of a street, or a small piazza. The neighborhood comprised a baker's oven, emitting the usual fragrance of sour bread; a shoe shop; a linen-draper's shop; a pipe and cigar shop; a lottery office; a station for French soldiers, with a sentinel pacing in front; and a fruit-stand, at which a Roman matron was selling the dried kernels of chestnuts, wretched little figs, and some bouquets of yesterday. A church, of course, was near at hand, the facade of which ascended into lofty pinnacles, whereon were perched two or three winged figures of stone, either angelic or allegorical, blowing stone trumpets in close vicinity to the upper windows of an old and shabby palace. This palace was distinguished by a feature not very common in the architecture of Roman edifices; that is to say, a mediaeval tower, square, massive, lofty, and battlemented and machicolated at the summit.

At one of the angles of the battlements stood a shrine of the Virgin, such as we see everywhere at the street corners of Rome, but seldom or never, except in this solitary, instance, at a height above the ordinary level of men's views and aspirations. Connected with this old tower and its lofty shrine, there is a legend which we cannot here pause to tell; but for centuries a lamp has been burning before the Virgin's image, at noon, at midnight, and at all hours of the twenty-four, and must be kept burning forever, as long as the tower shall stand; or else the tower itself, the palace, and whatever estate belongs to it, shall pass from its hereditary possessor, in accordance with an ancient vow, and become the property of the Church.

As Miriam approached, she looked upward, and saw,—not, indeed, the flame of the never-dying lamp, which was swallowed up in the broad sunlight that brightened the shrine, but a flock of white doves, skimming, fluttering, and wheeling about the topmost height of the tower, their silver wings flashing in the pure transparency of the air. Several of them sat on the ledge of the upper window, pushing one another off by their eager struggle for this favorite station, and all tapping their beaks and flapping their wings tumultuously against the panes; some had alighted in the street, far below, but flew hastily upward, at the sound of the window being thrust ajar, and opening in the middle, on rusty hinges, as Roman windows do.

A fair young girl, dressed in white, showed herself at the aperture for a single instant, and threw forth as much as her two small hands could hold of some kind of food, for the flock of eleemosynary doves. It seemed greatly to the taste of the feathered people; for they tried to snatch beakfuls of it from her grasp, caught it in the air, and rushed downward after it upon the pavement.

"What a pretty scene this is," thought Miriam, with a kindly smile, "and how like a dove she is herself, the fair, pure creature! The other doves know her for a sister, I am sure."

Miriam passed beneath the deep portal of the palace, and turning to the left, began to mount flight after flight of a staircase, which, for the loftiness of its aspiration, was worthy to be Jacob's ladder, or, at all events, the staircase of the Tower of Babel. The city bustle, which is heard even in Rome, the rumble of wheels over the uncomfortable paving-stones, the hard harsh cries reechoing in the high and narrow streets, grew faint and died away; as the turmoil of the world will always die, if we set our faces to climb heavenward. Higher, and higher still; and now, glancing through the successive windows that threw in their narrow light upon the stairs, her view stretched across the roofs of the city, unimpeded even by the stateliest palaces. Only the domes of churches ascend into this airy region, and hold up their golden crosses on a level with her eye; except that, out of the very heart of Rome, the column of Antoninus thrusts itself upward, with St. Paul upon its summit, the sole human form that seems to have kept her company.

Finally, the staircase came to an end; save that, on one side of the little entry where it terminated, a flight of a dozen steps gave access to the roof of the tower and the legendary shrine. On the other side was a door, at which Miriam knocked, but rather as a friendly announcement of her presence than with any doubt of hospitable welcome; for, awaiting no response, she lifted the latch and entered.

"What a hermitage you have found for yourself, dear Hilda!" she, exclaimed. "You breathe sweet air, above all the evil scents of Rome; and even so, in your maiden elevation, you dwell above our vanities and passions, our moral dust and mud, with the doves and the angels for your nearest neighbors. I should not wonder if the Catholics were to make a saint of you, like your namesake of old; especially as you have almost avowed yourself of their religion, by undertaking to keep the lamp alight before the Virgin's shrine."

"No, no, Miriam!" said Hilda, who had come joyfully forward to greet her friend. "You must not call me a Catholic. A Christian girl—even a daughter of the Puritans—may surely pay honor to the idea of divine Womanhood, without giving up the faith of her forefathers. But how kind you are to climb into my dove-cote!"

"It is no trifling proof of friendship, indeed," answered Miriam; "I should think there were three hundred stairs at least."

"But it will do you good," continued Hilda. "A height of some fifty feet above the roofs of Rome gives me all the advantages that I could get from fifty miles of distance. The air so exhilarates my spirits, that sometimes I feel half inclined to attempt a flight from the top of my tower, in the faith that I should float upward."

"O, pray don't try it!" said Miriam, laughing; "If it should turn out that you are less than an angel, you would find the stones of the Roman pavement very hard; and if an angel, indeed, I am afraid you would never come down among us again."

This young American girl was an example of the freedom of life which it is possible for a female artist to enjoy at Rome. She dwelt in her tower, as free to descend into the corrupted atmosphere of the city beneath, as one of her companion doves to fly downward into the street;—all alone, perfectly independent, under her own sole guardianship, unless watched over by the Virgin, whose shrine she tended; doing what she liked without a suspicion or a shadow upon the snowy whiteness of her fame.