The Marble Faun E-Book

Nathaniel Hawthorne

• Herausgeber: Greenbooks editore
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Beschreibung

The faun of the novel is Donatello, a passionate young Italian who makes the acquaintance of three American artists—Miriam, Kenyon, and Hilda—who are spending time in Rome. When Donatello kills a man who has been shadowing Miriam, he is wracked by guilt until he is arrested by the police and imprisoned.

Leseprobe

Nathaniel Hawthorne

THE MARBLE FAUN

ISBN 979-12-5971-688-0

Greenbooks editore

Digital edition

May 2021

www.greenbooks-editore.com

ISBN: 979-12-5971-688-0

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Index

THE MARBLE FAUN

THE MARBLE FAUN

CHAPTER I

MIRIAM, HILDA, KENYON, DONATELLO

Four individuals, in whose fortunes we should be glad to interest the reader, happened to be standing in one of the saloons of the sculpture-gallery in the Capitol at Rome. It was that room (the first, after ascending the staircase) in the centre of which reclines the noble and most pathetic figure of the Dying Gladiator, just sinking into his death-swoon. Around the walls stand the Antinous, the Amazon, the Lycian Apollo, the Juno; all famous productions of antique sculpture, and still shining in the undiminished majesty and beauty of their ideal life, although the marble that embodies them is yellow with time, and perhaps corroded by the damp earth in which they lay buried for centuries. Here, likewise, is seen a symbol (as apt at this moment as it was two thousand years ago) of the Human Soul, with its choice of Innocence or Evil close at hand, in the pretty figure of a child, clasping a dove to her bosom, but assaulted by a snake.

From one of the windows of this saloon, we may see a flight of broad stone steps, descending alongside the antique and massive foundation of the Capitol, towards the battered triumphal arch of Septimius Severus, right below. Farther on, the eye skirts along the edge of the desolate Forum (where Roman washerwomen hang out their linen to the sun), passing over a shapeless confusion of modern edifices, piled rudely up with ancient brick and stone, and over the domes of Christian churches, built on the old pavements of heathen temples, and supported by the very pillars that once upheld them. At a distance beyond—yet but a little way, considering how much history is heaped into the intervening space—rises the great sweep of the Coliseum, with the blue sky brightening through its upper tier of arches. Far off, the view is shut in by the Alban Mountains, looking just the same, amid all this decay and change, as when Romulus gazed thitherward over his half finished wall.

We glance hastily at these things,—at this bright sky, and those blue distant mountains, and at the ruins, Etruscan, Roman, Christian, venerable with a threefold antiquity, and at the company of world-famous statues in the saloon,—in the hope of putting the reader into that state of feeling which is experienced oftenest at Rome. It is a vague sense of ponderous remembrances; a perception of such weight and density in a bygone life, of which this spot was the centre, that the present moment is pressed down or crowded out, and our individual affairs and interests are but half as real here as elsewhere. Viewed through this medium, our narrative—into which are woven some airy and unsubstantial threads, intermixed with others, twisted out of the commonest stuff of human existence— may seem not widely different from the texture of all our lives.

Side by side with the massiveness of the Roman Past, all matters that we handle or dream of nowadays look evanescent and visionary alike.

It might be that the four persons whom we are seeking to introduce were conscious of this dreamy character of the present, as compared with the square blocks of granite wherewith the Romans built their lives. Perhaps it even contributed to the fanciful merriment which was just now their mood. When we find ourselves fading into shadows

and unrealities, it seems hardly worth while to be sad, but rather to laugh as gayly as we may, and ask little reason wherefore.

Of these four friends of ours, three were artists, or connected with art; and, at this moment, they had been simultaneously struck by a resemblance between one of the antique statues, a well-known masterpiece of Grecian sculpture, and a young Italian, the fourth member of their party.

“You must needs confess, Kenyon,” said a dark-eyed young woman, whom her friends called Miriam, “that you never chiselled out of marble, nor wrought in clay, a more vivid likeness than this, cunning a bust-maker as you think yourself. The portraiture is perfect in character, sentiment, and feature. If it were a picture, the resemblance might be half illusive and imaginary; but here, in this Pentelic marble, it is a substantial fact, and may be tested by absolute touch and measurement. Our friend Donatello is the very Faun of Praxiteles. Is it not true, Hilda?”

“Not quite—almost—yes, I really think so,” replied Hilda, a slender, brown-haired, New England girl, whose perceptions of form and expression were wonderfully clear and delicate. “If there is any difference between the two faces, the reason may be, I suppose, that the Faun dwelt in woods and fields, and consorted with his like; whereas Donatello has known cities a little, and such people as ourselves. But the resemblance is very close, and very strange.”

“Not so strange,” whispered Miriam mischievously; “for no Faun in Arcadia was ever a greater simpleton than Donatello. He has hardly a man’s share of wit, small as that may be. It is a pity there are no longer any of this congenial race of rustic creatures for our friend to consort with!”

“Hush, naughty one!” returned Hilda. “You are very ungrateful, for you well know he has wit enough to worship you, at all events.”

“Then the greater fool he!” said Miriam so bitterly that Hilda’s quiet eyes were somewhat startled.

“Donatello, my dear friend,” said Kenyon, in Italian, “pray gratify us all by taking the exact attitude of this statue.”

The young man laughed, and threw himself into the position in which the statue has been standing for two or three thousand years. In truth, allowing for the difference of costume, and if a lion’s skin could have been substituted for his modern talma, and a rustic pipe for his stick, Donatello might have figured perfectly as the marble Faun, miraculously softened into flesh and blood.

“Yes; the resemblance is wonderful,” observed Kenyon, after examining the marble and the man with the accuracy of a sculptor’s eye. “There is one point, however, or, rather, two points, in respect to which our friend Donatello’s abundant curls will not permit us to say whether the likeness is carried into minute detail.”

And the sculptor directed the attention of the party to the ears of the beautiful statue which they were contemplating.

But we must do more than merely refer to this exquisite work of art; it must be

described, however inadequate may be the effort to express its magic peculiarity in words.

The Faun is the marble image of a young man, leaning his right arm on the trunk or stump of a tree; one hand hangs carelessly by his side; in the other he holds the fragment of a pipe, or some such sylvan instrument of music. His only garment—a lion’s skin, with the claws upon his shoulder—falls halfway down his back, leaving the limbs and entire front of the figure nude. The form, thus displayed, is marvellously graceful, but has a fuller and more rounded outline, more flesh, and less of heroic muscle, than the old sculptors were wont to assign to their types of masculine beauty. The character of the face corresponds with the figure; it is most agreeable in outline and feature, but rounded and somewhat voluptuously developed, especially about the throat and chin; the nose is almost straight, but very slightly curves inward, thereby acquiring an indescribable charm of geniality and humor. The mouth, with its full yet delicate lips, seems so nearly to smile outright, that it calls forth a responsive smile. The whole statue—unlike anything else that ever was wrought in that severe material of marble—conveys the idea of an amiable and sensual creature, easy, mirthful, apt for jollity, yet not incapable of being touched by pathos. It is impossible to gaze long at this stone image without conceiving a kindly sentiment towards it, as if its substance were warm to the touch, and imbued with actual life. It comes very close to some of our pleasantest sympathies.

Perhaps it is the very lack of moral severity, of any high and heroic ingredient in the character of the Faun, that makes it so delightful an object to the human eye and to the frailty of the human heart. The being here represented is endowed with no principle of virtue, and would be incapable of comprehending such; but he would be true and honest by dint of his simplicity. We should expect from him no sacrifice or effort for an abstract cause; there is not an atom of martyr’s stuff in all that softened marble; but he has a capacity for strong and warm attachment, and might act devotedly through its impulse, and even die for it at need. It is possible, too, that the Faun might be educated through the medium of his emotions, so that the coarser animal portion of his nature might eventually be thrown into the background, though never utterly expelled.

The animal nature, indeed, is a most essential part of the Faun’s composition; for the characteristics of the brute creation meet and combine with those of humanity in this strange yet true and natural conception of antique poetry and art. Praxiteles has subtly diffused throughout his work that mute mystery, which so hopelessly perplexes us whenever we attempt to gain an intellectual or sympathetic knowledge of the lower orders of creation. The riddle is indicated, however, only by two definite signs: these are the two ears of the Faun, which are leaf shaped, terminating in little peaks, like those of some species of animals. Though not so seen in the marble, they are probably to be considered as clothed in fine, downy fur. In the coarser representations of this class of mythological creatures, there is another token of brute kindred,—a certain caudal appendage; which, if the Faun of Praxiteles must be supposed to possess it at all, is hidden by the lion’s skin that forms his garment. The pointed and furry ears, therefore, are the sole indications of his wild, forest nature.

Only a sculptor of the finest imagination, the most delicate taste, the sweetest feeling, and the rarest artistic skill—in a word, a sculptor and a poet too—could have first dreamed of a Faun in this guise, and then have succeeded in imprisoning the sportive and frisky

thing in marble. Neither man nor animal, and yet no monster, but a being in whom both races meet on friendly ground. The idea grows coarse as we handle it, and hardens in our grasp. But, if the spectator broods long over the statue, he will be conscious of its spell; all the pleasantness of sylvan life, all the genial and happy characteristics of creatures that dwell in woods and fields, will seem to be mingled and kneaded into one substance, along with the kindred qualities in the human soul. Trees, grass, flowers, woodland streamlets, cattle, deer, and unsophisticated man. The essence of all these was compressed long ago, and still exists, within that discolored marble surface of the Faun of Praxiteles.

And, after all, the idea may have been no dream, but rather a poet’s reminiscence of a period when man’s affinity with nature was more strict, and his fellowship with every living thing more intimate and dear.

CHAPTER II

THE FAUN

“Donatello,” playfully cried Miriam, “do not leave us in this perplexity! Shake aside those brown curls, my friend, and let us see whether this marvellous resemblance extends to the very tips of the ears. If so, we shall like you all the better!”

“No, no, dearest signorina,” answered Donatello, laughing, but with a certain earnestness. “I entreat you to take the tips of my ears for granted.” As he spoke, the young Italian made a skip and jump, light enough for a veritable faun; so as to place himself quite beyond the reach of the fair hand that was outstretched, as if to settle the matter by actual examination. “I shall be like a wolf of the Apennines,” he continued, taking his stand on the other side of the Dying Gladiator, “if you touch my ears ever so softly. None of my race could endure it. It has always been a tender point with my forefathers and me.”

He spoke in Italian, with the Tuscan rusticity of accent, and an unshaped sort of utterance, betokening that he must heretofore have been chiefly conversant with rural people.

“Well, well,” said Miriam, “your tender point—your two tender points, if you have them—shall be safe, so far as I am concerned. But how strange this likeness is, after all! and how delightful, if it really includes the pointed ears! O, it is impossible, of course,” she continued, in English, “with a real and commonplace young man like Donatello; but you see how this peculiarity defines the position of the Faun; and, while putting him where he cannot exactly assert his brotherhood, still disposes us kindly towards the kindred creature. He is not supernatural, but just on the verge of nature, and yet within it. What is the nameless charm of this idea, Hilda? You can feel it more delicately than I.”

“It perplexes me,” said Hilda thoughtfully, and shrinking a little; “neither do I quite like to think about it.”

“But, surely,” said Kenyon, “you agree with Miriam and me that there is something very touching and impressive in this statue of the Faun. In some long-past age, he must really have existed. Nature needed, and still needs, this beautiful creature; standing betwixt man and animal, sympathizing with each, comprehending the speech of either race, and interpreting the whole existence of one to the other. What a pity that he has forever vanished from the hard and dusty paths of life,—unless,” added the sculptor, in a sportive whisper, “Donatello be actually he!”

“You cannot conceive how this fantasy takes hold of me,” responded Miriam, between jest and earnest. “Imagine, now, a real being, similar to this mythic Faun; how happy, how genial, how satisfactory would be his life, enjoying the warm, sensuous, earthy side of nature; revelling in the merriment of woods and streams; living as our four-footed kindred do,—as mankind did in its innocent childhood; before sin, sorrow or morality itself had ever been thought of! Ah! Kenyon, if Hilda and you and I—if I, at least—had pointed ears! For I suppose the Faun had no conscience, no remorse, no burden on the heart, no troublesome recollections of any sort; no dark future either.”

“What a tragic tone was that last, Miriam!” said the sculptor; and, looking into her face, he was startled to behold it pale and tear-stained. “How suddenly this mood has come over you!”

“Let it go as it came,” said Miriam, “like a thunder-shower in this Roman sky. All is sunshine again, you see!”

Donatello’s refractoriness as regarded his ears had evidently cost him something, and he now came close to Miriam’s side, gazing at her with an appealing air, as if to solicit forgiveness. His mute, helpless gesture of entreaty had something pathetic in it, and yet might well enough excite a laugh, so like it was to what you may see in the aspect of a hound when he thinks himself in fault or disgrace. It was difficult to make out the character of this young man. So full of animal life as he was, so joyous in his deportment, so handsome, so physically well-developed, he made no impression of incompleteness, of maimed or stinted nature. And yet, in social intercourse, these familiar friends of his habitually and instinctively allowed for him, as for a child or some other lawless thing, exacting no strict obedience to conventional rules, and hardly noticing his eccentricities enough to pardon them. There was an indefinable characteristic about Donatello that set him outside of rules.

He caught Miriam’s hand, kissed it, and gazed into her eyes without saying a word. She smiled, and bestowed on him a little careless caress, singularly like what one would give to a pet dog when he puts himself in the way to receive it. Not that it was so decided a caress either, but only the merest touch, somewhere between a pat and a tap of the finger; it might be a mark of fondness, or perhaps a playful pretence of punishment. At all events, it appeared to afford Donatello exquisite pleasure; insomuch that he danced quite round the wooden railing that fences in the Dying Gladiator.

“It is the very step of the Dancing Faun,” said Miriam, apart, to Hilda. “What a child, or what a simpleton, he is! I continually find myself treating Donatello as if he were the merest unfledged chicken; and yet he can claim no such privileges in the right of his tender age, for he is at least—how old should you think him, Hilda?”

“Twenty years, perhaps,” replied Hilda, glancing at Donatello; “but, indeed, I cannot tell; hardly so old, on second thoughts, or possibly older. He has nothing to do with time, but has a look of eternal youth in his face.”

“All underwitted people have that look,” said Miriam scornfully.

“Donatello has certainly the gift of eternal youth, as Hilda suggests,” observed Kenyon, laughing; “for, judging by the date of this statue, which, I am more and more convinced, Praxiteles carved on purpose for him, he must be at least twenty-five centuries old, and he still looks as young as ever.”

“What age have you, Donatello?” asked Miriam.

“Signorina, I do not know,” he answered; “no great age, however; for I have only lived since I met you.”

“Now, what old man of society could have turned a silly compliment more smartly than that!” exclaimed Miriam. “Nature and art are just at one sometimes. But what a happy ignorance is this of our friend Donatello! Not to know his own age! It is equivalent to

being immortal on earth. If I could only forget mine!”

“It is too soon to wish that,” observed the sculptor; “you are scarcely older than Donatello looks.”

“I shall be content, then,” rejoined Miriam, “if I could only forget one day of all my life.” Then she seemed to repent of this allusion, and hastily added, “A woman’s days are so tedious that it is a boon to leave even one of them out of the account.”

The foregoing conversation had been carried on in a mood in which all imaginative people, whether artists or poets, love to indulge. In this frame of mind, they sometimes find their profoundest truths side by side with the idlest jest, and utter one or the other, apparently without distinguishing which is the most valuable, or assigning any considerable value to either. The resemblance between the marble Faun and their living companion had made a deep, half-serious, half-mirthful impression on these three friends, and had taken them into a certain airy region, lifting up, as it is so pleasant to feel them lifted, their heavy earthly feet from the actual soil of life. The world had been set afloat, as it were, for a moment, and relieved them, for just so long, of all customary responsibility for what they thought and said.

It might be under this influence—or, perhaps, because sculptors always abuse one another’s works—that Kenyon threw in a criticism upon the Dying Gladiator.

“I used to admire this statue exceedingly,” he remarked, “but, latterly, I find myself getting weary and annoyed that the man should be such a length of time leaning on his arm in the very act of death. If he is so terribly hurt, why does he not sink down and die without further ado? Flitting moments, imminent emergencies, imperceptible intervals between two breaths, ought not to be incrusted with the eternal repose of marble; in any sculptural subject, there should be a moral standstill, since there must of necessity be a physical one. Otherwise, it is like flinging a block of marble up into the air, and, by some trick of enchantment, causing it to stick there. You feel that it ought to come down, and are dissatisfied that it does not obey the natural law.”

“I see,” said Miriam mischievously, “you think that sculpture should be a sort of fossilizing process. But, in truth, your frozen art has nothing like the scope and freedom of Hilda’s and mine. In painting there is no similar objection to the representation of brief snatches of time,—perhaps because a story can be so much more fully told in picture, and buttressed about with circumstances that give it an epoch. For instance, a painter never would have sent down yonder Faun out of his far antiquity, lonely and desolate, with no companion to keep his simple heart warm.”

“Ah, the Faun!” cried Hilda, with a little gesture of impatience; “I have been looking at him too long; and now, instead of a beautiful statue, immortally young, I see only a corroded and discolored stone. This change is very apt to occur in statues.”

“And a similar one in pictures, surely,” retorted the sculptor. “It is the spectator’s mood that transfigures the Transfiguration itself. I defy any painter to move and elevate me without my own consent and assistance.”

“Then you are deficient of a sense,” said Miriam.

The party now strayed onward from hall to hall of that rich gallery, pausing here and

there, to look at the multitude of noble and lovely shapes, which have been dug up out of the deep grave in which old Rome lies buried. And still, the realization of the antique Faun, in the person of Donatello, gave a more vivid character to all these marble ghosts. Why should not each statue grow warm with life! Antinous might lift his brow, and tell us why he is forever sad. The Lycian Apollo might strike his lyre; and, at the first vibration, that other Faun in red marble, who keeps up a motionless dance, should frisk gayly forth, leading yonder Satyrs, with shaggy goat-shanks, to clatter their little hoofs upon the floor, and all join hands with Donatello! Bacchus, too, a rosy flush diffusing itself over his time- stained surface, could come down from his pedestal, and offer a cluster of purple grapes to Donatello’s lips; because the god recognizes him as the woodland elf who so often shared his revels. And here, in this sarcophagus, the exquisitely carved figures might assume life, and chase one another round its verge with that wild merriment which is so strangely represented on those old burial coffers: though still with some subtile allusion to death, carefully veiled, but forever peeping forth amid emblems of mirth and riot.

As the four friends descended the stairs, however, their play of fancy subsided into a much more sombre mood; a result apt to follow upon such exhilaration as that which had so recently taken possession of them.

“Do you know,” said Miriam confidentially to Hilda, “I doubt the reality of this likeness of Donatello to the Faun, which we have been talking so much about? To say the truth, it never struck me so forcibly as it did Kenyon and yourself, though I gave in to whatever you were pleased to fancy, for the sake of a moment’s mirth and wonder.” “I was certainly in earnest, and you seemed equally so,” replied Hilda, glancing back at Donatello, as if to reassure herself of the resemblance. “But faces change so much, from hour to hour, that the same set of features has often no keeping with itself; to an eye, at least, which looks at expression more than outline. How sad and sombre he has grown all of a sudden!” “Angry too, methinks! nay, it is anger much more than sadness,” said Miriam. “I have seen Donatello in this mood once or twice before. If you consider him well, you will observe an odd mixture of the bulldog, or some other equally fierce brute, in our friend’s composition; a trait of savageness hardly to be expected in such a gentle creature as he usually is. Donatello is a very strange young man. I wish he would not haunt my footsteps so continually.”

“You have bewitched the poor lad,” said the sculptor, laughing. “You have a faculty of bewitching people, and it is providing you with a singular train of followers. I see another of them behind yonder pillar; and it is his presence that has aroused Donatello’s wrath.”

They had now emerged from the gateway of the palace; and partly concealed by one of the pillars of the portico stood a figure such as may often be encountered in the streets and piazzas of Rome, and nowhere else. He looked as if he might just have stepped out of a picture, and, in truth, was likely enough to find his way into a dozen pictures; being no other than one of those living models, dark, bushy bearded, wild of aspect and attire, whom artists convert into saints or assassins, according as their pictorial purposes demand.

“Miriam,” whispered Hilda, a little startled, “it is your model!”

CHAPTER III

SUBTERRANEAN REMINISCENCES

Miriam’s model has so important a connection with our story, that it is essential to describe the singular mode of his first appearance, and how he subsequently became a self-appointed follower of the young female artist. In the first place, however, we must devote a page or two to certain peculiarities in the position of Miriam herself.

There was an ambiguity about this young lady, which, though it did not necessarily imply anything wrong, would have operated unfavorably as regarded her reception in society, anywhere but in Rome. The truth was, that nobody knew anything about Miriam, either for good or evil. She had made her appearance without introduction, had taken a studio, put her card upon the door, and showed very considerable talent as a painter in oils. Her fellow professors of the brush, it is true, showered abundant criticisms upon her pictures, allowing them to be well enough for the idle half-efforts of an amateur, but lacking both the trained skill and the practice that distinguish the works of a true artist.

Nevertheless, be their faults what they might, Miriam’s pictures met with good acceptance among the patrons of modern art. Whatever technical merit they lacked, its absence was more than supplied by a warmth and passionateness, which she had the faculty of putting into her productions, and which all the world could feel. Her nature had a great deal of color, and, in accordance with it, so likewise had her pictures.

Miriam had great apparent freedom of intercourse; her manners were so far from evincing shyness, that it seemed easy to become acquainted with her, and not difficult to develop a casual acquaintance into intimacy. Such, at least, was the impression which she made, upon brief contact, but not such the ultimate conclusion of those who really sought to know her. So airy, free, and affable was Miriam’s deportment towards all who came within her sphere, that possibly they might never be conscious of the fact, but so it was, that they did not get on, and were seldom any further advanced into her good graces to- day than yesterday. By some subtile quality, she kept people at a distance, without so much as letting them know that they were excluded from her inner circle. She resembled one of those images of light, which conjurers evoke and cause to shine before us, in apparent tangibility, only an arm’s length beyond our grasp: we make a step in advance, expecting to seize the illusion, but find it still precisely so far out of our reach. Finally, society began to recognize the impossibility of getting nearer to Miriam, and gruffly acquiesced.

There were two persons, however, whom she appeared to acknowledge as friends in the closer and truer sense of the word; and both of these more favored individuals did credit to Miriam’s selection. One was a young American sculptor, of high promise and rapidly increasing celebrity; the other, a girl of the same country, a painter like Miriam herself, but in a widely different sphere of art. Her heart flowed out towards these two; she requited herself by their society and friendship (and especially by Hilda’s) for all the loneliness with which, as regarded the rest of the world, she chose to be surrounded. Her two friends were conscious of the strong, yearning grasp which Miriam laid upon them, and gave her

their affection in full measure; Hilda, indeed, responding with the fervency of a girl’s first friendship, and Kenyon with a manly regard, in which there was nothing akin to what is distinctively called love.

A sort of intimacy subsequently grew up between these three friends and a fourth individual; it was a young Italian, who, casually visiting Rome, had been attracted by the beauty which Miriam possessed in a remarkable degree. He had sought her, followed her, and insisted, with simple perseverance, upon being admitted at least to her acquaintance; a boon which had been granted, when a more artful character, seeking it by a more subtle mode of pursuit, would probably have failed to obtain it. This young man, though anything but intellectually brilliant, had many agreeable characteristics which won him the kindly and half-contemptuous regard of Miriam and her two friends. It was he whom they called Donatello, and whose wonderful resemblance to the Faun of Praxiteles forms the keynote of our narrative.

Such was the position in which we find Miriam some few months after her establishment at Rome. It must be added, however, that the world did not permit her to hide her antecedents without making her the subject of a good deal of conjecture; as was natural enough, considering the abundance of her personal charms, and the degree of notice that she attracted as an artist. There were many stories about Miriam’s origin and previous life, some of which had a very probable air, while others were evidently wild and romantic fables. We cite a few, leaving the reader to designate them either under the probable or the romantic head.

It was said, for example, that Miriam was the daughter and heiress of a great Jewish banker (an idea perhaps suggested by a certain rich Oriental character in her face), and had fled from her paternal home to escape a union with a cousin, the heir of another of that golden brotherhood; the object being to retain their vast accumulation of wealth within the family. Another story hinted that she was a German princess, whom, for reasons of state, it was proposed to give in marriage either to a decrepit sovereign, or a prince still in his cradle. According to a third statement, she was the off-spring of a Southern American planter, who had given her an elaborate education and endowed her with his wealth; but the one burning drop of African blood in her veins so affected her with a sense of ignominy, that she relinquished all and fled her country. By still another account she was the lady of an English nobleman; and, out of mere love and honor of art, had thrown aside the splendor of her rank, and come to seek a subsistence by her pencil in a Roman studio.

In all the above cases, the fable seemed to be instigated by the large and bounteous impression which Miriam invariably made, as if necessity and she could have nothing to do with one another. Whatever deprivations she underwent must needs be voluntary. But there were other surmises, taking such a commonplace view as that Miriam was the daughter of a merchant or financier, who had been ruined in a great commercial crisis; and, possessing a taste for art, she had attempted to support herself by the pencil, in preference to the alternative of going out as governess.