第16章

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/:he 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 occasionto 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 yourpleasure."