第79章 CHAPTER XXV SUNSHINE(4)

"I have a weakness which I fear I cannot overcome," replied the Count, turning away his face. "It troubles me to be looked at steadfastly.""I have observed it since we have been sitting here, though never before," rejoined the sculptor. "It is a kind of nervousness, Iapprehend, which, you caught in the Roman air, and which grows upon you, in your solitary life. It need be no hindrance to my taking your bust; for I will catch the likeness and expression by side glimpses, which (if portrait painters and bust makers did but know it) always bring home richer results than a broad stare.""You may take me if you have the power," said Donatello; but, even as he spoke, he turned away his face; "and if you can see what makes me shrink from you, you are welcome to put it in the bust. It is not my will, but my necessity, to avoid men's eyes. Only," he added, with a smile which made Kenyon doubt whether he might not as well copy the Faun as model a new bust,--"only, you know, you must not insist on my uncovering these ears of mine!""Nay; I never should dream of such a thing," answered the sculptor, laughing, as the young Count shook his clustering curls. "I could not hope to persuade you, remembering how Miriam once failed!"Nothing is more unaccountable than the spell that often lurks in a spoken word. A thought may be present to the mind, so distinctly that no utterance could make it more so; and two minds may be conscious of the same thought, in which one or both take the profoundest interest;but as long as it remains unspoken, their familiar talk flows quietly over the hidden idea, as a rivulet may sparkle and dimple over something sunken in its bed. But speak the word, and it is like bringing up a drowned body out of the deepest pool of the rivulet, which has been aware of the horrible secret all along, in spite of its smiling surface.

And even so, when Kenyon chanced to make a distinct reference to Donatello's relations with Miriam (though the subject was already in both their minds), a ghastly emotion rose up out of the depths of the young Count's heart. He trembled either with anger or terror, and glared at the sculptor with wild eyes, like a wolf that meets you in the forest, and hesitates whether to flee or turn to bay. But, as Kenyon still looked calmly at him, his aspect gradually became less disturbed, though far from resuming its former quietude.

"You have spoken her name," said he, at last, in an altered and tremulous tone; "tell me, now, all that you know of her.""I scarcely think that I have any later intelligence than yourself,"answered Kenyon; "Miriam left Rome at about the time of your own departure. Within a day or two after our last meeting at the Church of the Capuchins, I called at her studio and found it vacant. Whither she has gone, I cannot tell."Donatello asked no further questions.

They rose from table, and strolled together about the premises, whiling away the afternoon with brief intervals of unsatisfactory conversation, and many shadowy silences. The sculptor had a perception of change in his companion,--possibly of growth and development, but certainly of change,--which saddened him, because it took away much of the simple grace that was the best of Donatello's peculiarities.

Kenyon betook himself to repose that night in a grim, old, vaulted apartment, which, in the lapse of five or six centuries, had probably been the birth, bridal, and death chamber of a great many generations of the Monte Beni family. He was aroused, soon after daylight, by the clamor of a tribe of beggars who had taken their stand in a little rustic lane that crept beside that portion of the villa, and were addressing their petitions to the open windows. By and by they appeared to have received alms, and took their departure.

"Some charitable Christian has sent those vagabonds away," thought the sculptor, as he resumed his interrupted nap; "who could it be?

Donatello has his own rooms in the tower; Stella, Tomaso, and the cook are a world's width off; and I fancied myself the only inhabitant in this part of the house."In the breadth and space which so delightfully characterize an Italian villa, a dozen guests might have had each his suite of apartments without infringing upon one another's ample precincts. But, so far as Kenyon knew, he was the only visitor beneath Donatello's widely extended roof.