glade, thawing mankind out of their cold formalities, releasing them from irksome restraint, mingling them together in such childlike gaiety that new flowers (of which the old bosom of the earth is full) sprang up beneath their footsteps. The sole exception to the geniality of the moment, as we have understood, was seen in a countryman of our own, who sneered at the spectacle, and declined to compromise his dignity by making part of it.

The harper thrummed with rapid fingers; the violin-player flashed his bow back and forth across the strings; the flautist poured his breath in quick puffs of jollity, while Donatello shook the tambourine above his head, and led the merry throng with unweariable steps. As they followed one another in a wild ring of mirth, it seemed the realization of one of those bas-reliefs where a dance of nymphs, satyrs, or bacchanals is twined around the circle of an antique vase; or it was like the sculptured scene on the front and sides of a sarcophagus, where, as often as any other

device, a festive procession mocks the ashes and white bones that are treasured up within. You might take it for a marriage-pageant; but after a while, if you look at these merry-makers, following them from end to end of the marble coffin, you doubt whether their gay movement is leading them to a happy close. A youth has suddenly fallen in the dance; a chariot is overturned and broken, flinging the charioteer headlong to the ground; a maiden seems to have grown faint or weary and is drooping on the bosom of a friend. Always some tragic incident is shadowed forth or thrust sidelong into the spectacle; and when once it has caught your eye you can look no more at the festal portions of the scene except with reference to this one slightly suggested doom and sorrow.

As in its mirth, so in the darker characteristic here alluded to, there was an analogy between the sculptured scene on the sarcophagus and the wild dance which we have been describing. In the midst of its madness and riot Miriam found

herself suddenly confronted by a strange figure that shook its fantastic garments in the air, and pranced before her on its tiptoes, almost vying with the agility of Donatello himself. It was the model.

A moment afterwards Donatello was aware that she had retired from the dance. He hastened towards her, and flung himself on the grass beside the stone bench on which Miriam was sitting. But a strange distance and unapproachableness had all at once enveloped her; and though he saw her within reach of his arm, yet the light of her eyes seemed as far off as that of a star, nor was there any warmth in the melancholy smile with which she regarded him.

"Come back!" cried he. 66

happy hour end so soon?"

Why should this

"It must end here, Donatello," said she, in answer to his words and outstretched hand;

" and

such hours, I believe, do not often repeat themselves in a lifetime. Let me go, my friend; let me vanish from you quietly among the shadows

of these trees. See, the companions of our pastime are vanishing already!”

Whether it was that the harp-strings were broken, the violin out of tune, or the flautist out of breath, so it chanced that the music had ceased, and the dancers come abruptly to a pause. All that motley throng of rioters was dissolved as suddenly as it had been drawn together. In Miriam's remembrance the scene had a character of fantasy. It was It was as if a company of satyrs, fauns, and nymphs, with Pan in the midst of them, had been disporting themselves in these venerable woods only a moment ago; and now in another moment, because some profane eye had looked at them too closely, or some intruder had cast a shadow on their mirth, the silver pageant had utterly disappeared. If a few of the merrymakers lingered among the trees, they had hidden their racy peculiarities under the garb and aspect of ordinary people, and sheltered themselves in the weary commonplace of daily life. Just an

instant before it was Arcadia and the Golden

Age. The spell being broken, it was now only that old tract of pleasure-ground, close by the people's gate of Rome,—a tract where the crimes and calamities of ages, the many battles, blood recklessly poured out, and deaths of myriads, have corrupted all the soil, creating an influence that makes the air deadly to human lungs.

"You must leave me," said Miriam to Donatello, more imperatively than before: "have I not said it? Go; and look not behind you."

66

Miriam," whispered Donatello, grasping her hand forcibly, "who is it that stands in the shadow yonder, beckoning you to follow him?" "Hush; leave me!" repeated Miriam. "Your hour is past; his hour has come."

Donatello still gazed in the direction which he had indicated, and the expression of his face was fearfully changed, being so disordered, perhaps with terror-at all events with anger and invincible repugnance-that Miriam hardly knew him. His lips were drawn apart so as to disclose his set teeth, thus giving him a look of animal rage,