_ Miriam was glad to find the Dove in her turret-home; for being endowed
with an infinite activity, and taking exquisite delight in the sweet labor
of which her life was full, it was Hilda's practice to flee abroad betimes,
and haunt the galleries till dusk. Happy were those (but they were very
few) whom she ever chose to be the companions of her day; they saw the art
treasures of Rome, under her guidance, as they had never seen them before.
Not that Hilda could dissertate, or talk learnedly about pictures; she
would probably have been puzzled by the technical terms of her own art.
Not that she had much to say about what she most profoundly admired; but
even her silent sympathy was so powerful that it drew your own along with
it, endowing you with a second-sight that enabled you to see excellences
with almost the depth and delicacy of her own perceptions.
All the Anglo-Saxon denizens of Rome, by this time, knew Hilda by sight.
Unconsciously, the poor child had become one of the spectacles of the
Eternal City, and was often pointed out to strangers, sitting at her easel
among the wild-bearded young men, the white-haired old ones, and the
shabbily dressed, painfully plain women, who make up the throng of
copyists. The old custodes knew her well, and watched over her as their
own child. Sometimes a young artist, instead of going on with a copy of
the picture before which he had placed his easel, would enrich his canvas
with an original portrait of Hilda at her work. A lovelier subject could
not have been selected, nor one which required nicer skill and insight in
doing it anything like justice. She was pretty at all times, in our
native New England style, with her light-brown ringlets, her delicately
tinged, but healthful cheek, her sensitive, intelligent, yet most feminine
and kindly face. But, every few moments, this pretty and girlish face
grew beautiful and striking, as some inward thought and feeling brightened,
rose to the surface, and then, as it were, passed out of sight again; so
that, taking into view this constantly recurring change, it really seemed
as if Hilda were only visible by the sunshine of her soul.
In other respects, she was a good subject for a portrait, being
distinguished by a gentle picturesqueness, which was perhaps unconsciously
bestowed by some minute peculiarity of dress, such as artists seldom fail
to assume. The effect was to make her appear like an inhabitant of
pictureland, a partly ideal creature, not to be handled, nor even
approached too closely. In her feminine self, Hilda was natural, and of
pleasant deportment, endowed with a mild cheerfulness of temper, not
overflowing with animal spirits, but never long despondent. There was a
certain simplicity that made every one her friend, but it was combined
with a subtile attribute of reserve, that insensibly kept those at a
distance who were not suited to her sphere.
Miriam was the dearest friend whom she had ever known. Being a year or
two the elder, of longer acquaintance with Italy, and better fitted to
deal with its crafty and selfish inhabitants, she had helped Hilda to
arrange her way of life, and had encouraged her through those first weeks,
when Rome is so dreary to every newcomer.
"But how lucky that you are at home today," said Miriam, continuing the
conversation which was begun, many pages back. "I hardly hoped to find
you, though I had a favor to ask,--a commission to put into your charge.
But what picture is this?"
"See! "said Hilda, taking her friend's hand, and leading her in front of
the easel. "I wanted your opinion of it."
"If you have really succeeded," observed Miriam, recognizing the picture
at the first glance, "it will be the greatest miracle you have yet
achieved."
The picture represented simply a female head; a very youthful, girlish,
perfectly beautiful face, enveloped in white drapery, from beneath which
strayed a lock or two of what seemed a rich, though hidden luxuriance of
auburn hair. The eyes were large and brown, and met those of the
spectator, but evidently with a strange, ineffectual effort to escape.
There was a little redness about the eyes, very slightly indicated, so
that you would question whether or no the girl had been weeping. The
whole face was quiet; there was no distortion or disturbance of any single
feature; nor was it easy to see why the expression was not cheerful, or
why a single touch of the artist's pencil should not brighten it into
joyousness. But, in fact, it was the very saddest picture ever painted or
conceived; it involved an unfathomable depth of sorrow, the sense of which
came to the observer by a sort of intuition. It was a sorrow that removed
this beautiful girl out of the sphere of humanity, and set her in a
far-off region, the remoteness of which--while yet her face is so close
before us--makes us shiver as at a spectre.
"Yes, Hilda," said her friend, after closely examining the picture," you
have done nothing else so wonderful as this. But by what unheard-of
solicitations or secret interest have you obtained leave to copy Guido's
Beatrice Cenci? It is an unexampled favor; and the impossibility of
getting a genuine copy has filled the Roman picture shops with Beatrices,
gay, grievous, or coquettish, but never a true one among them."
"There has been one exquisite copy, I have heard," said Hilda, "by an
artist capable of appreciating the spirit of the picture. It was Thompson,
who brought it away piecemeal, being forbidden (like the rest of us) to
set up his easel before it. As for me, I knew the Prince Barberini would
be deaf to all entreaties; so I had no resource but to sit down before the
picture, day after day, and let it sink into my heart. I do believe it
is now photographed there. It is a sad face to keep so close to one's
heart; only what is so very beautiful can never be quite a pain. Well;
after studying it in this way, I know not how many times, I came home, and
have done my best to transfer the image to canvas."
"Here it is, then," said Miriam, contemplating Hilda's work with great
interest and delight, mixed with the painful sympathy that the picture
excited. "Everywhere we see oil-paintings, crayon sketches, cameos,
engravings, lithographs, pretending to be Beatrice, and representing the
poor girl with blubbered eyes, a leer of coquetry, a merry look as if she
were dancing, a piteous look as if she were beaten, and twenty other modes
of fantastic mistake. But here is Guido's very Beatrice; she that slept
in the dungeon, and awoke, betimes, to ascend the scaffold, And now that
you have done it, Hilda, can you interpret what the feeling is, that gives
this picture such a mysterious force? For my part, though deeply sensible
of its influence, I cannot seize it."
"Nor can I, in words," replied her friend. "But while I was painting her,
I felt all the time as if she were trying to escape from my gaze. She
knows that her sorrow is so strange and so immense, that she ought to be
solitary forever, both for the world's sake and her own; and this is the
reason we feel such a distance between Beatrice and ourselves, even when
our eyes meet hers. It is infinitely heart-breaking to meet her glance,
and to feel that nothing can be done to help or comfort her; neither does
she ask help or comfort, knowing the hopelessness of her case better than
we do. She is a fallen angel,--fallen, and yet sinless; and it is only
this depth of sorrow, with its weight and darkness, that keeps her down
upon earth, and brings her within our view even while it sets her beyond
our reach."
"You deem her sinless?" asked Miriam; "that is not so plain to me. If I
can pretend to see at all into that dim region, whence she gazes so
strangely and sadly at us, Beatrice's own conscience does not acquit her
of something evil, and never to be forgiven!"
"Sorrow so black as hers oppresses her very nearly as sin would," said
Hilda.
"Then," inquired Miriam, "do you think that there was no sin in the deed
for which she suffered?"
"Ah!" replied Hilda, shuddering," I really had quite forgotten Beatrice's
history, and was thinking of her only as the picture seems to reveal her
character. Yes, yes; it was terrible guilt, an inexpiable crime, and she
feels it to be so. Therefore it is that the forlorn creature so longs to
elude our eyes, and forever vanish away into nothingness! Her doom is
just!"
"O Hilda, your innocence is like a sharp steel sword!" exclaimed her
friend. "Your judgments are often terribly severe, though you seem all
made up of gentleness and mercy. Beatrice's sin may not have been so
great: perhaps it was no sin at all, but the best virtue possible in the
circumstances. If she viewed it as a sin, it may have been because her
nature was too feeble for the fate imposed upon her. Ah!" continued
Miriam passionately, "if I could only get within her consciousness!--if I
could but clasp Beatrice Cenci's ghost, and draw it into myself! I would
give my life to know whether she thought herself innocent, or the one
great criminal since time began."
As Miriam gave utterance to these words, Hilda looked from the picture
into her face, and was startled to observe that her friend's expression
had become almost exactly that of the pottrait; as if her passionate wish
and struggle to penetrate poor Beatrice's mystery had been successful.
"O, for Heaven's sake, Miriam, do not look so!" she cried. "What an
actress you are! And I never guessed it before. Ah! now you are yourself
again!" she added, kissing her. "Leave Beatrice to me in future."
"Cover up your magical picture, then," replied her friend, "else I never
can look away from it. It is strange, dear Hilda, how an innocent,
delicate, white soul like yours has been able to seize the subtle mystery
of this portrait; as you surely must, in order to reproduce it so
perfectly. Well; we will not talk of it any more. Do you know, I have
come to you this morning on a small matter of business. Will you
undertake it for me?"
"O, certainly," said Hilda, laughing; "if you choose to trust me with
business."
"Nay, it is not a matter of any difficulty," answered Miriam; "merely to
take charge of this packet, and keep it for me awhile."
"But why not keep it yourself?" asked Hilda.
"Partly because it will be safer in your charge," said her friend. "I am
a careless sort of person in ordinary things; while you, for all you dwell
so high above the world, have certain little housewifely ways of accuracy
and order. The packet is of some slight importance; and yet, it may be,
I shall not ask you for it again. In a week or two, you know, I am
leaving Rome. You, setting at defiance the malarial fever, mean to stay
here and haunt your beloved galleries through the summer. Now, four
months hence, unless you hear more from me, I would have you deliver the
packet according to its address."
Hilda read the direction; it was to Signore Luca Barboni, at the Plazzo
Cenci, third piano.
"I will deliver it with my own hand," said she, "precisely four months
from to-day, unless you bid me to the contrary. Perhaps I shall meet the
ghost of Beatrice in that grim old palace of her forefathers."
"In that case," rejoined Miriam, "do not fail to speak to her, and try to
win her confidence. Poor thing! she would be all the better for pouring
her heart out freely, and would be glad to do it, if she were sure of
sympathy. It irks my brain and heart to think of her, all shut up within
herself." She withdrew the cloth that Hilda had drawn over the picture,
and took another long look at it. "Poor sister Beatrice! for she was
still a woman, Hilda, still a sister, be her sin or sorrow what they might.
How well you have done it, Hilda! I knot not whether Guido will thank
you, or be jealous of
your rivalship."
"Jealous, indeed!" exclaimed Hilda. "If Guido had not wrought through me,
my pains would have been thrown away."
"After all," resumed Miriam, "if a woman had painted the original picture,
there might have been something in it which we miss now. I have a great
mind to undertake a copy myself; and try to give it what it lacks. Well;
goodby. But, stay! I am going for a little airing to the grounds of the
Villa Borghese this afternoon. You will think it very foolish, but I
always feel the safer in your company, Hilda, slender little maiden as you
are. Will you come?"
"Ah, not to-day, dearest Miriam," she replied; "I have set my heart on
giving another touch or two to this picture, and shall not stir abroad
till nearly sunset."
"Farewell, then," said her visitor. "I leave you in your dove-cote. What
a sweet, strange life you lead here; conversing with the souls of the old
masters, feeding and fondling your sister doves, and trimming the Virgin's
lamp! Hilda, do you ever pray to the Virgin while you tend her shrine?"
"Sometimes I have been moved to do so," replied the Dove, blushing, and
lowering her eyes; "she was a woman once. Do you think it would be
wrong?"
"Nay, that is for you to judge," said Miriam; "but when you pray next,
dear friend, remember me!"
She went down the long descent of the lower staircase, and just as she
reached the street the flock of doves again took their hurried flight from
the pavement to the topmost window. She threw her eyes upward and beheld
them hovering about Hilda's head; for, after her friend's departure, the
girl had been more impressed than before by something very sad and
troubled in her manner. She was, therefore, leaning forth from her airy
abode, and flinging down a kind, maidenly kiss, and a gesture of farewell,
in the hope that these might alight upon Miriam's heart, and comfort its
unknown sorrow a little. Kenyon the sculptor, who chanced to be passing
the head of the street, took note of that ethereal kiss, and wished that
he could have caught it in the air and got Hilda's leave to keep it. _