The Bronze Pontiff's Benediction

When the last of the twelve strokes had fallen from the cathedral clock,
Kenyon threw his eyes over the busy scene of the market place, expecting
to discern Miriam somewhere in the 'crowd. He looked next towards the
cathedral itself, where it was reasonable to imagine that she might have
taken shelter, while awaiting her appointed time. Seeing no trace of
her in either direction, his eyes came back from their quest somewhat
disappointed, and rested on a figure which was leaning, like Donatello
and himself, on the iron balustrade that surrounded the statue. Only a
moment before, they two had been alone.

It was the figure of a woman, with her head bowed on her hands, as if
she deeply felt--what we have been endeavoring to convey into our feeble
description--the benign and awe-inspiring influence which the pontiff's
statue exercises upon a sensitive spectator. No matter though it were
modelled for a Catholic chief priest, the desolate heart, whatever be
its religion, recognizes in that image the likeness of a father.

"Miriam," said the sculptor, with a tremor in his voice, "is it
yourself?"

"It is I," she replied; "I am faithful to my engagement, though with
many fears." She lifted her head, and revealed to Kenyon--revealed to
Donatello likewise--the well-remembered features of Miriam. They were
pale and worn, but distinguished even now, though less gorgeously, by
a beauty that might be imagined bright enough to glimmer with its own
light in a dim cathedral aisle, and had no need to shrink from the
severer test of the mid-day sun. But she seemed tremulous, and hardly
able to go through with a scene which at a distance she had found
courage to undertake.