should expect from him no sacrifice or effort for an abstract cause. There is not an atom of martyr's stuff in all that softened marble; but he has a capacity for strong and warm attachment, and might act devotedly through its impulse, and even die for it at need. It is possible, too, that the Faun might be educated through the medium of his emotions, so that the coarser animal portion of his nature might eventually be thrown into the background, though never utterly expelled.

The animal nature indeed is the most essential part of the Faun's composition; for the characteristics of the brute creation meet and combine with those of humanity in this strange yet true and natural conception of antique poetry and art. Praxiteles has subtly diffused throughout his work that mute mystery which so hopelessly perplexes us whenever we attempt to gain an intellectual or sympathetic knowledge of the lower orders of creation. The riddle is indicated, however, only by two definite signs: these are the two ears of the Faun, which are leaf-shaped, terminating in little peaks, like those of some species of animals. Though not so seen in the marble, they are probably to be considered as clothed in fine, downy fur. In the coarser representations of this class of mythological creatures there is another token of brute kindred—a certain caudal appendage; which, if the Faun of Praxiteles must be supposed to possess it at all, is hidden by the lion's skin that forms his garment. The pointed and furry ears, therefore, are the sole indications of his wild forest nature.

Only a sculptor of the finest imagination, the most delicate taste, the sweetest feeling, and the rarest artistic skill-in a word, a sculptor and a poet too-could have first dreamed of a Faun in this guise, and then have succeeded in imprisoning the sportive and frisky thing in marble. Neither man nor animal, and yet no monster; but a being in whom both races meet on friendly ground. The idea grows coarse as we handle it, and hardens in our grasp. But if the spectator broods long over the statue, he will be conscious of its spell. All the pleasantness of sylvan life, all the genial and happy characteristics of creatures that dwell in woods and fields, will seem to be mingled and kneaded into one substance, along with the kindred qualities in

the human soul. Trees, grass, flowers, woodland streamlets, cattle, deer, and unsophisticated man! The essence of all these was compressed long ago, and still exists in that discolored marble surface of the Faun of Praxiteles.

And, after all, the idea may have been no dream, but rather a poet's reminiscence of a period when man's affinity with nature was more strict, and his fellowship with every living thing more intimate and dear.

"Donatello," playfully cried Miriam, "do not leave us in this perplexity! Shake aside those brown curls, my friend, and let us see whether this marvellous resemblance extends to the very tips of the ears. If so, we shall like you all the better!"

"No, no, dearest Signorina," answered Donatello, laughing, but with a certain earnestness. "I entreat you to take the tips of my ears for granted." And as he spoke the young Italian made a skip and a jump, quite light enough for a veritable Faun, so as to place himself beyond the reach of the fair hand that was outstretched, as if to settle the matter by actual examination. "I shall be like a wolf of the Apennines," he continued, taking his stand on the other side of the Dying Gladiator, "if you touch my ears ever so softly. None of my race could endure it. It has always been a tender point with my forefathers and me."

He spoke in Italian, with the Tuscan rusticity of accent, and an unshaped sort of utterance, betokening that he must heretofore have been chiefly conversant with rural people.

"Well, well," said Miriam, "your tender point shall --your two tender points, if you have them-be safe so far as I am concerned. But how strange this likeness is, after all, and how delightful, if it really includes the pointed ears! Oh, it is impossible, of course," she continued in English, "with a real and commonplace young man like Donatello; but you see how this peculiarity defines the position of the Faun; and while putting him where he cannot exactly assert his brotherhood, stili disposes us kindly toward the kindred creature. He is not supernatural, but just on the verge of nature, and yet within it. What is the nameless charm of this idea, Hilda? You can feel it more delicately than I."

"It perplexes me," said Hilda, thoughtfully, and shrinking a little; "neither do I quite like to think about it.'

"But surely," said Kenyon; "you agree with Miriam and me, and there is something very touching and impressive in this statue of the Faun. In some long past age he really must have existed. Nature needed, and still needs, this beautiful creature; standing betwixt man and animal, sympathizing with each, comprehending the speech of either race, and interpreting the whole existence of one to the other. What a pity that he has forever vanished from the hard and dusty paths of life-unless," added the sculptor, in a sportive whisper, "Donatello be actually he!"

"You cannot conceive how this fantasy takes hold of me," responded Miriam, between jest and earnest. "Imagine now, a real being similar to this mystic Faun, how happy, how genial, how satisfactory would be his life; enjoying the warm, sensuous, earthly side of his nature; revelling in the merriment of woods and streams; living as our four-footed kindred do—as mankind did in its innocent childhood; before sin, sorrow, or mortality itself had even been thought of! Ah! Kenyon, if Hilda and you and I—if I at least—had pointed ears! For I suppose the Faun had no conscience, no remorses, no burthen on the heart, no troublesome reflections of any sort, no dark future either."

"What a tragic tone was that last, Miriam!" said the sculptor; and, looking into her face, he was startled to behold it pale and tear-stained. "How suddenly this mood has come over you!" "Let it go as it came," said Miriam, "like a thundershower in this Roman sky. All is sunshine again, you

see!"

Donatello's refractoriness as regarded his ears had evidently cost him something; and he now came close to Miriam's side, gazing at her with an appealing air, as if to solicit forgiveness. His mute, helpless gesture of entreaty had something pathetic in it, and yet might well enough excite a laugh, so like it was to what you may see in the aspect of a hound when he thinks himself in fault or disgrace. It was difficult to make out the character of this young man. So full of animal life

as he was, so joyous in his deportment, so handsome, so physically well-developed, he made no impression of incompleteness, of maimed or stinted nature. And yet,

in social intercourse, these familiar friends of his habitually and instructively allowed for him, as for a child or some other lawless thing, exacting no strict obedience to conventional rules, and hardly noticing his eccentricities enough to pardon them. There was an indefinable characteristic about Donatello that set him outside of rules.

He caught Miriam's hand, kissed it, and gazed into her eyes without saying a word. She smiled and bestowed upon him a little careless caress, singularly like what one would give to a pet dog when he puts himself in the way to receive it. Not that it was so decided a caress either, but only the merest touch, somewhere between a pat and a tap of the finger; it might be a mark of fondness, or perhaps a playful pretence of punishment. At all events, it appeared to afford Donatello exquisite pleasure; insomuch that he danced quite round the wooden railing that fences in the Dying Gladiator.

"It is the very step of the Dancing Faun," said Miriam apart to Hilda. "What a child, or what a simpleton he is! I continually find myself treating Donatello as if he were the merest unfledged chicken; and yet he can claim no such privileges in the right of his tender age, for he is at least-how old should you think him, Hilda?"

"Twenty years, perhaps," replied Hilda, glancing at Donatello; "but, indeed, I cannot tell; hardly so old, on second thoughts, or possibly older. He has nothing to do with time, but has a look of eternal youth in his face."

"All underwitted people have that look," said Miriam, scornfully.

"Donatello has certainly the gift of eternal youth, as Hilda suggests," observed Kenyon, laughing; "for, judging by the date of this statue, which I am more and more convinced Praxiteles carved on purpose for him, he must be at least twenty-five centuries old, and he still looks as young as ever."

66 What age have you, Donatello?" asked Miriam.

"Signorina, I do not know," he answered; "no great age, however; for I have only lived since I met you."

"Now what old man of society could have turned a silly compliment more neatly than that!" exclaimed Miriam. "Nature and art are just at one sometimes. But what a happy ignorance is this of our friend Donatello! Not to know his own age! It is equivalent to being immortal on earth. If I could only forget mine!" "It is too soon to wish that," observed the sculptor. "You are hardly older than Donatello looks."

I shall be content then," rejoined Miriam, "if I could only forget one day of all my life." Then she seemed to repent of this allusion, and hastily added, "A woman's days are so tedious that it is a boon to leave one of them out of the account."-The Marble Faun.