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."

"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
smartly 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 scarcely
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
even one of them out of the account."

The foregoing conversation had been carried on in a mood in which all
imaginative people, whether artists or poets, love to indulge. In this
frame of mind, they sometimes find their profoundest truths side by side
with the idlest jest, and utter one or the other, apparently without
distinguishing which is the most valuable, or assigning any considerable
value to either. The resemblance between the marble Faun and their
living companion had made a deep, half-serious, half-mirthful impression