and it is his presence that has aroused Donatello's wrath."

They had now emerged from the gateway of the palace; and partly
concealed by one of the pillars of the portico stood a figure such as
may often be encountered in the streets and piazzas of Rome, and nowhere
else. He looked as if he might just have stepped out of a picture, and,
in truth, was likely enough to find his way into a dozen pictures; being
no other than one of those living models, dark, bushy bearded, wild
of aspect and attire, whom artists convert into saints or assassins,
according as their pictorial purposes demand.

"Miriam," whispered Hilda, a little startled, "it is your model!"




CHAPTER III


SUBTERRANEAN REMINISCENCES


Miriam's model has so important a connection with our story, that it is
essential to describe the singular mode of his first appearance, and
how he subsequently became a self-appointed follower of the young female
artist. In the first place, however, we must devote a page or two to
certain peculiarities in the position of Miriam herself.

There was an ambiguity about this young lady, which, though it did not
necessarily imply anything wrong, would have operated unfavorably as