thunderstruck. Samuel and Bathsheba fell on their knees together, and
raised their clasped hands. The Jew and Jewess felt inexplicable hopes
reviving within them.

All the other actors in this scene appeared struck with stupor.
Rodin--Rodin himself--recoiled two steps, and replaced the casket on the
table with a trembling hand. Though the incident might appear natural
enough--a woman appearing on the threshold of a door, which she had just
thrown open--there was a pause of deep and solemn silence. Every bosom
seemed oppressed, and as if struggling for breath. All experienced, at
sight of this woman, surprise mingled with fear, and indefinable
anxiety--for this woman was the living original of the portrait, which
had been placed in the room a hundred and fifty years ago. The same
head-dress, the same flowing robe, the same countenance, so full of
poignant and resigned grief! She advanced slowly, and without appearing
to perceive the deep impression she had caused. She approached one of the
pieces of furniture, inlaid with brass, touched a spring concealed in the
moulding of gilded bronze, so that an upper drawer flew open, and taking
from it a sealed parchment envelope, she walked up to the table, and
placed this packet before the notary, who, hitherto silent and
motionless, received it mechanically from her.

Then, casting upon Gabriel, who seemed fascinated by her presence, a
long, mild, melancholy look, this woman directed her steps towards the
hall, the door of which had remained open. As she passed near Samuel and
Bathsheba, who were still kneeling, she stopped an instant, bowed her
fair head towards them, and looked at them with tender solicitude. Then,
giving them her hands to kiss, she glided away as slowly as she had
entered--throwing a last glance upon Gabriel. The departure of this woman
seemed to break the spell under which all present had remained for the