The first that he took up was a very impressive sketch, in which the artist had jotted down her rough ideas for a picture of Jael driving the nail through the temples of Sisera.It was dashed off with remarkable power, and showed a touch or two that were actually lifelike and deathlike, as if Miriam had been standing by when Jael gave the first stroke of her murderous hammer, or as if she herself were Jael, and felt irresistibly impelled to make her bloody confession in this guise.
Her first conception of the stern Jewess had evidently been that of perfect womanhood, a lovely form, and a high, heroic face of lofty beauty; but, dissatisfied either with her own work or the terrible story itself, Miriam had added a certain wayward quirk of her pencil, which at once converted the heroine into a vulgar murderess.It was evident that a Jael like this would be sure to search Sisera's pockets as soon as the breath was out of his body.
In another sketch she had attempted the story of Judith, which we see represented by the old masters so often, and in such various styles.Here, too, beginning with a passionate and fiery conception of the subject in all earnestness, she had given the last touches in utter scorn, as it were, of the feelings which at first took such powerful possession of her hand.The head of Holofernes (which, by the bye, had a pair of twisted mustaches, like those of a certain potentate of the day) being fairly cut off, was screwing its eyes upward and twirling its features into a diabolical grin of triumphant malice, which it flung right in Judith's face.On her part, she had the startled aspect that might be conceived of a cook if a calf's headshould sneer at her when about to be popped into the dinner-pot.
Over and over again, there was the idea of woman, acting the part of a revengeful mischief towards man.It was, indeed, very singular to see how the artist's imagination seemed to run on these stories of bloodshed, in which woman's hand was crimsoned by the stain; and how, too,--in one form or another, grotesque or sternly sad,--she failed not to bring out the moral, that woman must strike through her own heart to reach a human life, whatever were the motive that impelled her.
One of the sketches represented the daughter of Herodias receiving the head of John the Baptist in a charger.The general conception appeared to be taken from Bernardo Luini's picture, in the Uffizzi Gallery at Florence; but Miriam had imparted to the saint's face a look of gentle and heavenly reproach, with sad and blessed eyes fixed upward at the maiden; by the force of which miraculous glance, her whole womanhood was at once awakened to love and endless remorse.
These sketches had a most disagreeable effect on Donatello's peculiar temperament.He gave a shudder; his face assumed a look of trouble, fear, and disgust; he snatched up one sketch after another, as if about to tear it in pieces.Finally, shoving away the pile of drawings, he shrank back from the table and clasped his hands over his eyes.
"What is the matter, Donatello?" asked Miriam, looking up from a letter which she was now writing."Ah! I did not mean you to see those drawings.They are ugly phantoms that stole out of my mind; not things that I created, but things that haunt me.See! here are some trifles that perhaps will please you better."She gave him a portfolio, the sketches in which indicated a happier mood of mind, and one, it is to be hoped, more truly characteristic of the artist.Supposing neither of these classes of subject to show anything of her own individuality, Miriam had evidently a great scope of fancy, and a singular faculty of putting what looked like heart into her productions.The latter sketches were domestic and common scenes, so finely and subtilely idealized that they seemed such as we may see at any moment, and eye,where; while still there was the indefinable something added, or taken away, which makes all the difference between sordid life and an earthlyparadise.The feeling and sympathy in.all of them were deep and true.There was the scene, that comes once in every life, of the lover winning the soft and pure avowal of bashful affection from the maiden whose slender form half leans towards his arm, half shrinks from it, we know not which.There was wedded affection in its successive stages, represented in a series of delicately conceived designs, touched with a holy fire, that burned from youth to age in those two hearts, and gave one identical beauty to the faces throughout all the changes of feature.
There was a drawing of an infant's shoe, half worn out, with the airy print of the blessed foot within; a thing that would make a mother smile or weep out of the very depths of her heart; and yet an actual mother would not have been likely to appreciate the poetry of the little shoe, until Miriam revealed it to her.It was wonderful, the depth and force with which the above, and other kindred subjects, were depicted, and the profound significance which they often acquired.The artist, still in her fresh youth, could not probably have drawn any of these dear and rich experiences from her own life; unless, perchance, that first sketch of all, the avowal of maiden affection, were a remembered incident, and not a prophecy.But it is more delightful to believe that, from first to last, they were the productions of a beautiful imagination, dealing with the warm and pure suggestions of a woman's heart, and thus idealizing a truer and lovelier picture of the life that belongs to woman, than an actual acquaintance with some of its hard and dusty facts could have inspired.So considered, the sketches intimated such a force and variety of imaginative sympathies as would enable Miriam to fill her life richly with the bliss and suffering of womanhood, however barren it might individually be.
