Summary

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Snowdrops and Maidenly Delights (1860)

One observer in a thousand is conscious of something more, and lingers long over this mysterious face, departing from it reluctantly, and with many a glance thrown backward. What perplexes him is the riddle that he sees propounded there; the riddle of the soul's growth, taking its first impulse amid remorse and pain, and struggling through the incrustations of the senses. It was the contemplation of this imperfect portrait of Donatello that originally interested us in his history, and impelled us to elicit from Kenyon what he knew of his friend's adventures.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Snowdrops and Maidenly Delights (1860)

So Hilda, as far as Kenyon could discern, still did not love him, though she admitted him within the quiet circle of her affections as a dear friend and trusty counsellor. If we knew what is best for us, or could be content with what is reasonably good, the sculptor might well have been satisfied, for a season, with this calm intimacy, which so sweetly kept him a stranger in her heart, and a ceremonious guest; and yet allowed him the free enjoyment of all but its deeper recesses. The flowers that grow outside of those minor sanctities have a wild, hasty charm, which it is well to prove
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Snowdrops and Maidenly Delights (1860)

Kenyon's Roman artisans, all this while, had been at work on the Cleopatra. The fierce Egyptian queen had now struggled almost out of the imprisoning stone; or, rather, the workmen had found her within the mass of marble, imprisoned there by magic, but still fervid to the touch with fiery life, the fossil woman of an age that produced statelier, stronger, and more passionate creatures than our own.
Source: Wikisource

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