Summary

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — The Extinction of a Lamp (1860)

He walked on, thinking of the vast change in Donatello, since those days of gayety and innocence, when the young Italian was new in Rome, and was just beginning to be sensible of a more poignant felicity than he had yet experienced, in the sunny warmth of Miriam's smile. The growth of a soul, which the sculptor half imagined that he had witnessed in his friend, seemed hardly worth the heavy price that it had cost, in the sacrifice of those simple enjoyments that were gone forever.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — The Extinction of a Lamp (1860)

It must be that selfsame Miriam; but the sensitive sculptor felt a difference of manner, which impressed him more than he conceived it possible to be affected by so external a thing. He remembered the gossip so prevalent in Rome on Miriam's first appearance; how that she was no real artist, but the daughter of an illustrious or golden lineage, who was merely playing at necessity; mingling with human struggle for her pastime; stepping out of her native sphere only for an interlude, just as a princess might alight from her gilded equipage to go on foot through a rustic lane.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — The Extinction of a Lamp (1860)

A penitent was thus brought in contact with the sculptor.
It was a figure in a white robe, with a kind of featureless mask over the face, through the apertures of which the eyes threw an unintelligible light. Such odd, questionable shapes are often seen gliding through the streets of Italian cities, and are understood to be usually persons of rank, who quit their palaces, their gayeties, their pomp and pride, and assume the penitential garb for a season, with a view of thus expiating some crime, or atoning for the aggregate of petty sins that make up a worldly life.
Source: Wikisource

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