"It is Miriam's model!" It was acknowledged both by Kenyon and Hilda that they had detected, or fancied, the resemblance which Donatello so strongly affirmed; and it added not a little to the grotesque and weird character which, half playfully, half seriously, they assigned to Miriam's attendant, to think of him as personating the demon's part in a picture of more than two centuries ago.

Had Guido, in his effort to imagine the utmost of sin and misery, which his pencil could represent, hit ideally upon just this face?
Or was it an actual portrait of somebody, that haunted the old master, as Miriam was haunted now?
Did the ominous shadow follow him through all the sunshine of his earlier career, and into the gloom that gathered about its close?
And when Guido died, did the spectre betake himself to those ancient sepulchres, there awaiting a new victim, till it was Miriam's ill-hap to encounter him?
"I do not acknowledge the resemblance at all," said Miriam, looking narrowly at the sketch; "and, as I have drawn the face twenty times, I think you will own that I am the best judge." A discussion here arose, in reference to Guido's Archangel, and it was agreed that these four friends should visit the Church of the Cappuccini the next morning, and critically examine the picture in question; the similarity between it and the sketch being, at all events, a very curious circumstance.
It was now a little past ten o'clock, when some of the company, who had been standing in a balcony, declared the moonlight to be resplendent.
They proposed a ramble through the streets, taking in their way some of those scenes of ruin which produced their best effects under the splendor of the Italian moon..