It stood on a wooden pedestal, not nearly finished, but with fine white dust and small chips of marble scattered about it, and itself incrusted all round with the white, shapeless substance of the block.

In the midst appeared the features, lacking sharpness, and very much resembling a fossil countenance,--but we have already used this simile, in reference to Cleopatra, with the accumulations of long-past ages clinging to it.
And yet, strange to say, the face had an expression, and a more recognizable one than Kenyon had succeeded in putting into the clay model at Monte Beni.

The reader is probably acquainted with Thorwaldsen's three-fold analogy,--the clay model, the Life; the plaster cast, the Death; and the sculptured marble, the Resurrection,--and it seemed to be made good by the spirit that was kindling up these imperfect features, like a lambent flame.
"I was not quite sure, at first glance, that I knew the face," observed Hilda; "the likeness surely is not a striking one.

There is a good deal of external resemblance, still, to the features of the Faun of Praxiteles, between whom and Donatello, you know, we once insisted that there was a perfect twin-brotherhood.

But the expression is now so very different!" "What do you take it to be ?" asked the sculptor.
"I hardly know how to define it," she answered.