Free as she seemed to be,--beggar as he looked,--the nameless vagrant must then be dragging the beautiful Miriam through the streets of Rome, fettered and shackled more cruelly than any captive queen of yore following in an emperor's triumph. And was it conceivable that she would have been thus enthralled unless some great error--how great Kenyon dared not think--or some fatal weakness had given this dark adversary a vantage ground?
"Hilda," said he abruptly, "who and what is Miriam? Pardon me; but are you sure of her?""Sure of her!" repeated Hilda, with an angry blush, for her friend's sake.
"I am sure that she is kind, good, and generous; a true and faithful friend, whom I love dearly, and who loves me as well! What more than this need I be sure of?""And your delicate instincts say all this in her favor?--nothing against her?" continued the sculptor, without heeding the irritation of Hilda's tone. "These are my own impressions, too. But she is such a mystery! We do not even know whether she is a countrywoman of ours, or an Englishwoman, or a German. There is Anglo-Saxon blood in her veins, one would say, and a right English accent on her tongue, but much that is not English breeding, nor American. Nowhere else but in Rome, and as an artist, could she hold a place in society without giving some clew to her past life.""I love her dearly," said Hilda, still with displeasure in her tone, "and trust her most entirely.""My heart trusts her at least, whatever my head may do," replied Kenyon;"and Rome is not like one of our New England villages, where we need the permission of each individual neighbor for every act that we do, every word that we utter, and every friend that we make or keep. In these particulars the papal despotism allows us freer breath than our native air;and if we like to take generous views of our associates, we can do so, to a reasonable extent, without ruining ourselves.""The music has ceased," said Hilda; "I am going now."There are three streets that, beginning close beside each other, diverge from the Piazza del Popolo towards the heart of Rome: on the left, the Via del Babuino; on the right, the Via della Ripetta; and between these two that worldfamous avenue, the Corso. It appeared that Miriam and her strange companion were passing up the first mentioned of these three, and were soon hidden from Hilda and the sculptor.
The two latter left the Pincian by the broad and stately walk that skirts along its brow. Beneath them, from the base of the abrupt descent, the city spread wide away in a close contiguity of red-earthen roofs, above which rose eminent the domes of a hundred churches, beside here and there a tower, and the upper windows of some taller or higher situated palace, looking down on a multitude of palatial abodes. At a distance, ascending out of the central mass of edifices, they could see the top of the Antonine column, and near it the circular roof of the Pantheon looking heavenward with its ever-open eye.
Except these two objects, almost everything that they beheld was mediaeval, though built, indeed, of the massive old stones and indestructible bricks of imperial Rome; for the ruins of the Coliseum, the Golden House, and innumerable temples of Roman gods, and mansions of Caesars and senators, had supplied the material for all those gigantic hovels, and their walls were cemented with mortar of inestimable cost, being made of precious antique statues, burnt long ago for this petty purpose.
Rome, as it now exists, has grown up under the Popes, and seems like nothing but a heap of broken rubbish, thrown into the great chasm between our own days and the Empire, merely to fill it up; and, for the better part of two thousand years, its annals of obscure policies, and wars, and continually recurring misfortunes, seem also but broken rubbish, as compared with its classic history.
