And when the work falls in a woman's lap, of its own accord, and the needle involuntarily ceases to fly, it is a sign of trouble, quite as trustworthy as the throb of the heart itself. This was what happened to Miriam. Even while Donatello stood gazing at her, she seemed to have forgotten his presence, allowing him to drop out of her thoughts, and the torn glove to fall from her idle fingers. Simple as he was, the young man knew by his sympathies that something was amiss.
"Dear lady, you are sad," said he, drawing close to her.
"It is nothing, Donatello," she replied, resuming her work; "yes; a little sad, perhaps; but that is not strange for us people of the ordinary world, especially for women. You are of a cheerfuller race, my friend, and know nothing of this disease of sadness. But why do you come into this shadowy room of mine?"
"Why do you make it so shadowy?" asked he.
"We artists purposely exclude sunshine, and all but a partial light," said Miriam, "because we think it necessary to put ourselves at odds with Nature before trying to imitate her. That strikes you very strangely, does it not? But we make very pretty pictures sometimes with our artfully arranged lights and shadows. Amuse yourself with some of mine, Donatello, and by and by I shall be in the mood to begin the portrait we were talking about."
The room had the customary aspect of a painter's studio; one of those delightful spots that hardly seem to belong to the actual world, but rather to be the outward
