that
the melody, with its rich sweetness all there, and much of its sorrow
gone, was floating around the very summit of the tower.

"Donatello," said the sculptor, when there was silence again, "had that
voice no message for your ear?"

"I dare not receive it," said Donatello; "the anguish of which it spoke
abides with me: the hope dies away with the breath that brought it
hither. It is not good for me to hear that voice."

The sculptor sighed, and left the poor penitent keeping his vigil on the
tower.

CHAPTER XXX

DONATELLO'S BUST

Kenyon, it will be remembered, had asked Donatello's permission to model
his bust. The work had now made considerable progress, and necessarily
kept the sculptor's thoughts brooding much and often upon his host's
personal characteristics. These it was his difficult office to bring out
from their depths, and interpret them to all men, showing them what they
could not discern for themselves, yet must be compelled to recognize at
a glance, on the surface of a block of marble.

He had never undertaken a portrait-bust which gave him so much trouble
as Donatello's; not that there was any special difficulty in hitting
the likeness, though even in this respect the grace and harmony of
the features seemed inconsistent with a prominent expression of
individuality; but he was chiefly perplexed how to make this genial and
kind type of countenance the index of the mind within. His acuteness and
his sympathies, indeed, were both somewhat at fault in their efforts
to enlighten him as to the moral phase through which the Count was now
passing. If at one sitting he caught a glimpse of what appeared to be a
genuine and permanent trait, it would probably be less perceptible on
a second occasion, and perhaps have vanished entirely at a third. So
evanescent a show of character threw the sculptor into despair; not
marble or clay, but cloud and vapor, was the material in which it
ought to be represented. Even the ponderous depression which constantly
weighed upon Donatello's heart could not compel him into the kind of
repose which the plastic art requires.

Hopeless of a good result, Kenyon gave up all preconceptions about the
character of his subject, and let his hands work uncontrolled with the
clay, somewhat as a spiritual medium, while holding a pen, yields it
to an unseen guidance other than that of her own will. Now and then he
fancied that this plan was destined to be the successful o