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10/1/1859 0:00:0010/2/1859 23:59:59Donatello comes to RomeThe Marble FaunPiazza del Popolo of Congress
10/1/1859 0:00:0010/2/1859 23:59:59Miriam comes to Rome, befriends DonatelloA sort of intimacy subsequently grew up between these three friends and a fourth individual; it was a young Italian, who, casually visiting Rome, had been attracted by the beauty which Miriam possessed in a remarkable degree... It was he whom they called Donatello, and whose wonderful resemblance to the Faun of Praxiteles forms the keynote of our narrative. Such was the position in which we find Miriam some few months after her establishment at Rome.Piazza Colonna of Congress
10/1/1859 13:00:0010/1/1859 15:00:00Miriam first meets the spectreThe Marble Faun&mdash;Nathaniel Hawthorne"The stranger was of exceedingly picturesque, and even melodramatic aspect. He was clad in a voluminous cloak, that seemed to be made of a buffalo's hide, and a pair of those goat-skin breeches, with the hair outward, which are still commonly worn by the peasants of the Roman Campagna. In this garb, they look like antique Satyrs; and, in truth, the Spectre of the Catacomb might have represented the last survivor of that vanished race, hiding himself in sepulchral gloom, and mourning over his lost life of woods and streams.<br/>
Furthermore, he had on a broad-brimmed, conical hat, beneath the shadow of which a wild visage was indistinctly seen, floating away, as it were, into a dusky wilderness of mustache and beard. His eyes winked, and turned uneasily from the torches, like a creature to whom midnight would be more congenial than noonday.<br/>
On the whole, the spectre might have made a considerable impression on the sculptor's nerves, only that he was in the habit of observing similar figures, almost every day, reclining on the Spanish steps, and waiting for some artist to invite them within the magic realm of picture. Nor, even thus familiarized with the stranger's peculiarities of appearance, could Kenyon help wondering to see such a personage, shaping himself so suddenly out of the void darkness of the catacomb."</blockquote>
Project Gutenberg Spectre
1/15/1860 13:00:001/15/1860 15:00:00The quartet goes to St. Calixtus, sees the spectreFurthermore, he had on a broad-brimmed, conical hat, beneath the shadow of which a wild visage was indistinctly seen, floating away, as it were, into a dusky wilderness of mustache and beard. His eyes winked, and turned uneasily from the torches, like a creature to whom midnight would be more congenial than noonday.St. Calixtus Catacombs
4/25/1860 12:00:004/25/1860, 12:59:00Viewing of the faunThe Faun is the marble image of a young man, leaning his right arm on the trunk or stump of a tree; one hand hangs carelessly by his side; in the other he holds the fragment of a pipe, or some such sylvan instrument of music. His only garment—a lion's skin, with the claws upon his shoulder—falls halfway down his back, leaving the limbs and entire front of the figure nude. The form, thus displayed, is marvellously graceful, but has a fuller and more rounded outline, more flesh, and less of heroic muscle, than the old sculptors were wont to assign to their types of masculine beauty. The character of the face corresponds with the figure; it is most agreeable in outline and feature, but rounded and somewhat voluptuously developed, especially about the throat and chin; the nose is almost straight, but very slightly curves inward, thereby acquiring an indescribable charm of geniality and humor. The mouth, with its full yet delicate lips, seems so nearly to smile outright, that it calls forth a responsive smile. The whole statue—unlike anything else that ever was wrought in that severe material of marble—conveys the idea of an amiable and sensual creature, easy, mirthful, apt for jollity, yet not incapable of being touched by pathos. It is impossible to gaze long at this stone image without conceiving a kindly sentiment towards it, as if its substance were warm to the touch, and imbued with actual life. It comes very close to some of our pleasantest sympathies.The Faun of Praxiteles Faun
4/25/1860 13:00:004/25/1860 13:15:00The spectre lurks lurkilyThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>They had now emerged from the gateway of the palace; and partly concealed by one of the pillars of the portico stood a figure such as may often be encountered in the streets and piazzas of Rome, and nowhere else. He looked as if he might just have stepped out of a picture, and, in truth, was likely enough to find his way into a dozen pictures; being no other than one of those living models, dark, bushy bearded, wild of aspect and attire, whom artists convert into saints or assassins, according as their pictorial purposes demand.<br/>
"Miriam," whispered Hilda, a little startled, "it is your model!"</blockquote>
Project Gutenberg Faun
4/25/1860 15:00:004/25/1860 15:59:00Miriam’s StudioThe courtyard and staircase of a palace built three hundred years ago are a peculiar feature of modern Rome, and interest the stranger more than many things of which he has heard loftier descriptions. You pass through the grand breadth and height of a squalid entrance-way, and perhaps see a range of dusky pillars, forming a sort of cloister round the court, and in the intervals, from pillar to pillar, are strewn fragments of antique statues, headless and legless torsos, and busts that have invariably lost what it might be well if living men could lay aside in that unfragrant atmosphere—the nose. Bas-reliefs, the spoil of some far older palace, are set in the surrounding walls, every stone of which has been ravished from the Coliseum, or any other imperial ruin which earlier barbarism had not already levelled with the earth.Miriam's Studio
4/25/1860 16:00:004/25/1860 16:15:00Hilda offers to deliver the packet"Now, four months hence, unless you hear more from me, I would have you deliver the packet according to its address."
Hilda read the direction; it was to Signore Luca Barboni, at the Plazzo Cenci, third piano.
"I will deliver it with my own hand," said she, "precisely four months from to-day, unless you bid me to the contrary. Perhaps I shall meet the ghost of Beatrice in that grim old palace of her forefathers."
&mdash;Nathaniel Hawthorne<blockquote>" The packet is of some slight importance; and yet, it may be, I shall not ask you for it again. In a week or two, you know, I am leaving Rome. You, setting at defiance the malarial fever, mean to stay here and haunt your beloved galleries through the summer. "</blockquote>Project Gutenberg
4/26/1860 10:00:004/26/1860 14:59:00Feast-Day (morningDonatello, while it was still a doubtful question betwixt afternoon and morning, set forth to keep the appointment which Miriam had carelessly tendered him in the grounds of the Villa Borghese. The entrance to these grounds (as all my readers know, for everybody nowadays has been in Rome) is just outside of the Porta del Popolo. Passing beneath that not very impressive specimen of Michael Angelo's architecture, a minute's walk will transport the visitor from the small, uneasy, lava stones of the Roman pavement into broad, gravelled carriage-drives, whence a little farther stroll brings him to the soft turf of a beautiful seclusion. A seclusion, but seldom a solitude; for priest, noble, and populace, stranger and native, all who breathe Roman air, find free admission, and come hither to taste the languid enjoyment of the day-dream that they call life.Borghese Gardens of Congress
4/25/1860 15:00:004/25/1860 17:59:00Feast-Day (afternoon)The Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"He descended among the foliage, waiting for her to come close to the trunk, and then suddenly dropped from an impending bough, and alighted at her side. It was as if the swaying of the branches had let a ray of sunlight through. The same ray likewise glimmered among the gloomy meditations that encompassed Miriam, and lit up the pale, dark beauty of her face, while it responded pleasantly to Donatello's glance.<br/>
"I hardly know," said she, smiling, "whether you have sprouted out of the earth, or fallen from the clouds. In either case you are welcome."<br/>
And they walked onward together.</blockquote>
Project Gutenberg
4/25/1860 18:00:004/25/1860 19:00:00Feast-Day (late afternoon)"Yet," rejoined he, with a glance of dark meaning, "men have said that this white hand had once a crimson stain." He took her hand as he spoke, and held it in his own, in spite of the repugnance, amounting to nothing short of agony, with which she struggled to regain it. Holding it up to the fading light (for there was already dimness among the trees), he appeared to examine it closely, as if to discover the imaginary blood-stain with which he taunted her. He smiled as he let it go. "It looks very white," said he; "but I have known hands as white, which all the water in the ocean would not have washed clean."
"It had no stain," retorted Miriam bitterly, "until you grasped it in your own."
Looking toward the Pincian Way Special Collections
4/25/1860 15:00:004/25/1860 19:00:00Stroll on the Pincian WayHilda, after giving the last touches to the picture of Beatrice Cenci, had flown down from her dove-cote, late in the afternoon, and gone to the Pincian Hill, in the hope of hearing a strain or two of exhilarating music. There, as it happened, she met the sculptor, for, to say the truth, Kenyon had well noted the fair artist's ordinary way of life, and was accustomed to shape his own movements so as to bring him often within her sphere.Pincian Obelisk
4/27/1860 14:00:004/27/1860 18:00:00Miriam visit's Kenyon's StudioKenyon's studio was in a cross-street, or, rather, an ugly and dirty little lane, between the Corso and the Via della Ripetta; and though chill, narrow, gloomy, and bordered with tall and shabby structures, the lane was not a whit more disagreeable than nine tenths of the Roman streets. Over the door of one of the houses was a marble tablet, bearing an inscription, to the purport that the sculpture-rooms within had formerly been occupied by the illustrious artist Canova. In these precincts (which Canova's genius was not quite of a character to render sacred, though it certainly made them interesting) the young American sculptor had now established himself.Kenyon's Studio (approx) Maps
4/28/1860 0:00:004/28/1860 0:00:00The quartet drinks from the Trevi fountainSo they set forth, and had gone but a little way, when the narrow street emerged into a piazza, on one side of which, glistening and dimpling in the moonlight, was the most famous fountain in Rome. Its murmur—not to say its uproar—had been in the ears of the company, ever since they came into the open air. It was the Fountain of Trevi, which draws its precious water from a source far beyond the walls, whence it flows hitherward through old subterranean aqueducts, and sparkles forth as pure as the virgin who first led Agrippa to its well-spring, by her father's door.Trevi Fountain of Congress
4/28/1860 0:30:004/28/1860 0:45:00Miriam announces she will leave rome in a few days"I am leaving Rome in a few days; and the tradition goes, that a parting draught at the Fountain of Trevi insures the traveller's return, whatever obstacles and improbabilities may seem to beset him. Will you drink, Donatello?"
"Signorina, what you drink, I drink," said the youth.
Trevi Fountain
4/28/1860 3:00:004/28/1860 3:15:00The spectre is killedNot so, however; not entirely alone! In the basement wall of the palace, shaded from the moon, there was a deep, empty niche, that had probably once contained a statue; not empty, either; for a figure now came forth from it and approached Miriam. She must have had cause to dread some unspeakable evil from this strange persecutor, and to know that this was the very crisis of her calamity; for as he drew near, such a cold, sick despair crept over her that it impeded her breath, and benumbed her natural promptitude of thought. Miriam seemed dreamily to remember falling on her knees; but, in her whole recollection of that wild moment, she beheld herself as in a dim show, and could not well distinguish what was done and suffered; no, not even whether she were really an actor and sufferer in the scene.The Tarpeian Rock Spectre
4/28/1860 9:00:004/28/1860 10:00:00Hilda remains at her studioThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>When Miriam and Donatello drew near the church, they found only Kenyon awaiting them on the steps. Hilda had likewise promised to be of the party, but had not yet appeared. Meeting the sculptor, Miriam put a force upon herself and succeeded in creating an artificial flow of spirits, which, to any but the nicest observation, was quite as effective as a natural one. She spoke sympathizingly to the sculptor on the subject of Hilda's absence, and somewhat annoyed him by alluding in Donatello's hearing to an attachment which had never been openly avowed, though perhaps plainly enough betrayed.</blockquote>Project Gutenberg
4/28/1860 9:00:004/28/1860 10:00:00The burial chant, they see the bodyThe Church of the Capuchins (where, as the reader may remember, some of our acquaintances had made an engagement to meet) stands a little aside from the Piazza Barberini. Thither, at the hour agreed upon, on the morning after the scenes last described, Miriam and Donatello directed their steps. At no time are people so sedulously careful to keep their trifling appointments, attend to their ordinary occupations, and thus put a commonplace aspect on life, as when conscious of some secret that if suspected would make them look monstrous in the general eye.Santa Maria Della Concezione
4/28/1860 10:01:004/28/1860 11:00:00Medici Gardens"Donatello," said Miriam anxiously, as they came through the Piazza Barberini, "what can I do for you, my beloved friend? You are shaking as with the cold fit of the Roman fever." "Yes," said Donatello; "my heart shivers." As soon as she could collect her thoughts, Miriam led the young man to the gardens of the Villa Medici, hoping that the quiet shade and sunshine of that delightful retreat would a little revive his spirits. The grounds are there laid out in the old fashion of straight paths, with borders of box, which form hedges of great height and density, and are shorn and trimmed to the evenness of a wall of stone, at the top and sides. There are green alleys, with long vistas overshadowed by ilex-trees; and at each intersection of the paths, the visitor finds seats of lichen-covered stone to repose upon, and marble statues that look forlornly at him, regretful of their lost noses. In the more open portions of the garden, before the sculptured front of the villa, you see fountains and flower-beds, and in their season a profusion of roses, from which the genial sun of Italy distils a fragrance, to be scattered abroad by the no less genial breeze.Medici Gardens Special Collections
4/28/1860 13:00:004/28/1860 15:30:00Hilda’s studioIt was long past noon, when a step came up the staircase. It had passed beyond the limits where there was communication with the lower regions of the palace, and was mounting the successive flights which led only to Hilda's precincts. Faint as the tread was, she heard and recognized it. It startled her into sudden life. Her first impulse was to spring to the door of the studio, and fasten it with lock and bolt. But a second thought made her feel that this would be an unworthy cowardice, on her own part, and also that Miriam—only yesterday her closest friend had a right to be told, face to face, that thenceforth they must be forever strangers.Hilda's Studio Maps
4/30/1860 8:00:004/30/1860 8:00:00Miriam leaves RomeThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"Miriam, with a long regard from the threshold, bade farewell to this doves' nest, this one little nook of pure thoughts and innocent enthusiasms, into which she had brought such trouble. Every crime destroys more Edens than our own!"</blockquote>Project Gutenberg Faun
4/30/1860 12:00:004/30/1860 12:00:00Kenyon finds Miriam gone"I scarcely think that I have any later intelligence than yourself," answered Kenyon; "Miriam left Rome at about the time of your own departure. Within a day or two after our last meeting at the Church of the Capuchins, I called at her studio and found it vacant. Whither she has gone, I cannot tell."Miriam's Studio
5/5/1860 14:00:005/5/1860 14:00:00Donatello returns to TuscanyThe Marble FaunTuscany of Congress
4/30/1860 0:00:007/20/1860 0:00:00Hilda in RomeThe Marble FaunRome of Congress
4/30/1860 0:00:007/20/1860 0:00:00Hilda makes visits throughout RomeThe Marble FaunSan Giovanni Laterano University
7/1/1860 0:00:007/1/1860 0:00:00Kenyon comes to TuscanyThe Marble FaunTuscany of Congress
7/3/1860 15:00:007/3/1860 16:00:00The nymph and the knightThe Marble FaunA nymph by Peterhof
7/4/1860 12:00:007/4/1860 12:00:00Kenyon sees the tower of monte beniThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"It seemed as if all Italy lay under his eyes in that one picture. For there was the broad, sunny smile of God, which we fancy to be spread over that favored land more abundantly than on other regions, and beneath it glowed a most rich and varied fertility."<blockquote>Project Gutenberg
7/1/1860 0:00:007/1/1860 0:00:00Miriam comes to TuscanyThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"While this thought was passing through his mind, the pillared door, at the upper end of the saloon, was partly opened, and Miriam appeared. She was very pale, and dressed in deep mourning."</blockquote>Project Gutenberg
7/15/1860 0:00:007/15/1860 0:00:00kenyon & donatello go for a rideThe Marble FaunTuscany of Congress
7/17/1860 0:00:007/17/1860 0:00:00Market day in Perugia"You know the bronze statue of Pope Julius in the great square of Perugia? I remember standing in the shadow of that statue one sunny noontime, and being impressed by its paternal aspect, and fancying that a blessing fell upon me from its outstretched hand. Ever since, I have had a superstition, you will call it foolish, but sad and ill-fated persons always dream such things,—that, if I waited long enough in that same spot, some good event would come to pass. Well, my friend, precisely a fortnight after you begin your tour,—unless we sooner meet,—bring Donatello, at noon, to the base of the statue. You will find me there!"Perugia
7/20/1860 0:00:007/20/1860 0:00:00Kenyon returns to RomeThe Marble FaunPiazza del Popolo de Toulouse
7/20/1860 9:00:007/20/1860 9:30:00The World’s Cathedral/ConfessionalThe Marble FaunSt. Peter's Basilica archives
7/20/1860 12:00:007/20/1860 12:00:00Hilda & Kenyon are reunitedThe Marble FaunSt. Peter's Basilica British Library
9/1/1860 12:00:009/1/1860 12:00:00Reminiscences of MiriamThe Marble FaunThe Campidoglio of Congress
9/15/1860 0:00:009/15/1860 0:00:00Miriam and Donatello return to RomeThe Marble FaunPiazza di Spagna of Congress
9/25/1860 12:00:009/25/1860 13:00:00Hilda delivers the packetThe Marble FaunThe Tiber, looking toward St. Peter's Commons
9/25/1860 18:00:009/25/1860 18:00:00The Extinction of a LampThe Marble FaunTheatre of Marcellus Galleries
9/25/1860 20:00:009/25/1860 20:00:00Cafe Nuovo, a flask of Montefiascone, and a trip to the theaterThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"[The Montefiascone] would have been just the wine to cure a lover's melancholy, by illuminating his heart with tender light and warmth, and suggestions of undefined hopes, too ethereal for his morbid humor to examine and reject them."</blockquote>Project Gutenberg
9/25/1860 21:00:009/25/1860 21:00:00the deserted shrineThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"There was no obscurity around the tower; no infirmity of his own vision. The flame had exhausted its supply of oil, and become extinct. But where was Hilda?</blockquote>Project Gutenberg
9/25/1860 21:00:002/1/1861 0:00:00Hilda “disappears”The Marble FaunRome de Toulouse
9/25/1860 21:00:002/1/1861 0:00:00Kenyon looks for Hilda for monthsThe Marble FaunShrine of the Vestal Virgins de Toulouse
2/20/1861 8:00:002/20/1861 8:00:00Miriam & Donatello discover the fallen goddessThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>""[The statue] is Donatello's prize. We were sitting here together, planning an interview with you, when his keen eyes detected the fallen goddess, almost entirely buried under that heap of earth, which the clumsy excavators showered down upon her, I suppose. We congratulated ourselves, chiefly for your sake. The eyes of us three are the only ones to which she has yet revealed herself. Does it not frighten you a little, like the apparition of a lovely woman that livid of old, and has long lain in the grave?""</blockquote>Project Gutenberg
2/22/1861 12:00:002/22/1861 12:59:00A Walk on the CampagnaThe Marble FaunThe Appian Way University Library
2/22/1861 13:00:002/22/1861 15:00:00Peasant and ContadinaThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>". . . a young peasant. . . hand in hand with him, a village girl, in one of those brilliant costumes largely kindled up with scarlet, and decorated with gold embroidery, in which the contadinas array themselves on feast-days. But Kenyon was not deceived; he had recognized the voices of his friends, indeed, even before their disguised figures came between him and the sunlight. Donatello was the peasant; the contadina, with the airy smile, half mirthful, though it shone out of melancholy eyes,—was Miriam."</blockquote>Project Gutenberg
2/24/1861 14:00:002/24/1861 14:30:00Kenyon bids farewell to Miriam and DonatelloThe Marble FaunPiazza Colonna
2/24/1861 18:00:002/24/1861 18:15:00Kenyon sees his dominoThe Marble FaunPiazza Colonna
2/26/1861 12:00:002/26/1861 13:59:00Hilda & Kenyon visit the tomb of RaphaelThe Marble FaunRaphael's Tomb
2/26/1861 14:00:002/26/1861 16:00:00The PantheonThe Marble Faun&mdash;Nathaniel Hawthorne of Congress
2/28/1861 0:00:002/28/1861 0:00:00Conclusions: Kenyon & Hilda marryThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"So Kenyon won the gentle Hilda's shy affection, and her consent to be his bride. Another hand must henceforth trim the lamp before the Virgin's shrine; for Hilda was coming down from her old tower, to be herself enshrined and worshipped as a household saint, in the light of her husband's fireside. And, now that life had so much human promise in it, they resolved to go back to their own land; because the years, after all, have a kind of emptiness, when we spend too many of them on a foreign shore."</blockquote>Project Gutenberg
2/28/1861 0:00:002/28/1861 0:00:00Conclusions: Miriam goes on the runThe Marble Faun&mdash;Nathaniel Hawthorne<blockquote>"In the meantime, the municipal authorities had become aware of the murder of the Capuchin; and from many preceding circumstances, such as his persecution of Miriam, they must have seen an obvious connection between herself and that tragical event. Furthermore, there is reason to believe that Miriam was suspected of connection with some plot, or political intrigue, of which there may have been tokens in the packet."</blockquote>Project Gutenberg Spectre
2/28/1861 0:00:002/28/1861 0:00:00Conclusions: Donatello in prisonThe Marble FaunCastel Sant'Angelo of Congress