The Marble Faun

Miriam pays a visit to Hilda in her “old and shabby palace” surmounted by a tower with a shrine to the Virgin Mary (39). The shrine contains a lamp that has been kept burning for centuries and that Hilda now tends.

Hawthorne describes Hilda’s travels to the galleries of Rome to paint and make skillful copies of the Old Masters. The narrative then returns to Miriam’s visit to Hilda from Chapter 6. Hilda shows Miriam her copy of a portrait of Beatrice Cenci, which she has reproduced from memory. Miriam praises Hilda for the accurate and profound likeness. Hilda explains that she sees Beatrice as a “fallen angel” who is profoundly sorrowful because of a sin. Miriam says that she wishes to “penetrate poor Beatrice’s mystery” (50); as she says this, Hilda notices that Miriam’s expression matches that of the portrait.

Miriam entrusts Hilda with a packet and tells her to deliver it four months later to a man named Luca Barboni at the Palazzo Cenci. As Miriam leaves, Hilda is conscious of an “unknown sorrow” in her friend.

Donatello meets Miriam in the Villa Borghese after soaking in the natural beauty there, in which he seems at home.

Donatello professes his love to Miriam. She tells him that they have nothing in common and warns him that being near her is dangerous. However, she finally decides to give herself to Donatello in love and happiness for “this one hour” (61). In the garden, Miriam and Donatello play together “like children, or creatures of immortal youth” (62). Suddenly, they hear music.

Miriam and Donatello dance to the rustic music of peasant musicians; other country people join them. Miriam then stops dancing and tells Donatello that their hour of happiness must end. As the model appears in the shadows, Miriam bids Donatello to “leave [her] to [her] doom” (67).