“Yes; it is a phantom!” cried Donatello, with a shudder.  “Ah, dearest signorina, what a fearful thing has beset you in those dark corridors!”

“Nonsense, Donatello,” said the sculptor.  “The man is no more a phantom than yourself.  The only marvel is, how he comes to be hiding himself in the catacomb.  Possibly our guide might solve the riddle.”

The spectre himself here settled the point of his tangibility, at all events, and physical substance, by approaching a step nearer, and laying his hand on Kenyon’s arm.

“Inquire not what I am, nor wherefore I abide in the darkness,” said he, in a hoarse, harsh voice, as if a great deal of damp were clustering in his throat.  “Henceforth, I am nothing but a shadow behind her footsteps.  She came to me when I sought her not.  She has called me forth, and must abide the consequences of my reappearance in the world.”

“Holy Virgin!  I wish the signorina joy of her prize,” said the guide, half to himself.  “And in any case, the catacomb is well rid of him.”

We need follow the scene no further.  So much is essential to the subsequent narrative, that, during the short period while astray in those tortuous passages, Miriam had encountered an unknown man, and led him forth with her, or was guided back by him, first into the torchlight, thence into the sunshine.

It was the further singularity of this affair, that the connection, thus briefly and casually formed, did not terminate with the incident that gave it birth.  As if her service to him, or his service to her, whichever it might be, had given him an indefeasible claim on Miriam’s regard and protection, the Spectre of the Catacomb never long allowed her to lose sight of him, from that day forward.  He haunted her footsteps with more than the customary persistency of Italian mendicants, when once they have recognized a benefactor.  For days together, it is true, he occasionally vanished, but always reappeared, gliding after her through the narrow streets, or climbing the hundred steps of her staircase and sitting at her threshold.

Being often admitted to her studio, he left his features, or some shadow or reminiscence of them, in many of her sketches and pictures.  The moral atmosphere of these productions was thereby so influenced, that rival painters pronounced it a case of hopeless mannerism, which would destroy all Miriam’s prospects of true excellence in art.

The story of this adventure spread abroad, and made its way beyond the usual gossip of the Forestieri, even into Italian circles, where, enhanced by a still potent spirit of superstition, it grew far more wonderful than as above recounted.  Thence, it came back among the Anglo-Saxons, and was communicated to the German artists, who so richly supplied it with romantic ornaments and excrescences, after their fashion, that it became a fantasy worthy of Tieck or Hoffmann.  For nobody has any conscience about adding to the improbabilities of a marvellous tale.