The young Count—­as perhaps we had better designate him in his ancestral tower—­vanished from the battlements; and Kenyon saw his figure appear successively at each of the windows, as he descended.  On every reappearance, he turned his face towards the sculptor and gave a nod and smile; for a kindly impulse prompted him thus to assure his visitor of a welcome, after keeping him so long at an inhospitable threshold.

Kenyon, however (naturally and professionally expert at reading the expression of the human countenance), had a vague sense that this was not the young friend whom he had known so familiarly in Rome; not the sylvan and untutored youth, whom Miriam, Hilda, and himself had liked, laughed at, and sported with; not the Donatello whose identity they had so playfully mixed up with that of the Faun of Praxiteles.

Finally, when his host had emerged from a side portal of the mansion, and approached the gateway, the traveller still felt that there was something lost, or something gained (he hardly knew which), that set the Donatello of to-day irreconcilably at odds with him of yesterday.  His very gait showed it, in a certain gravity, a weight and measure of step, that had nothing in common with the irregular buoyancy which used to distinguish him.  His face was paler and thinner, and the lips less full and less apart.

“I have looked for you a long while,” said Donatello; and, though his voice sounded differently, and cut out its words more sharply than had been its wont, still there was a smile shining on his face, that, for the moment, quite brought back the Faun.  “I shall be more cheerful, perhaps, now that you have come.  It is very solitary here.”

“I have come slowly along, often lingering, often turning aside,” replied Kenyon; “for I found a great deal to interest me in the mediaeval sculpture hidden away in the churches hereabouts.  An artist, whether painter or sculptor, may be pardoned for loitering through such a region.  But what a fine old tower!  Its tall front is like a page of black letter, taken from the history of the Italian republics.”

“I know little or nothing of its history,” said the Count, glancing upward at the battlements, where he had just been standing.  “But I thank my forefathers for building it so high.  I like the windy summit better than the world below, and spend much of my time there, nowadays.”

“It is a pity you are not a star-gazer,” observed Kenyon, also looking up.  “It is higher than Galileo’s tower, which I saw, a week or two ago, outside of the walls of Florence.”

“A star-gazer?  I am one,” replied Donatello.  “I sleep in the tower, and often watch very late on the battlements.  There is a dismal old staircase to climb, however, before reaching the top, and a succession of dismal chambers, from story to story.  Some of them were prison chambers in times past, as old Tomaso will tell you.”

The repugnance intimated in his tone at the idea of this gloomy staircase and these ghostly, dimly lighted rooms, reminded Kenyon of the original Donatello, much more than his present custom of midnight vigils on the battlements.