As Donatello did not take advantage of this opening which his friend had kindly afforded him to pour out his hidden troubles, the latter again threw aside the subject, and returned to the enjoyment of the scene before him. The thunder-storm, which he had beheld striding across the valley, had passed to the left of Monte Beni, and was continuing its march towards the hills that formed the boundary on the eastward. Above the whole valley, indeed, the sky was heavy with tumbling vapors, interspersed with which were tracts of blue, vividly brightened by the sun; but, in the east, where the tempest was yet trailing its ragged skirts, lay a dusky region of cloud and sullen mist, in which some of the hills appeared of a dark purple hue. Others became so indistinct, that the spectator could not tell rocky height from impalpable cloud. Far into this misty cloud region, however,—within the domain of chaos, as it were,—hilltops were seen brightening in the sunshine; they looked like fragments of the world, broken adrift and based on nothingness, or like portions of a sphere destined to exist, but not yet finally compacted. XXIX. On The Battlements친구가 친절하게 숨겨둔 고민을 털어놓게 해준 이 오프닝을 이용하지 않자, 도나텔로는 다시 화제를 버리고 그 앞에 펼쳐진 광경의 즐거움으로 돌아갔습니다. 그가 계곡을 가로질러 활보하고 있던 뇌우는 몬테베니의 왼쪽으로 지나갔고, 동쪽 경계를 이루는 언덕을 향해 계속 행진하고 있었습니다. 전체 계곡 위에, 정말로 하늘은 짙은 수증기로 무거웠고, 그 수증기들은 태양에 의해 생생하게 밝아졌습니다; 그러나, 폭풍우가 아직 그것의 누더기 치마를 따라가는 동쪽에는, 어두운 구름과 시무룩한 안개로, 언덕의 일부가 어두운 보라색으로 나타났습니다. 다른 것들은 너무 불분명해져서 구경꾼들은 바위 높이와 구름을 구분할 수 없었습니다. 그러나 이 안개 낀 구름 지역 멀리 - 말하자면, 혼돈의 영역 안에서 - 언덕 꼭대기들은 햇빛에 밝아지는 것을 볼 수 있었습니다; 그것들은 부서진 세상의 조각처럼 보였고, 표류되어 아무것도 없는 것으로 보였고, 또는 아직 존재하지만 아직 압축되지 않은 구의 일부처럼 보였습니다. XXIX. 전투 중(XXIX. On The Battlements). And, accordingly, Donatello's bust (like that rude, rough mass of the head of Brutus, by Michael Angelo, at Florence) has ever since remained in an unfinished state. Most spectators mistake it for an unsuccessful attempt towards copying the features of the Faun of Praxiteles. One observer in a thousand is conscious of something more, and lingers long over this mysterious face, departing from it reluctantly, and with many a glance thrown backward. What perplexes him is the riddle that he sees propounded there; the riddle of the soul's growth, taking its first impulse amid remorse and pain, and struggling through the incrustations of the senses. It was the contemplation of this imperfect portrait of Donatello that originally interested us in his history, and impelled us to elicit from Kenyon what he knew of his friend's adventures. XLI. Snowdrops And Maidenly Delights그리고 따라서, 도나텔로의 흉상은 그 이후로 완성되지 않은 상태로 남아있습니다. 대부분의 관람객들은 이것을 프락시텔레스 폰의 특징을 모방하려는 시도가 실패한 것으로 착각합니다. 천 명 중 한 명은 더 많은 것을 의식하고, 이 신비로운 얼굴 위로 오래 머무르며, 마지못해 떠나며, 뒤로 내던져집니다. 그를 당혹스럽게 하는 것은 거기서 그가 보는 수수께끼입니다; 회한과 고통 속에서 첫 충동을 느끼고 감각의 불신을 헤쳐 나가는 영혼의 성장에 대한 수수께끼입니다. 이 불완전한 도나텔로의 초상화의 사색에 의해 우리는 그의 역사에 관심을 갖게 되었고, 그가 그의 친구의 모험에 대해 알고 있는 것을 케니언으로부터 이끌어낼 수 있었습니다. XLI. 눈방울과 처녀다운 즐거움(XLI. Snowdrops And Maidenly Delights).The gentle reader, we trust, would not thank us for one of those minute elucidations, which are so tedious, and, after all, so unsatisfactory, in clearing up the romantic mysteries of a story. He is too wise to insist upon looking closely at the wrong side of the tapestry, after the right one has been sufficiently displayed to him, woven with the best of the artist's skill, and cunningly arranged with a view to the harmonious exhibition of its colors. If any brilliant, or beautiful, or even tolerable effect have been produced, this pattern of kindly readers will accept it at its worth, without tearing its web apart, with the idle purpose of discovering how the threads have been knit together; for the sagacity by which he is distinguished ...