She went out and disappeared, as yesterday, at the turn in the portico, as if she had there sunk into the ground. Everything lay empty and silent again, but, from some distance, there once rang, short and clear, a sound like the merry note of a bird flying over the devastated city. This was stifled immediately, however. Norbert, who had remained behind, looked down at the step where she had just been sitting; there something white shimmered; it seemed to be the papyrus leaf which Gradiva had held on her knees yesterday and had forgotten to take with her to-day. Yet, as he shyly reached for it, he found it to be a little sketch-book with pencil drawings of the different ruins in several houses of Pompeii. The page next to the last showed a drawing of the griffin-table in the central court of the Casa di Meleagro, and on the last was the beginning of a reproduction of the view across the poppies of the dining-room through the row of pillars of the peristyle. That the departed girl made drawings in a sketch-book of the present mode was as amazing as had been the fact that she expressed her thoughts in German. Yet those were only insignificant prodigies beside the great one of her revivification, and apparently she used the midday hour of freedom to preserve for herself, in their present state, with unusual artistic talent, the surroundings in which she had once lived. The drawings testified to delicately cultivated powers of perception, as each of her words did to a clever intellect; and she had probably often sat by the old griffin-table, so that it was a particularly precious reminder. Mechanically Norbert also went, with the little book, along the portico, and at the place where this turned he noticed in the wall a narrow cleft wide enough to afford, to an unusually slender figure, passage into the adjoining building, and even farther to the Vicolo del Fauno at the other side of the house. Suddenly, however, the idea flashed through his mind that Zoë-Gradiva did not sink into the ground here—that was essentially unreasonable, and he could not understand how he had ever believed it—but went, on this street, back to her tomb. That must be in the Street of Tombs, and rushing forth, he hastened out into the Strada di Mercurio and as far as the gate of Hercules; but when, breathless and reeking with perspiration, he entered this, it was already too late. The broad Strada di Sepolcri stretched out empty and dazzlingly white, only at its extremity, behind the glimmering curtain of radiance, a faint shadow seemed to dissolve uncertainly before the Villa of Diomede. * * * * *