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On provocation she laughed with spontaneity and brevity, consistent with her fine sense of humor and lifelong characteristic of reserve. Irmã Dores had already seen the statue across the room. I supposed that this was due to her reverent attentiveness to anyone speaking and was not a sign of disapproval.Very little light was coming into the room from the torrents outside.As she later did at such requests, she nodded humbly as if embarrassed and faintly said, “Yes.” Her expression was not easily identified.Her eyes were most attentive and always fixed upon the person who was speaking.Now, it is impossible to express light in sculpture otherwise than by reflecting light from simple surfaces.That is why I made the garments so smooth.” “But the light was in waves and gave the impression of a garment with folds” (literally an undulated garment), she said.Without interrupting the conversation, she picked it up, folded it neatly, and put it on the box.
My hopes were sustained by remembering the many comments of approval that the statue had received from my family and friends. I held my work at the most favorable height for her to study it. That was the first sentence of Portuguese I learned and one I shall never forget: “It’s not the right position.” “The right hand should be raised and the left lower down,” she continued.
Irmã Dores seldom referred to the Blessed Virgin as with an inflection of such reverence that it became quite restricted, as though, used in that manner, it could apply to no one but our Lady.
Further points of information about the dress of Our Lady of Fatima were brought out in Irmã Dores’s answers to a series of questions: there were only two garments visible — a simple tunic and a long veil, or mantle; the tunic had no collar and no cuffs; there was no cincture or sash around the waist, although the tunic was drawn in at the waist.
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