es here, as the tourist of to-day will find she still
has, at whose shrines pilgrims from afar and from near worshiped, and
grew better and stronger for their ministrations. Crawford, then
at the acme of his fame, had his constantly-thronged studio in the
immediate vicinity, while those at No. 51 embraced, among others, that
of Tenerani, the famous Italian sculptor, whose work is always in such
fine dramatic taste, although he never sacrifices his love and
deep feeling of reverence for Nature, combining that with the most
delightful charms of Greek art. Among this artist's most noted works
will be remembered his "Descent from the Cross," which tourists
visiting the Torlonia chapel in the Lateran never gaze upon without
a thrill. The house was owned and also occupied by Bienaime, a French
sculptor who afterward became famous.

In the immediate vicinity stands the famous Palazzo Barberini, begun
by Urban VIII. (Maffeo Barberini), who sat in the pontifical chair
from 1623 to 1644, and finished by Bernini in 1640. This palace
contains many paintings of historical interest by Raphael, Titian,
Guido, Claude and others. The one by the first-mentioned artist is a
Fornarina, and bears the autograph of the painter on the armlet. But
the picture that attracts the most attention here is one of world-wide
reputation, copies, engravings and photographs of which are everywhere
to be met with--Guido's Beatrice Cenci. A great divergence of opinion,
as is well known, exists in regard to the portrait. It bears the
pillar and crown of the Colonnas, to which family it probably
belonged. According to the family tradition, it was taken on the night
before her execution. Other accounts state that it was painted by
Guido from memory after he had seen her on the scaffold. Judging from
the position in which the poor girl's head is represented, one would
more readily give credence to the latter story, and think the artist's
memory had preserved her look and position as she turned her head for
a last look at the brutal, bellowing crowd behind.

In the piazza of the palace is a very beautiful fountain, utilized
by one of the oldest Roman statues, representing a faun blowing water
from a conch-shell.

But we must return to the Via San Basilio, and the two wayfarers we
left standing in front of No. 51. After gazing a moment at the number
to assure themselves that they were right, they entered, and knocked
at the first door, which was opened by the