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 occupant of the apartment.
He was an artist and a man of very marked characteristics. Seven
years later Hawthorne wrote as follows of him: "He is a plain, homely
Yankee, quite unpolished by his many years' residence in Italy.
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