close beside it, the pale, tearful face of Beatrice Cenci, so long
attributed to Guido Reni, but whose authorship is now doubtful; to the
doleful old church Santa Maria dei Capuccini, to see _St. Michael and
the Dragon_ by Guido Reni, in which they were especially interested,
because Hawthorne made it a rendezvous of the four friends in his
"Marble Faun," where so diverse judgments of the picture were
pronounced, each having its foundation in the heart and experience of
the speaker. They had been reading this book in the same way in which
they had read "Romola" in Florence, and each girl was now the happy
possessor of a much-prized copy, interleaved by herself with photographs
of the Roman scenes and works of art mentioned in the book.

They went to the garden-house of the Rospigliosi Palace to see on its
ceiling Guido Reni's _Aurora_, one of the finest decorative pictures
ever painted. And to the Accademia di San Luca to find the drawing by
Canevari after Van Dyck's portrait of the infant son of Charles I. in
the Turin Gallery, which is so often reproduced under the name of the
_Stuart Baby_. Not many pictures, great or small, escaped their eager
young eyes. They grew familiar with the works of Domenichino, Guercino,
Garofalo, Carlo Dolci, Sassoferrato, etc., and the days of their stay in
Rome rapidly passed by.

Mrs. Douglas was very desirous to take them for a few days to Naples, or
rather to the environments of Naples. To herself it would be a
pilgrimage of affection; and in those drives, loveliest in the world,
she would recall many precious memories of the past.

"I hesitated to speak of doing this before," said she, when she
suggested it to her brother, "because I have tried to make the whole
trip comparatively inexpensive, remembering the shortness of the dear