WHO does not know Turner's picture of the Golden Bough? The scene,
suffused with the golden glow of imagination in which the divine
mind of Turner steeped and transfigured even the fairest natural
landscape, is a dream-like vision of the little woodland lake of
Nemi-- "Diana's Mirror," as it was called by the ancients. No one
who has seen that calm water, lapped in a green hollow of the Alban
hills, can ever forget it. The two characteristic Italian villages
which slumber on its banks, and the equally Italian palace whose
terraced gardens descend steeply to the lake, hardly break the
stillness and even the solitariness of the scene. Diana herself
might still linger by this lonely shore, still haunt these woodlands
wild.

In antiquity this sylvan landscape was the scene of a strange and
recurring tragedy. On the northern shore of the lake, right under
the precipitous cliffs on which the modern village of Nemi is
perched, stood the sacred grove and sanctuary of Diana Nemorensis,
or Diana of the Wood. The lake and the grove were sometimes known as
the lake and grove of Aricia. But the town of Aricia (the modern La
Riccia) was situated about three miles off, at the foot of the Alban
Mount, and separated by a steep descent from the lake, which lies in
a small crater-like hollow on the mountain side. In this sacred
grove there grew a certain tree round which at any time of the day,
and probably far into the night, a grim figure might be seen to
prowl. In his hand he carried a drawn sword, and he kept peering
warily about him as if at every instant he expected to be set upon
by an enemy. He was a priest and a murderer; and the man for whom he
looked was sooner or later to murder him and hold the priesthood in
his stead. Such was the rule of the sanctuary. A candidate for the