The next step, it was expected, would have been her imprisonment. But at this stage of the business an unexpected and terrible ally stepped in to save—not the miserable woman herself—but at least her infamously gotten wealth to the Pamfili family. This ally was the pestilence, which invaded Italy, and especially Rome, with such violence, that it threw other matters into abeyance, by concentrating on itself all the care and attention of Alexander and his government. But the pestilence, which thus saved her moneybags, did not spare her to the enjoyment of them; for on its appearance in Orvieto, Olympia was one of the first victims. No further steps were taken by the government in the matter; and Camillo Pamfili, her son, inherited quietly the almost incredible sums she had amassed. It was said that, besides the vast estates which she had acquired, and an immense amount of precious stones, and gold uncoined, more than two millions of crowns in money were found in her coffers. [Sidenote: POPESS THE SECOND—AND LAST.] Such was the story of the second female Pope, who has grasped St. Peter's keys. And if a similar scandal has not reproduced itself in an equal degree of intensity, it is one to which the peculiar constitution of the Papal government and society, must be ever especially liable. ELISABETTA SIRANI. (1638–1665.) CHAPTER I. HER LIFE. In the vast and magnificent church of the Dominicans at Bologna, in the handsome chapel dedicated to Our Lady of the Rosary, there is a modest sepulchre belonging to the ancient Guidotti family, which attracts as large a share of the art–loving pilgrim's notice, as even the world–famous shrine of the founder of the order with its statues and bas–reliefs by Niccolò di Pisa, Afonso Lombardo, and Michael Angelo. For there beneath the same stone were laid the bodies of Guido Reni and Elisabetta Sirani; he full of years and honours, at the ripe age of sixty–seven; she cut off untimely in the morning of her working day at twenty–six. She was no "favourite pupil" of his, as has been written,[227] for Guido died, when Sirani was four years old; but her works are interesting to the art–student, as far more accurate embodiments of the traditions of his school, than the pictures of most of those who were his immediate pupils; and her short career is especially worthy of the notice of such as are interested in observing female capabilities for winning a right to a place on the roll of the world's worthies. [Sidenote: HER VOCATION.]