Rome is the museum of the fine arts, the curiosity-shop of the world. There are collected the ruins of the ancient societies, temples, columns, statues, the remains of Italian and Grecian genius, _chefs-d'ouvre_ of Praxiteles, Phidias, Raphael, Michael Angelo, and a hundred masters. Fountains, from which arise marine colossi, chiefly, alas, in ruins, meet the eye on all sides. The stranger is struck with amazement and admiration at the sight of these gigantic works of art, upon many of which are engraved the mighty battles of a wonderful by-gone age. It is not the fault of the priest if their beauty is not marred by endless mitres and superstitious signs. But they are still marvellous and beautiful, and it was among them that Julia, the beautiful daughter of Albion, was constantly to be found. She had resided for several years in this city of sublime memorials, and daily passed the greater part of her time in sketching all that to her cultivated taste appeared most worthy of imitation and study. Michael Angelo was her especially favored _maestro_, and she might frequently be seen sitting for hours before his colossal statue of Moses, rapt in the labor of depicting that brow, upon which, to her vivid imagination, sat an air of majestic greatness that appeared almost supernatural. Born and bred in free and noble England, she had separated herself voluntarily from loving and beloved friends, that she might thus wander undisturbed among the objects of her idolatry. Unexpectedly, her pursuits had been interrupted by a stronger feeling than art. She had encountered Muzio many times in the studio of the sculptor Manlio, and, poor and apparently low as he was, Julia had found under the ragged garb of a mendicant her ideal of the proud race of the Quirites. Yes, obscure though he was, Muzio was beloved by this strange English girl. He was poor, but what cared she for his poverty. And Muzio, did he know and return this generous love?