"St. Catherine of Siena kneels with St. Dominic before the throne of the Madonna; the lily at her feet. The Infant Saviour is turned towards her, and with one hand he crowns her with thorns, with the other he presents the rosary. This is the master-piece of the painter, with all his usual elegance, without his usual insipidity."--_Jameson's Monastic Orders._ Few Roman Catholic practices have excited more animadversion than the "vain repetition" of the worship of the Rosary. The Père Lacordaire (a Dominican) defended it, saying-- "Le rationaliste sourit en voyant passer de longues files de gens qui redisent une même parole. Celui qui est éclairé d'une meilleure lumière comprend que l'amour n'a qu'un mot, et qu'en le disant toujours, il ne le répète jamais." Grouped around this chapel are three beautiful tombs,--a cardinal, a bishop, and a priest of the end of the fifteenth century. That of the cardinal (which is of the well-known Roman type of the time), is inscribed "Ut moriens viveret, vixit est moriturus;" the others are incised slabs. At the other end of this aisle is a marble slab, on which St. Dominic is said to have been wont to lie prostrate in prayer. One day while he was lying thus, the Devil in his rage is said to have hurled a huge stone (a round black marble, _pietra di paragone_,) at him, which missed the saint, who left the attack entirely unnoticed. The devil was frantic with disappointment, and the stone, remaining as a relic, is preserved on a low pillar in the nave. A small gothic ciborium, richly inlaid with mosaic, remains on the left of the tribune. Opening from the left aisle is a chapel built by Elic of Tuscany--very rich in precious marbles. The frame of the panel on the left is said to be unique.