At the Barberini Palace, the favourite subject of copy is what is termed the head of Beatrice Cenci, by Guido Reni, although doubt has been cast upon the statement that it is the portrait of her who was executed upon being, rightly or wrongly, condemned as one of the murderers of her father. Whoever it may represent, the eyes in this lovely pale face, with a quiet, tender, inexpressible sorrow, fix themselves on the spectator; but it is a melancholy and suggestively sad picture, to which the white headgear very much adds. Why people should desire to have copies of it, it is difficult to say. Its attraction lies in its inimitable painting, which none of the copies reproduce. Indeed, some of them are simply hideous or grotesque. Yet copies, more or less bad, are seen everywhere; and not merely is the head copied on canvas, but it is transferred to china, to wood, and other material on which reproduction is necessarily coarse; as if the subject in itself were attractive. * * * * * Besides the palaces, there are regular galleries, such as the Academia di San Luca, a collection of the old masters, although not very extensive. Visitors also can obtain admittance to the studios of artists and sculptors, who are always glad to see them. We did not do much, however, in this way. We called on Mr. Glennie, an English artist settled in Rome, to whom we had an introduction, and had the pleasure of seeing several of his pictures, principally in water–colour. Mr. Lawrence MacDonald, the venerable–looking old Scotchman, since deceased, kindly with his son showed us over their studio, in which were many fine pieces of sculpture; and Signor Rosetti was also good enough to let us see his collection, which contained a large number of finely conceived and executed sculptures in white marble, at prices much below what is expected at home for similar works. A small fee (1 franc) is given at leaving to the workman who attends or opens the door. * * * * *