The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1921-01-30

and the demise Of Francesca Genet
| was the work of robbers. No one
seemed to think that "the taking off
Of father" was an act of merit; and
so, whether guilty or innocent, these
three were condemned to death and
were executed.
Even in the callous hearted Rome
of the 10th century, society was
stirred to it's depths by the cruel ex-
tremity of this beautiful young girl.
1t was just the kind of story to rouse
the sensitive imagination of Guido
REM, who happened to be in Rome at
the time of the tragedy. He used his
political pull with the vatican to get
permission to interview-that's what
we'd can it in our day-this girl short
ly before her execution.
So they took him into her cell just
after the girl had again been given
the third degree! This time the in
qusiitors had pulled out her back hair
by the roots and some plying soul had
wrapped a napkin round her poor
head. When Guido saw that tear upon
her cheek he was convinced of her
innocence. It is reported that he cried
Your judges may kill you; but l will
make unknown generations forever
declare your innocence; and the name
of Beatrice Cenci shall be immortal"
Now, that is the story of this pic
turel Remembering it one cannot look
at the painting without a stab at the
heart. You see the remembrance of
all the agonizing torture in the sweet
martyrs eyes One almost breads lest
that protecting napkin should fall, and
one see for himself the desecrated
golden head.
The above is the romantic story that
I treasured for years. I went to the
Barberini palace in Rome with that
happy stirring of the heart that the
coming qualification of a dream begets
I wondered idly why my worthJ
Cooks guide book put Interrogation
marks by every blessed one of the
Cenci portraits that decorate the third
room in the Barbarini Art Gallery.
Then I stood before the original por-
trait of my Beatrice. It was more
beautiful, more heart-rendering, more
tragic than l had dreamed!
L turned impulsively my hand rest
ed on the phlegn1atic sleeve of the
professors overcoat. Poor, poor Be
atrice Cenci," | said-right then and
there 1 learned my lesson. Never
again will 7 take an authority on his
torical data with me when I make a
pilgrimage For the professor said:
Surely you don't believe that silly
story? This is no more a picture Of
that handsome little murderess than it
is my picture It is just fancy head
that Guido Benz did. It's very good
about the best he was capable of. He
was not a truly great painter"
I gasped; and while I caught my
breath to protest, he went on: Guido
did not even reproduce the likeness of
his actual model. He never painted a
portrait: he supplied the beauty and
EXPRESSION from his own imagination.
That is why there is such a sameness
in all his heads. His Magdalenes and
Madonnas look very much alike
Nevertheless" I protested, The
might have painted a picture of Beat
rice that was different-and-." ]
would have continued: but something
in the cynic's smile siIenced me. In
the pause he stated dogmatically:
Guido REM didn't even visit Rome
during the period of the Cenci trial.
He was in Bologna
What is the use of having a fabu-
lous lot of information If it is going
to take the JOY out of life? I've always
hated that practical cid Roman pro-
fessor: and I'm sorry that I've told
you the truth about this portrait of
Beatrice. Between ourselves, I never
proved his horrid old statements; and
I don't believe one word of what he
saidi Her hair was torn out by the
roots She was innocent; and If it had
happened in the city of New York no
prosecuting attorney could have got
ten a jury together which would have
convicted hert She had too sweet a |
face; and every one knows that pretty |
women don't do such things.