But we may see her as he saw her in the frontispiece, reproduced in Ademollo's monograph upon her.

The face is full of sensibility, but not handsome.
She lived to be a great lady, and if any one spoke of her artist days she would say, _Chi le ricercava queste memorie ?_ Next to hers, the name most entwined with Milton's Roman residence is that of Lucas Holstenius, a librarian of the Vatican.

Milton can have had little respect for a man who had changed his religion to become the dependant of Cardinal Barberini, but Holstenius's obliging reception of him extorted his gratitude, expressed in an eloquent letter.

Of the venerable ruins and masterpieces of ancient and modern art which have inspired so many immortal compositions, Milton tells us nothing, and but one allusion to them is discoverable in his writings.

The study of antiquity, as distinguished from that of classical authors, was not yet a living element in European culture: there is also truth in Coleridge's observation that music always had a greater attraction for Milton than plastic art.
After two months' stay in Rome, Milton proceeded to Naples, whence, after two months' residence, he was recalled by tidings of the impending troubles at home, just as he was about to extend his travels to Sicily and Greece.