It seemed to him of evil omen that the young lady he wished to marry, and whose fastidious father he doubted of his ability to conciliate, should be immured in a kind of domestic fortress, a pile which bore a stern old Roman name, which smelt of historic deeds, of crime and craft and violence, which was mentioned in "Murray" and visited by tourists who looked, on a vague survey, disappointed and depressed, and which had frescoes by Caravaggio in the piano nobile and a row of mutilated statues and dusty urns in the wide, nobly-arched loggia overhanging the damp court where a fountain gushed out of a mossy niche.

In a less preoccupied frame of mind he could have done justice to the Palazzo Roccanera; he could have entered into the sentiment of Mrs.Osmond, who had once told him that on settling themselves in Rome she and her husband had chosen this habitation for the love of local colour.

It had local colour enough, and though he knew less about architecture than about Limoges enamels he could see that the proportions of the windows and even the details of the cornice had quite the grand air.

But Rosier was haunted by the conviction that at picturesque periods young girls had been shut up there to keep them from their true loves, and hen, under the threat of being thrown into convents, had been forced into unholy marriages.

There was one point, however, to which he always did justice when once he found himself in Mrs.Osmond's warm, rich-looking reception-rooms, which were on the second floor.