The executioner then made him kneel down, bound his legs to one of the beams erected on the scaffold, and having bandaged his eyes, shattered his head with a blow of his mallet; then, in the sight of all, he hacked his body into four quarters.  The official party then left, taking with them Bernardo, who, being in a state of high fever, was bled and put to bed.

The corpses of the two ladies were laid out each on its bier under the statue of St. Paul, at the foot of the bridge, with four torches of white wax, which burned till four o’clock in the afternoon; then, along with the remains of Giacomo, they were taken to the church of San Giovanni Decollato; finally, about nine in the evening, the body of Beatrice, covered with flowers, and attired in the dress worn at her execution, was carried to the church of San Pietro in Montorio, with fifty lighted torches, and followed by the brethren of the order of the Stigmata and all the Franciscan monks in Rome; there, agreeably to her wish, it was buried at the foot of the high altar.

The same evening Signora Lucrezia was interred, as she had desired to be, in the church of San Giorgio di Velobre.

All Rome may be said to have been present at this tragedy, carriages, horses, foot people, and cars crowding as it were upon one another.  The day was unfortunately so hot, and the sun so scorching, that many persons fainted, others returned home stricken with fever, and some even died during the night, owing to sunstroke from exposure during the three hours occupied by the execution.

The Tuesday following, the 14th of September, being the Feast of the Holy Cross, the brotherhood of San Marcello, by special licence of the pope, set at liberty the unhappy Bernardo Cenci, with the condition of paying within the year two thousand five hundred Roman crowns to the brotherhood of the most Holy Trinity of Pope Sixtus, as may be found to-day recorded in their archives.

Having now seen the tomb, if you desire to form a more vivid impression of the principal actors in this tragedy than can be derived from a narrative, pay a visit to the Barberini Gallery, where you will see, with five other masterpieces by Guido, the portrait of Beatrice, taken, some say the night before her execution, others during her progress to the scaffold; it is the head of a lovely girl, wearing a headdress composed of a turban with a lappet.  The hair is of a rich fair chestnut hue; the dark eyes are moistened with recent tears; a perfectly formed nose surmounts an infantile mouth; unfortunately, the loss of tone in the picture since it was painted has destroyed the original fair complexion.  The age of the subject may be twenty, or perhaps twenty-two years.

Near this portrait is that of Lucrezia Petrani:  the small head indicates a person below the middle height; the attributes are those of a Roman matron in her pride; her high complexion, graceful contour, straight nose, black eyebrows, and expression at the same time imperious and voluptuous indicate this character to the life; a smile still seems to linger on the charming dimpled cheeks and perfect mouth mentioned by the chronicler, and her face is exquisitely framed by luxuriant curls falling from her forehead in graceful profusion.