Radcliffe [née Ward], Ann (1764-1823)

The Italian, or the Confessional of the Black Penitents. A Romance

London

Cadell and Davies

1797

"Schedoni's hood was now thrown back, so that he could not compare even the air of their heads under similar circumstances; but as he remembered to have seen the confessor on a former day approaching his mother's closet with the cowl shading his face, the same gloomy severity seemed to characterize both, and nearly the same terrible portrait was drawn on his fancy."

Schedoni seated himself quietly, and began, with almost the ease of a man of the world, to converse on general topics. Vivaldi, however, was reserved and silent; he knew not how to begin a conversation, which might lead to the knowledge he desired, and the Marchesa did not relieve him from the difficulty. His eye and his ear assisted him to conjecture at least, if not to obtain, the information he wished; and, as he listened to the deep tones of Schedoni's voice, he became almost certain, that they were not the accents of his unknown adviser, though he considered, at the same moment, that it was not difficult to disguise, or to feign a voice. His stature seemed to decide the question more reasonably; for the figure of Schedoni appeared taller than that of the stranger; and though there was something of resemblance in their air, which Vivaldi had never observed before, he again considered, that the habit of the same order, which each wore, might easily occasion an artificial resemblance. Of the likeness, as to countenance, he could not judge, since the stranger's had been so much shrouded by his cowl, that Vivaldi had never distinctly seen a single feature. Schedoni's hood was now thrown back, so that he could not compare even the air of their heads under similar circumstances; but as he remembered to have seen the confessor on a former day approaching his mother's closet with the cowl shading his face, the same gloomy severity seemed to characterize both, and nearly the same terrible portrait was drawn on his fancy. Yet this again might be only an artificial effect, a character which the cowl alone gave to the head; and any face seen imperfectly beneath its dark shade, might have appeared equally severe. Vivaldi was still extremely perplexed in his opinion. One circumstance, however, seemed to throw some light on his judgment. The stranger had appeared in the habit of a monk, and, if Vivaldi's transient observation might be trusted, he was of the very same order with that of Schedoni. Now if he were Schedoni, or even his agent, it was not probable that he would have shewn himself in a dress that might lead to a discovery of his person. That he was anxious for concealment, his manner had strongly proved; it seemed then, that this habit of a monk was only a disguise, assumed for the purpose of misleading conjecture. Vivaldi, however, determined to put some questions to Schedoni, and at the same time to observe their effect on his countenance. He took occasion to notice some drawings of ruins, which ornamented the cabinet of the Marchesa, and to say that the fortress of Paluzzi was worthy of being added to her collection. 'You have seen it lately, perhaps, reverend father,' added Vivaldi, with a penetrating glance.
(I.iv, pp. 59-60)

Visual Arts::Drawing::Portrait

Reading

At least 7 entries in the ESTC (1797)

Radcliffe, Ann. The Italian, ed. Robert Miles (New York: Penguin, 2000). <Google Books: vol. I, vol. II, vol. III>

06/04/2013