This is a point of some importance, as it introduces the true
Angelo to a job which he has long coveted- the painting of the
portrait of Isabella, of whose beauty he had become enamoured
through report. The Duke wishes the portrait painted. Falcone,
however, on account of a promise to Tortesa, would have objected to
admit to his daughter's presence the handsome Angelo, but in regard to
Tomaso has no scruple. Supposing Tomaso to be Angelo and the artist,
the Count writes a note to Isabella, requiring her "to admit the
painter Angelo." The real Angelo is thus admitted. He and the lady
love at first sight (much in the manner of Romeo and Juliet), each
ignorant of the other's attachment.
The third Scene of the second Act is occupied with a conversation
between Falcone and Tortesa, during which a letter arrives from the
Duke, who, having heard of the intended sacrifice of Isabella,
offers to redeem the Count's lands and palace, and desires him to
preserve his daughter for a certain Count Julian. But Isabella,-
who, before seeing Angelo, had been willing to sacrifice herself for
her father's sake, and who, since seeing him, had entertained hopes of
escaping the hateful match through means of a plot entered into by
herself and Zippa-Isabella, we say, is now in despair. To gain time,
she at once feigns a love for the usurer, and indignantly rejects
the proposal of the Duke.
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