University of Virginia Library

SCENE II.

Outside of Donato's Hermitage, partly hewn out of the rock, and backed by mountains;

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the cottage extends about two thirds of the stage, the remainder is occupied by pines and firs, constituting an avenue of cut trees supposed to lead to the monastery of St. Clare; under the hermitage window is a lodge for the reception of Charity, over it written “Date obolum.”—Time sun rise.

Enter Donato listening to the chimes of St. Clare —Aurelia appears winding through the avenue, netting, and, timidly approaching him, presents a letter, the purport of which is,

as he peruses it, she sighs!—Enter Florella with Rinaldo's tablet, compares Aurelia with the drawing, and stamping on it in disgust, breaks it into innumerable fragments—a bugle horn sounded without!— Donato invites Aurelia into his hermitage—Florella perceiving Rinaldo approaching, hurries up the avenue —Rinaldo enters, giving orders to two or three Robber-Chiefs, and pointing to the charitable appeal attached to the hermitage, desires them to place wine and fruits there, intimating to Cinthio that in the attached avenue he first beheld the object of his adoration —a voice is heard without—they separate, Rinaldo entering the avenue—Rosalia comes on singing.
Who will purchase good luck, cross my hand, try the spell,
Rosalia, the Gypsey, your Fortune will tell.

As she passes the Hermitage, Aurelia through the window, beckons her, to have her fortune told; Rosalia perceives Rinaldo, and eyes both significantly —Aurelia comes cautiously from the hermitage, Rosalia examines her palm, and sings.
BALLAD—ROSALIA.
Rinaldo approaches, enraptured, but fearful of alarming her.
BALLAD continued.

Pointing towards Rinaldo, she retires, while Donato, issuing from the Hermitage unperceived, hurries Aurelia into it—Florella detaining Rinaldo, whom she had angrily seized by the wrist, he breaks from her, compells her to leave him, and follows Donato.