tures to temper
our repulsion with pity. The sinister figures of Mrs. Radcliffe,
with passion-lined faces and gleaming eyes, stalk--or, if
occasion demand it, glide--through all her romances, and as she
grows more familiar with the type, her delineations show
increased power and vigour. When the villain enters, or shortly
afterwards, a descriptive catalogue is displayed, setting forth,
in a manner not unlike that of the popular _feuilleton_ of
to-day, the qualities to be expected, and with this he is let
loose into the story to play his part and act up to his
reputation. In the _Sicilian Romance_ there is the tyrannical
marquis who would force an unwelcome marriage on his daughter and
who immures his wife in a remote corner of the castle, visiting
her once a week with a scanty pittance of coarse food. In _The
Romance of the Forest_ we find a conventional but thorough
villain in Montalt and a half-hearted, poor-spirited villain in
La Motte, whose "virtue was such that it could not stand the
pressure of occasion." Montoni, the desperate leader of the
condottieri in _The Mysteries of Udolpho_, is endued with so
vigorous a vitality that we always rejoice inwardly at his return
to the forefront of the story. His abundant energy is refreshing
after a long sojourn with his garrulous wife and tearful niece.

"He delighted in the energies of the passions, the
difficulties and tempests of life which wreck the
happiness of others roused and strengthened all the
powers of his mind, and afforded him the highest
enjoyment... The fire and keenness of his eye, its
proud exaltation, its bold fierceness, its sudden
watchfulness as occasion and even slight occasion had
called forth the latent soul, she had often observed
with emotion, while from the usual expression of his
countenance she had always shrunk."

Schedoni is undoubtedly allied to this desperado, but his methods
are quieter and more subtle:

"There was something terrible in his air, something
almost superhuman. The cowl, too, as it threw a shade
over the livid paleness of his face increased its
severe character and gave an effect to his large,
melancholy eye which approached to horror ... his
physiognomy ... bore the traces of many passions which
seemed to have fixed the features they no longer
animated. An habitual gloom and severity prevailed over
the deep lines of his coun