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The Italian by Ann Radcliffe

My rating: 4 of 5 stars


In the ruins of an abandoned convent, an assassin is said to still reside, having sought sanctuary within its walls. This is the story that precedes the urban legend.

When Vincentio di Vivaldi first lays eyes upon Ellena Rosalba, he knows she is everything he has ever wanted and desired, and vows to make her his bride. Yet his parents are opposed to such a marriage, as their son’s selection possesses no social standing.

Father Schedoni, confessor to Vivaldi’s mother, appears to have his own motivations for preventing such a union. He sets in motion a malign plot to ensure their love cannot blossom.

But even the most carefully orchestrated plots can unravel and, once set in motion, the consequences prove catastrophic. In the wake of the damage, can the passion of true love and the might of moral justice hold true, or must everything inevitably descend into ruin?

Published in 1796, Ann Radcliffe’s ‘The Italian’ is a gothic tale of passion and love, penance and retribution, with hints of a supernatural influence and mystery woven beneath every chapter. Blending elements of romance, horror and suspense to build its intensely gothic atmosphere, it oozes its themes of morality and religion, specifically that of Roman Catholicism and the Holy Inquisition, while exploring the thoughts, emotions and motivations of each character in depth and building a vivid sense of place and setting.

Evocative of Shakespearean drama, alluding to and doubtless deeply influenced by many of his plays, the story is told in three volumes (perhaps mirroring the traditional three acts of a play). Often rich in dense description, this is a novel to be savoured and allowed time to develop as you read. It also provides a detailed insight into some of the views held at the time, such as those of the class system, the role and dependence of women, and the might and corruption of large (in this case, religious) institutions. It should perhaps be remarkable that we are still talking about the same views and issues, all across the world, over two hundred years later.

The characters are heavily developed, particularly the central three – we learn of their family circumstances, their histories, and their innermost turmoil. The relationship between Vivaldi and Ellena begins with Vivaldi’s obsessive passion and desire to win Ellena’s hand. For many reasons, she is resistant, but Vivalidi’s persistence holds strong. Throughout the novel, we witness the development of genuine affection between them, made bittersweet by the pain of separation and fear of loss.

Schedoni, the mysterious monk and eponymous figure, is the hand that pulls the strings of the narrative. An incredibly well-developed antagonist, his characterisation is perhaps the greatest strength of Radcliffe’s novel. From the shadows, he manipulates and orchestrates much of the unfolding tragedy, before it escalates out of his control; his motivations and personal desires ultimately may be his undoing, as his dark past begins to come to light.

As alliances break, and tension and dread build, through murder plots, kidnappings, escape plans, and a fight for justice, we arrive at the revelations of the final chapters deep in the dungeons of the Inquisition, where mysteries are solved and questions finally answered. This may not be a novel for casual reading, but if you are interested in early gothic literature or religious and social history, then I would recommend delving in and committing to it. Faced with the sometimes overwhelming emotions of the characters cannot help but encourage empathy – the universal experiences of love and loss and fear keeping you travelling with these characters through to the conclusion of their journeys.

Gothic and tragic, Ann Radcliffe’s ‘The Italian’ is both mystery and social commentary, told through confessions of deep emotion that will haunt even the coldest of hearts.



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