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There was but one Dianora but one Hyppolito in the world; so have many wise young people thought of each other both before and since the days of the Ghibelines; but these two might be excused for thinking so, for many who saw them were of the same opinion. To part what was the world to them if they were parted?

The moment chosen by the artist is when Dianora rushes from her house into the midst of the crowd, and reaches Hyppolito, surrounded by priests and soldiers. It is easy to see to what a varied expression of passion and action this point of the story gives rise.

Delays were needless, for time could do nothing to smooth their path; so it was determined that Hyppolito should bring a ladder to Dianora's window, and, aided by their friend, they should find their way to a priest prepared to give them his blessing.

But he confesses; there is no room for doubt. Pardon is implored by his afflicted friends; but no pardon can be granted for so flagrant a crime. Hyppolito had one consolation his father never doubted him; if he had, one glance of his son's clear though sad eye, and candid, open brow, would have reassured him. He saw there was a mystery, but he was sure it involved no guilt on Hyppolito's part.

Thus reasoned Hyppolito; but we think the chronicles exaggerate the virtues of Dianora's character; for how many a girl unchronicled by fame has, before the still tribunal of her own sense of duty to God and her parents, sacrificed her dearest hopes rather than offend them; and this, with all her heroism, Dianora did not, but gave up all these dear early claims for her new love.

Yet poor Hyppolito was sorry to leave the world so young; and sadly, though calmly, he arranged his small possessions, for the benefit of those he loved, and of the poor, to whom he had always been a friend. He slept quietly the night preceding the time fixed for his execution, and was early ready to take his place in the sad procession.

And who shall paint the return from death to life of poor Hyppolito? and to such a life! for blazoned as the story of her love had been, Dianora's parents, considering also her firm character, subjected even the spirit of party to the voice of affection and reason; and Hyppolito's family, softened by sorrow, gladly embraced their Ghibeline daughter.

But surely it is not idle curiosity that bends her noble brow so often this way, and beams in her bright, speaking eyes, and sweet, kind smile. On whom is it turned, and why does her cheek flush so quickly? A youth of graceful and manly appearance is passing her window; his name is Hyppolito: he has long cherished the image of Dianora as Dante did that of his Beatrice.

An old man sitting at a door rises, strains his eyes to catch a last glimpse of Hyppolito, and then covers them in anguish, and sinks down again. This is an old man he had saved from misery and death. Two youths, hand in hand, are gazing with sad faces, and tears run down their cheeks. They are orphans: he had clothed and fed them.

He will not betray Dianora; it would only be to separate them for ever, and leave her with a stained name. He yields to his fate; the proofs are irresistible, and, by the severe law of Florence at that period, Hyppolito must die. All Florence is in amazement. So estimable a youth, to all outward appearance, to be in reality addicted to the basest crimes! Who could have believed it?