In Ann Radcliffe's "The Italian", the very first thing that we see described is a veiled woman:
"It was in the church of San Lorenzo at Naples, in the year 1758, that Vincentio di Vivaldi first saw Ellena di Rosalba. The sweetness and fine expression of her voice attracted his attention to her figure, which had a distinguished air of delicacy and grace; but her face was concealed in her veil. So much was he fascinated
showed first 75 words of 1513 total
showed last 75 words of 1513 total
ssibilities into a single reality. Yet it is this reality from which Vivaldi derives his fearful fantasies. It is this drama between what is real and unreal that gives the novel its impetus. For example, when Marchesa is speaking to Schedoni, they are both thinking of murder, but both refuse to 'say' it, as if doing so would make it more 'real' than merely thinking about it.
Anne Radlife's "The Italian"--Oxford World Classics