A man in prison garb, harassed, dishevelled, well-nigh breathless with fear and haste, comes in and glances hastily this way and that. This is Angelotti, a victim of Papal tyranny, who has escaped from the Castle of S. Angelo; and his entrance, it will be noted, is also characterised by a theme always associated with him throughout the work. On a pillar is an image of the Virgin, and underneath it a stoup. "My sister wrote to tell me of this spot," says Angelotti, as he searches for the key which will open the chapel and allow him to escape. While he searches in feverish haste the string of chromatic chords carries on the idea of his agitation. With yet another glance to reassure himself that he has not been followed, he opens the gate in the grille of the chapel and disappears. A light tripping figure ushers in the Sacristan, and it continues for a space while he walks to the daïs, on which is an easel and a covered picture. He complains of the bother he has in washing the brushes of the artist who is painting an altar-piece. He is surprised not to find Cavaradossi painting. The Angelus rings, and the Sacristan kneels and continues the prayer. [Illustration: PUCCINI SNOWBALLING IN SICILY] [Illustration: PUCCINI WRESTLING AT POMPEII] Cavaradossi now comes in, and a broad melodious phrase is heard as he ascends the daïs and uncovers the picture. The Sacristan is amazed to find that it represents the features of a lady who has been frequently to pray in the church, and is further shocked when the artist draws forth a miniature and compares it with his figure, into whose features he has incorporated the dusky glow and peach-like bloom of his beloved Floria. The phrase indicated at Cavaradossi's entrance now swells out in a lyrical melody in which he sings that his Madonna's eyes are blue, while Tosca's are dark as a moonless night, the Sacristan punctuating the rhapsody with a pious ejaculation to the effect that the artist scorns the saints and jests with the ungodly. After the Sacristan's departure to a snatch of his characteristic phrase, Angelotti, believing the church empty, comes out of the chapel. Cavaradossi does not at first recognise, in this prison-worn creature, his friend the Consul of the Republic. Tosca's voice is heard, and the artist makes a sign to Angelotti to remain yet a little while in hiding, and on hearing that the fugitive is spent with hunger, he gives him the basket left, for his refreshment, by the Sacristan.