joy in a long aria. Silvia is amazed, and declares her love for the youth whom she has seen in her dreams; Aceste consoles her by saying that Venus must have sent the dreams, and she in her turn sings a long song denoting her joy. After all have retired to prepare the sacrifice Ascanio declares in an aria his delight with the charming Silvia; but Venus exacts that he shall yet make trial of her virtue. A ballet follows this act, in which the nymphs and graces astonish the shepherds by changing the grove into a splendid temple, the first building of the newly founded city. Silvia beholds this new erection with admiration, and utters her longing for the yet unknown beloved, in which she is supported by a chorus of shepherdesses. When Ascanio appears she recognises her lover in him; but as he feigns not to know her, she remains doubtful, and Fauno confirms her in the error that it is not he; she swoons. Ascanio laments that he cannot show himself in his true form, and departs, whereupon she revives, and makes known her anguish and determination to remain true to her duty in a long recitative and aria. Then he returns, and throws himself at her feet. She repulses him with the words, "Io son d' Ascanio," and flees, which gives him opportunity for a song full of tender admiration. Aceste, to whom she confides all, praises her for her virtue. Venus appears with the chorus of nymphs and shepherds, and presents Ascanio to Silvia as her spouse. After the lovers and Aceste have announced their joy in a terzet, Venus exhorts the young rulers to fulfil their duties faithfully to their subjects, and ascends to Olympus among the expressions of gratitude uttered by Aceste in the name of the people; and a joyful chorus brings the whole to a conclusion. The description which Fauno gives of the guardian divinity of the country, and the address of Aceste to Venus as she departs, contain so many allusions to Maria Theresa that non-recognition was impossible. Silvia too, of the race of Hercules (the name of Ercole was common in the family of D'Este), the pupil of Minerva and the muses, the pattern of virtue and modesty, is undoubtedly the Princess Beatrice, whose intellect, literary cultivation, and amiability were universally admired.[7] There was less to be said of the Archduke Ferdinand; nothing could be made of him but a fair youth with rosy cheeks. It is worthy of note that although mutual liking founded on beauty and spiritual endowments is highly extolled, yet, as became a royal wedding, the subjection of inclination to duty is made the {"ASCANIO IN ALBA," 1771.} (187) theme of highest praise. The union had not been consummated without difficulty,[8] and some anxiety was felt as to the relations of the young couple.