Their style is that of a delirious rhetorician. One might fancy they had been composed as exercises, except for certain traits which mark the frenzy of genuine exaltation. Threats, imprecations, and blasphemies alternate with prayers, vows of fidelity and reminiscences of past delights in love. Samminiati bends before 'his lady' in an attitude of respectful homage, offering upon his knees the service of awe-struck devotion. At one time he calls her 'his most beauteous angel,' at another 'his most lovely and adored enchantress.' He does not conceal his firm belief that she has laid him under some spell of sorcery; but entreats her to have mercy and to liberate him, reminding her how a certain Florentine lady restored Giovan Lorenzo Malpigli to health after keeping him in magic bondage till his life was in danger.[195] Then he swears unalterable fealty; heaven and fortune shall not change his love. It is untrue that at Florence, or at Venice, he has cast one glance on any other woman. Let lightning strike him, if he deserts Umilia. But she has caused him jealousy by stooping to a base amour. To this point he returns with some persistence. Then he entreats her to send him her portrait, painted in the character of S. Ursula. At another time he gossips about the nuns, forwarding messages, alluding to their several love-affairs, and condoling with them on the loss of a compliant confessor. This was a priest, who, when the indescribable corruptions of S. Chiara had been clearly proved, calmly remarked that there was no reason to make such a fuss--they were only affairs of gentlefolk, _cose di gentilhuomini_. The rival of whom Samminiati was jealous seems to have been the painter Pietro, who held the key to all the scandals of the convent in his hand. Umilia, Dati, and Samminiati at last agreed 'to rid their neighborhood of that pest.' The man had escaped to Rovigo, whither Samminiati repaired from Venice, 'attended by two good fellows thoroughly acquainted with the district.' [Footnote 195: It appears that violent passion for a person was commonly attributed at that epoch to enchantment. See above, the confession of the Lady of Monza, p. 320.] But Pietro got away to Ferrara, his enemy following and again missing him. Samminiati writes that he is resolved to hunt 'that rascal' out, and make an end of him. Meanwhile Umilia is commissioned to do for Calidonia Burlamacchi, a nun who had withdrawn from the company of her guilty sisters, and knew too many of their secrets. Samminiati sends a white powder, and a little phial containing a liquid, both of which, he informs Umilia, are potent poisons, with instructions how to use them and how to get Calidonia to swallow the ingredients. Then 'if the devil does not help her, she will pass from this life in half a night's time, and without the slightest sign of violence.'