Once it is revealed that Ellena is from an aristocratic family, it is determined that she has the ROYAL BLOOD that allows her to be worthy of marrying Vivaldi. The ending of the novel is a happy one; Vivaldi and Paulo are released from prison, Ellena is reunited with her mother, and Vivaldi and Ellena are joined in marriage, and all the villains have died. The Marchesa dies shortly before finding out that her son has been freed from prison. Father Schedoni, condemned to die, poisons himself and Nicola di Zampari, and calls a tribunal including the Marchese and Vivaldi to witness their final confessions at his deathbed. Ann Radcliffe uses the technique of scene imagery to evoke emotion in characters, and to describe landscapes and surroundings in extreme detail. The most notable imagery in the novel are from art pieces and the picturesque. The actual artists “mentioned were seventeenth century Italian artists with those works Mrs. Radcliffe was probably familiar”, while the characters also turn into artists who paint portraits of other characters in their heads. Sculptures can be seen in the tribunal members of the Inquisition for their faces are unyielding and hard as stone, and even the flickering lamps cannot soften their facial expressions. Aside from imagery being described as physical art, Radcliffe includes images of personification, animals, religion, storms, magic, and enchantment. As noted by E.J. Clery, "Radcliffe's heroines are women of imagination. By their taste for scenery and aptitude for fancy they transform the plots of sentimental fiction into otherwordly romance: they are effectively the co-authors of their own stories.” Images in the novel make it possible to see one thing in the expressions of something else, reason as to which Radcliffe creates anxiety from descriptions of terror and the uncanny. “The solemnity of the scene accorded with the temper of his mind, and he listened in deep attention for returning sounds, which broke upon his ear like distant thunder muttering imperfectly from the clouds.” (page 12 Oxford World Classics Edition) All of the imagery presented in "The Italian" pull the novel together by way of description, which sets the scene for the reader and the characters. Ann Radliffe's writing falls under the genre of the female gothic, which is distinguished by the use of the supernatural and the poetic language used in descriptions and events. For example, one such description in Chapter 5 reads, "Along this deep and shadowy perspective a river, which was seen descending among the cliffs of a mountain, rolled with impetuous force, fretting and foaming amidst the dark rocks in its descent, and then flowing in a limpid lapse to the brink of other precipices, whence again it fell with thundering strength to the abyss, throwing its misty clouds of spray high in the air, and seeming to claim the sole empire of this solitary wild."