He, however, assures her that she has nothing to fear. He lets her in.Ĭavaradossi attempts to reassure Tosca, but she notices that the eyes of the Madonna on the portrait resemble those of Marchioness Attavanti and she accuses him of cheating on her. Cavaradossi gives him the lunch basket prepared by the Sacristan but urges Angelotti to hide in the far end of the chapel when he hears Tosca, who goaded by jealousy pounds on the church door and calls out to her lover, convinced as she is that he has locked the door to seek privacy with another woman. Once the Sacristan has left, Angelotti comes out of hiding and recognises Cavaradossi – a friend whom he can trust in his struggle for the republic. The artist also likens the portrait to a miniature of the woman he loves, the singer Floria Tosca. The painter is currently working on a depiction of the Madonna inspired by the Marchioness, who has sat for the portrait in the church over the last couple of days.
The Sacristan turns up but thinks that the noise at the door was made by the artist Mario Cavaradossi. He seeks refuge in the family chapel at the church of Sant’Andrea della Valle using a key hidden by his beautiful sister, Marchioness Attavanti. Cesare Angelotti, a political prisoner, has escaped from the Castel Sant’Angelo in Rome.
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