Chapter XIII: Act THE THIRD (7)

These annoying relapses of my malady continued for two years and a half to fall upon me when I least expected them. They were enough to dishearten any man less stupid than myself, and make him despair of living. Contrary to the advice of several physicians, who protested with wide-open horror-stricken eyes that riding would inflame my blood and burst the arteries of my lungs, I followed the prescription of Doctor Arcadio Cappello, half-suffocated as I was with hemorrhage. He proved to be right. Regular diet, contempt for my symptoms, and horse-exercise completed my cure. It is now twenty years and more since I have been reminded that I was ever subject to this indisposition.

As I have often had occasion to remark, no business, no quarrels, no lawsuits, and no illnesses prevented me from devoting some hours every day to poetry. This being the case, when controversies arose in Venice on philology and the higher Italian literature--controversies of which I mean to render some account in the following chapters--I went on vomiting blood from my veins, and scribbling sonnets, satires, essays in defence of our great writers, treatises on style, polemics against Chiari and Goldoni and their followers. All these trifles, when I read them aloud, made my friends laugh, as well as my doctor and the surgeon who attended on me.

Before engaging in the circumstances which led to my becoming a writer for the theatre, I will wind up the history of our private affairs. First of all, I let the lawsuit with Marchese Terzi drop. My reasons were as follows:--With the best intentions in the world, and the strongest desire to reunite the scattered members of our family under one roof, I found this task impossible. My sisters married. My brothers Francesco and Almorò in course of time took wives and begat children. My mother's inheritance of the Tiepolo property (though strictly speaking it ought to have been treated as entailed upon her sons) ran to waste in the hands of Gasparo and his wife. I had the old debts of our estate still weighing on my shoulders. It seemed to me, in this condition of affairs, best to remain a bachelor, and to devote myself to the duties I had undertaken, without ambitious projects and without assuming heavier obligations. Freed from further responsibilities to my family, whom I had loyally served in their material interests, and against none of whom I harboured any rancour, I was master of my time and could devote myself to the literary exercises which were so congenial to my temper.

END OF VOL. I.

PRINTED BY BALLANTYNE, HANSON AND CO. EDINBURGH AND LONDON.

INDEX.

This index appears at the end of Volume 2, but is shown here for the convenience of the reader. {note of etext transcriber}

Academy de' Granelleschi, at Venice, i. 89, 99.

Actors, Italian, their character, ii. 137.

Actresses, Italian, their character, ii. 137.

Agazi, Francesco, Censor of Plays, ii. 264, 268.

Albergati, Marchese Francesco, ii. 240;
notes on his career, ii. 240 _note_ 1.

Altissimo, Cristoforo, poet and _improvisatore_, i. 202.

"Amore delle Tre Melarancie," Gozzi's first _Fiaba_, i. 109; ii. 129, 133.
translation of, i. 112-146.
its triumphant success, i. 146, 147; ii. 130.
his best Fable, artistically, i. 163.

Andreini, Francesco, a celebrated actor, i. 51.

Andrich, Carlo, ii. 76.

Angaran, Zorzi, Avogadore, i. 13.

Angarano, Count Galeaso, i. 341.

Apergi, Lieutenant Giovanni, i. 227; ii. 16.

Aretino, Pietro, i. 29.

Arlecchino, i. 35,
description of, in the _Commedia dell'Arte_, i. 46.

"Augellino Belverde," one of Gozzi's "Fiabe," analysis of, i. 164-176.

Bada, Gianbattista, i. 100 _note_ 2.

Balbi, Benedetto, Canon of Padua, i. 349-352.

Balbi, Countess Elisabetta Ghellini, _see_ Ghellini Balbi, Countess.

Balbi, Paolo, i. 349-352; ii. 89, 295.
his sudden death, ii. 326.

Balestra, Antonio, painter, ii. 342.

Baretti, Giuseppe, his opinion of Gozzi, i. 179.

Barsanti, Domenico, actor, ii. 216, 323.

Bartoli, Adolfo, his "Scenari Inediti," i. 57.

Bartoli, Francesco, husband of Teodora Ricci, ii. 195 _note_ 1, 249-252.
his ill-health and separation from his wife, ii. 199.

Battagia, Maddalena, actress, ii. 174.

Benedetti, Luigi, actor, ii. 209, 269, 288, 323.

Beolco, Angelo, a Paduan writer of simple rustic comedies, i. 33.

Bergalli, Luisa Pisana, wife of Gasparo Gozzi, _see_ Gozzi, Luisa Pisana.

Bettinelli, Abbé Xavier, his attempted revolution in literary taste, ii. 104.
shown up by the Granelleschi, ii. 105.

Bevilacqua, Doctor Bartolommeo, ii. 314.

Boldù, Jacopo, Provveditore Generale di Dalmazia, i. 276.

Borrommeo, Carlo, his crusade against the Comedians, i. 70.

Bragadino, Cavaliere, the curious occurrence that earned Gozzi his friendship, ii. 80-84.

Brescia, Bishop of, i. 277.

Brighella, i. 35; description of, in the _Commedia dell'Arte_, i. 47.
as employed by Gozzi, i. 152.

Burchiello, an obscure Florentine poet, ii. 116.

Calogerà, Padre, ii. 117.

Canale, or Canaletti, Antonio, ii. 338.
his defects, ii. 338.

Canziani, Maria, dancer, ii. 75.

Capitano, the, a character in the _Commedia dell'Arte_, i. 35, 50.

Capocomico, manager of the Comedians, his functions, i. 58-60, 64.

Cappello, Arcadio, physician, i. 368.

Casali, Gaetano, comedian, i. 112 _note_ 1.

Casanova, Ignazio, comedian, i. 112 _note_ 1.

Casanova, Jacques, i. 4, 73, 350 _note_ 1; ii. 99 _note_ 1.

Cavalli, Jacopo, Provveditore Generale di Dalmazia, i. 220.

Cecchi, playwright, i. 33.

Cenet, Madame Jeanne Sarah, ii. 310.

Cerlone, Francesco, poet, i. 35 _note_ 3.
fixed the type of Pulcinella, i. 49.

Chasles, Philarete, i. 181.

Chaussée, Nivelle de la, his sentimental comedies, i. 87.

Chiari, Abbé Pietro, playwright, i. 2.
his rivalry with Goldoni, i. 97.
Gozzi's attacks on, i. 99.
makes common cause with Goldoni against Gozzi, i. 106, ii. 127.
various satirical allusions to him in Gozzi's first "Fable," i. 112-146.
his popularity in Venice, ii. 110.
Gozzi's opinion of, ii. 113, 114.
defeated by Gozzi, gives up play-writing, i. 177, ii. 155, 156.

Cicucci, Regina, actress, ii. 170.

Colombani, Paolo, bookseller, his shop the headquarters of the Granelleschi, ii. 127.

Colombo, Giovanni, i. 229.
Grand Chancellor of the Venetian Republic, i. 230.

Comedian, qualifications of a good Italian, i. 61.

Comedians, their degraded social position, i. 70.

Comedy, Italian--
Its origin during the Renaissance, i. 26.
its dependence on Latin models, i. 26, 28.
the _Commedia Erudita_, i. 27, 39.
the first attempts at National Italian comedy, i. 28.
its stock characters, i. 28.
_Commedia dell'Arte all'Improviso_, its causes, and its
distinctive features, i. 30-32.
its great antiquity, i. 32.
its relation to the _Commedia Erudita_, i. 32, 55.
farces in relation to the _Commedia dell'Arte_, i. 33.
the _Commedia dell'Arte_ trusted to the improvisatory
talent of the actors, i. 34.
the actors in it wore masks, i. 34.
the principal masks--Pantalone, Il Dottore, Arlecchino, Brighella, i. 34.
description of the masks, i. 43-54.
the less important masks, i. 52.
relation of the _Commedia dell'Arte_ to the old Latin comedy
of mimes and _exodia_, i. 36-40.
Lombard, Neapolitan, and Florentine ingredients in it, i. 40.
its culmination and decay, i. 43.
modifications introduced into the fixed characters of the _Commedia
dell'Arte_
by celebrated actors, i. 53.
the plots and subjects of improvised comedies, i. 54.
its indecency and buffoonery, i. 56.
description of the _scenari_ of the comedies, i. 56.
how they were arranged or rehearsed, i. 58.
qualifications of the actors, i. 61.
stock speeches, which were not left to the inspiration of the comedians,
but were written, i. 62.
_lazzi_ (sallies of buffoonery), i. 63.
its tendency to degenerate, i. 64, 69.
the widespread popularity of the _Commedia dell'Arte_, i. 65.
its success in Paris, Spain, Portugal, and London, i. 65, 67.
probably the model on which Tarleton and Wilson formed their Drolls, i. 68.
Gozzi's praise of it, i. 68.
its decadence, i. 69, 87.
the degraded social position of the actors, i. 70.
Garzoni's description of the strolling comedians, i. 73-80.
superseded by the _Comédie Larmoyante_, i. 87.
Gozzi's "Fiabe Teatrali," an attempt to rehabilitate the impromptu
comedy, i. 109.
translation of Gozzi's first "Fiaba," i. 112-146.
character of the actors in Italian Comedy, ii. 137.

_Commedia dell'Arte._ _See_ Comedy, Italian.

Comparetti, Doctor Andrea, ii. 300.

Contarini, Francesco, Gratarol's uncle, ii. 292, 293.

Coralli, actor, ii. 201, 208, 214, 216.

Cornaro, Giorgio, physician, ii. 327.

Cortigiani, the Venetian, or Men of the World, i. 294 _note_ 1.

Coviello, a mask in the _Commedia dell'Arte_, i. 50.

Crespi, Giuseppe Maria, ii. 342.

Dalmatia, the character of the natives of, i. 238.
the women of, i. 242.
the nature of the country, i. 243.

Danieli, chief physician to the Provveditore di Dalmazia, i. 222.

Da Ponte, Lorenzo, i. 4.

Darbes, Cesare, comedian, i. 95, 112 _note_ 1; ii. 131, 169.

Della Bona, Professor, ii. 310.
his skilful treatment of Gasparo Gozzi's illness, ii. 316.

Despériers, Bonaventura, ii. 7 _note_ 1.

Dialects, different, spoken in the _Commedia dell'Arte_, i. 35.

Dolfin-Tron, Caterina, i. 11; ii. 264, 287, 312, 319.
her character and influence, i. 9.
her enmity towards Gratarol, i. 9.
ruins Gratarol, i. 12, 13.
Gratarol's "Narrazione" bitterly attacks her, i. 13.
Gozzi's relations with, ii. 266 _note_ 1.
Gozzi intercedes with her to have "Le Droghe d'Amore" stopped, ii. 288.
her refusal, ii. 290.
Gozzi shows her how he has been insulted by Gratarol, ii. 208.
her interest in Gasparo Gozzi, ii. 308.

_Doti_--stock passages in the _Commedia dell'Arte_ which were not left to
improvisation, i. 62; ii. 144.

Dottore, the, a character in the _Commedia dell'Arte_, i. 34.
description of, i. 45.

"Droghe d'Amore, Le," Gozzi's comedy which caused the quarrel between
Gratarol and Gozzi, i. 10; ii. 225, 252, 258.
licensed for the stage, ii. 259.
the cast changed by the actors in order to attack Gratarol, ii. 260, 269.
read to the actors, ii. 260.
Gratarol's foolish conduct forces the piece on the stage, and
makes all Venice talk of it, ii. 263.
its production, ii. 270.
the excitement it causes, ii. 274.
Gratarol's distress at its success, ii. 277.
Gozzi's efforts to have it stopped, ii. 286-294.

Drousiano, an Italian comedian in London in 1577-8, i. 67.

"Esop in the Town," a play in which Gozzi and the Countess
Balbi were attacked, i. 356.

Farces, popular during the Renaissance, i. 33.

Farsetti, Daniele, Gozzi dedicates his "Tartana degl'influssi" to, ii. 116.

Farsetti, Giuseppe, ii. 124.

"Fiabe Teatrali," Gozzi's celebrated plays, i. 107; ii. 129-137.
an endeavour to rehabilitate the _Commedia dell'Arte_, i. 109.
success of his first Fable, i. 146, 147.
list of the remaining nine Fables, i. 148.
critical account of, i. 148-176.
the sources of, i. 162.
their success but ephemeral, i. 178.

Fiorelli, Agostino, comedian, i. 112 _note_ 1; ii. 131, 169, 323.

Fiorelli, Tiberio of Naples, the famous Scaramouch, i. 51, 53.
his wonderful acting described, i. 66.

Florentine burlesque poets, Gozzi's true ancestors in art, i. 110.

Florentine ingredients in the _Commedia dell'Arte_, i. 40.

Foscarini, Marco, Doge of Venice, i. 337.

Galante, avvocato fiscale dell'Avogaderia, i. 13.

Garzoni, his description of the strolling comedians,
in his "Piazza Universale," i. 73-80.

_Generici_--or common-places--in the _Commedia dell'Arte_, i. 62.

Ghellini Balbi, Countess Elisabetta, i. 324, 338, 342, 355, 365.
her interest in the Gozzi family, i. 324.
Gozzi calls upon her, i. 325.
Gozzi reported to be married to her, i. 339, 349.
her anxieties about her son, i. 349-352.
attacked in a play called "Esop in the Town," i. 356.

Gherardi, his "Theatre Italien," i. 61, 66.

Goethe, his estimate of Goldoni and Gozzi, i. 178.

Goldoni, Carlo, dramatist, i. 2, 4, 87.
his severe condemnation of the Italian Comedy, i. 72.
his undoubted genius, i. 89.
his excellent character, i. 89.
his qualities and defects, i. 89-91.
sketch of his career, i. 92.
his desire to reform Italian Comedy, i. 93.
the steps which he took in that direction, i. 93-95.
joins the company of Medebac, i. 95.
his first comedy of character, as opposed to impromptu comedy, i. 95.
the fortunes of his crusade against the _Commedia
dell'Arte_, i. 95; ii. 128.
his contest with Chiari, i. 97.
Gozzi's hatred for him as a corrupter of the language, i. 99.
Gozzi's first attack on him, i. 99; ii. 116.
his reply to Gozzi, i. 101; ii. 117.
the long-continued warfare between him and Gozzi, i. 102; ii. 119-128
Chiari makes common cause with him against Gozzi, i. 106; ii. 127.
various satirical allusions to him in Gozzi's first "Fable," i. 112-146.
defeated by Gozzi, goes to Paris, i. 177; ii. 155, 156.
his ultimate success and fame, i. 178.
his popularity in Venice, ii. 110.
Gozzi's opinion of him, ii. 111-113.
his superiority over Chiari, ii. 114.
the various publications in which Gozzi attacked him, ii. 119-128.
himself writes a "Fable," ii. 150.
his similarity in art with Longhi the painter, ii. 350.

Gozzi family, i. 185;
_Cittadini Originari_ of Venice, i. 186.

Gozzi, Almorò, younger brother of Carlo, i. 290, 320, 329, 330,
331, 354; ii. 79, 162, 336.

Gozzi, Angela Tiepolo, mother of Carlo, i. 189, 285, 304.
her maladministration of the family affairs, i. 297.
her quarrels with Carlo Gozzi, i. 304.
her dislike for Carlo, i. 348.

Gozzi, Carlo--
his autobiography, entitled "Memorie inutili della vita di
Carlo Gozzi." i. 1.
design of his autobiography, i. 3, 19;
its value historically, i. 4.
his "Droghe d'Amore" supposed to contain a caricature of Gratarol. i. 10.
attacked by Gratarol in his "Narrazione Apologetica, i. 14.
writes a reply--"Epistola Confutatoria," i. 14;
but is not allowed to publish it, i. 15.
publishes his memoir and, under provocation, the "Epistola Confutatoria,"
after the fall of the Venetian republic, i. 16-19.
his autobiography, its form, its merits and defects, and its
reliability, i. 19-24.
his personal characteristics, i. 22.
his "Fiabe," i. 43.
his eulogy of the _Commedia dell'Arte_, i. 68.
his description of the contest between Goldoni and Chiari, i. 98.
translation of his first Fable, i. 112-146.
its triumphant success, i. 146, 147.
his other "Fiabe," i. 148.
critical account of his "Fiabe Teatrali, i. 148-176.
his use of the Masks, i. 149-154.
his mixture of the comic element with the fairy-tale, i. 154.
not a great imaginative poet, i. 156.
his merits as a playwright, i. 157-160.
his conservative philosophy of life, i. 160.
the sources of his "Fiabe," i. 162.
analysis of "L'Augellino Belverde," i. 164-176.
his victory over Goldoni and Chiari, i. 176.
his fame ephemeral, i. 178.
German translation of his plays, i. 180.
his pedigree, i. 2, 185-190.
his birth, i. 190 _note_ 1.
the exact trustworthiness of his Memoirs, i. 190 _note_ 1.[I?]
his brothers and sisters, i. 191.
his education, i. 192.
injures his health by study, i. 196.
his endeavours after a good literary style, i. 197.
his moral and physical training, i. 200, 205.
his acting as a child, i. 201.
shows skill as an _improvisatore_, i. 202.
his first poetical productions, i. 205-207.
his early productions, i. 208.
the family difficulties, i. 209.
the discomforts of his home, i. 212.
he leaves home and becomes a soldier, i. 213.
his first experiences as a soldier, i. 214-221.
has a dangerous illness, i. 221.
studies Fortification, i. 225.
his love of poetry, i. 229.
his sonnet in praise of Provveditore Quirini, i. 233.
an exciting adventure with a horse, i. 234.
he is enrolled as a _Cadet noble_ of cavalry, i. 246.
what his military services amounted to, i. 247.
his success as a _soubrette_ in the military theatricals at Zara,
i. 249-251.
some of his escapades as a youth, i. 252-273.
the adventures in connection with the courtesan Tonina, i. 262-272.
his finances at the close of his military service, i. 273.
returns to Venice, i. 278.
the state of his family and home, when he returns, i. 279.
his first meeting with his family, i. 284.
his difficulty in interfering in the management of the family
affairs, i. 290.
his negotiations with Francesco Zini, i. 300.
becomes the object of hatred to all his family, i. 307, 318.
in continual quarrels with his family, i. 322.
his interview with the Countess Ghellini Balbi, i. 325.
his family set the law in motion against him, i. 328.
he leaves home, i. 330.
lies spread about him, i. 331.
the family property divided, i. 332.
is dragged into tedious lawsuits, i. 334-342.
his friendship with the Countess Ghellini Balbi, i. 339, 349.
his sister-in-law's vexatious lawsuit against him, i. 360-364.
has violent hæmorrhage from the lungs, i. 364, 368.
his illnesses and occupations, i. 370.
his account of his own physical and mental qualities, ii. 1-9.
accepted no payment for any of his works, ii. 3.
his love-tales--
his first love, ii. 11-27;
his second love, ii. 28-33;
his third love, ii. 33-69.
his reflections on his love affairs, ii. 69.
his object in relating them, ii. 72 _note_ 1.
the absurdities and contrarieties to which his star made him
subject, ii. 73-89.
his unfortunate experience as a landlord, ii. 85-89.
the origin and progress of his literary quarrels, i. 2; ii. 90.
his views upon Italian literature, ii. 91.
his dissertation on Prejudice, ii. 99.
his humorous attack on Bettinelli, ii. 106.
the motives of his attacks upon Chiari and Goldoni, ii. 115.
his first attack on Goldoni and Chiari in his "Tartana degli Influssi,"
i. 100, 109; ii. 116.
Goldoni's reply, i. 101, 109; ii. 117.
his Aristophanic satire upon Goldoni, entitled "Il Teatro Comico,"
i. 104, 109; ii. 120.
he withdraws this satire at Goldoni's request, i. 106; ii. 124.
the origin of his celebrated "Fiabe Teatrali," i. 107; ii. 128.
his first Fable, "The Love of the Three Oranges (L'Amore delle Tre
Melarancie)," i. 109; ii. 129.
the various publications in which he carried on the war against Goldoni
and Chiari, ii. 119-128.
his relations with Sacchi's company of comedians, ii. 137-155.
his tuition of the actresses, ii. 145.
his lawsuit against the Marchese Terzi, ii. 160.
its successful issue, ii. 164.
he withdraws his aid temporarily from Sacchi's company, ii. 166.
comes to their assistance again, ii. 168.
undertakes to tutor Teodora Ricci, ii. 177.
the successful result of his tuition, ii. 185.
his defence of his character and conduct in connection with Teodora Ricci,
and the actresses of Sacchi's company, ii. 187, 192 _note_ 1.
becomes Cicisbeo to Ricci, i. 9; ii. 193.
is godfather to her child, ii. 198.
his troublous relations with the Ricci, ii. 200.
his excuse for submitting to the worries caused by the Ricci, ii. 218.
his adaptations of Spanish plays, ii. 225.
his "Droghe d'Amore," i. 10; ii. 225.
his and Gratarol's versions of the quarrel between them, ii. 229 _note_ 1.
Gratarol's first visit to him, ii. 238.
his final rupture with Ricci, ii. 246.
annoyed by her, ii. 249, 255.
annoyed by her husband, ii. 250.
completes his comedy "Le Droghe d'Amore," ii. 252.
is pestered into giving it to Sacchi, ii. 258.
his innocence of an intention to caricature Gratarol in "Le Droghe d'Amor,"
ii. 258.
reads the piece to the actors, ii. 260.
tries to have it withdrawn, ii. 263.
his friendship with Madame Dolfin Tron, ii. 266 _note_ 1.
forbidden by the Censor to withdraw his play, ii. 268.
his distress at the play's vogue, ii. 274.
waited on by Carlo Maffei on behalf of Gratarol, ii. 277.
interview between him and Gratarol, ii. 279-285.
his futile efforts to have the play stopped, ii. 286-294.
his further squabbles with Gratarol, ii. 294.
his cause espoused by the Supreme Tribunal, which forces Gratarol to
apologise to him, ii. 303.
Gratarol's conduct to him subsequently, ii. 307.
goes to Padua, where his brother Gasparo lies dangerously ill, ii. 309.
uses his influence in Gratarol's behalf, ii. 319.
his reflection on Gratarol's flight, ii. 321.
his last interview with Sacchi, ii. 324.
his sorrow at the death of his friends, ii. 325.
has a bad attack of fever, ii. 327.
lays down his pen, ii. 330.
a review of his life and an estimate of his character, ii. 330.
his old age, ii. 332.
his will, ii. 333.
his death, ii. 337.

Gozzi, Chiara, sister of Carlo, i. 354.
becomes a nun, i. 365.

Gozzi, Francesco, brother of Carlo, i. 319, 320, 329, 354; ii. 79, 162.
becomes a soldier, i. 212.
his bad character, i. 321.
his death, ii. 326.

Gozzi, Gasparo, grandfather of Carlo, i. 189.

Gozzi, Gasparo, brother of Carlo, i. 282, 286, 288, 293, 312, 320, 329;
ii. 301, 319, 350.
his personal leaning towards Goldoni, i. 106.
undertakes to superintend a new edition of Goldoni's plays, i. 177.
his passion for study, i. 194.
his marriage, i. 209.
becomes lessee of the theatre of S. Angelo at Venice, i. 332.
his helpless position in his own house, i. 340.
his theatrical speculation is unsuccessful, i. 353, 360.
Carlo Gozzi and the Countess Balbi attacked on his stage, i. 357.
obtains a post at the University of Padua, i. 367.
his "Defence of Dante" against the Abbé Bettinelli, ii. 106.
his lack of spirit, ii. 162.
his friendship with Madame Dolfin Tron, ii. 267.
his serious illness, ii. 308.
in his delirium throws himself from a window, ii. 308.
his recovery, ii. 317.
his death, ii. 327.

Gozzi, Girolama, i. 288.

Gozzi, Giulia, i. 282.

Gozzi, Jacopo Antonio, father of Carlo, i. 188.
has a stroke of apoplexy, i. 211.
his feeble state of health, i. 284.
the unhappiness of his position amid the family quarrels, i. 309.
his death, i. 310.

Gozzi, Luisa Pisani Bergalli, wife of Gasparo, i. 210.
the ruler of the Gozzi family affairs, i. 287.
her mismanagement, i. 299, 317.
her dishonourable conduct, i. 319, 328.
tries to manage her husband's theatre, i. 332.
brings a lawsuit against Carlo, i. 360-364.

Gozzi, Marina, sister of Carlo, i. 201, 282.

Gradenigo, Cavaliere Andrea, ii. 76.

Grampo, Contessa Emilia, i. 189.

Granelleschi, Academy of the, i. 89, 99, 102.
its warfare with Goldoni and Chiara, i. 102.
the founding of the Academy, ii. 93.
its burlesque Prince, ii. 93.
its more serious objects, ii. 97, 108.
its attack on the Abbé Bettinelli, ii. 105.
its headquarters in the shop of the bookseller, Paolo Colombani, ii. 127.

Gratarol, Pier Antonio, i. 359 _note_ 1; ii. 10, 72 _note_ 1, 79, 227, 263.
his quarrel with Gozzi, i. 2, 6.
account of his life, i. 7-16.
nominated as Venetian Resident at Naples, i. 8.
his quarrel with Caterina Dolfin Tron, i. 9.
becomes lover to Teodora Ricci, i. 10; ii. 229.
his version of his quarrel with Gozzi compared with Gozzi's statement,
ii. 229 _note_ 1.
his presence behind the scenes of Sacchi's theatre, ii. 230, 233.
his entertainment to the actors and actresses, ii. 237.
his first visit to Gozzi, ii. 238.
Ricci compromised by him, ii. 242.
caricatured in "Le Droghe d'Amore," but not by Gozzi's wish,
i. 10; ii. 258, 259.
his foolish conduct forces the piece on the stage, ii. 263.
is present on its production and sees himself caricatured, ii. 272.
his distress, ii. 275 _note_ 1, 277.
his intrigues against Gozzi, ii. 278.
his interview with Gozzi, ii. 279-285.
Gozzi's efforts to have the play stopped, ii. 286-294.
the further squabbles between him and Gozzi, ii. 294-300.
forced by the Supreme Authority to apologise to Gozzi, ii. 303.
his own account of the letter which he was forced to write,
ii. 303 _note_ 1.
his conduct to Gozzi subsequently, ii. 307.
suspected of having the actor Vitalba assaulted, ii. 319.
his appointment to Naples cancelled, ii. 319, 320.
his withdrawal from Venice and consequent outlawry, i. 12; ii. 321.
his "Narrazione Apologetica" published at Stockholm, i. 13.
published at Venice after the fall of the Republic, i. 16.
his death, i. 16.
book entitled "Last Notices regarding Pietro Antonio Gratarol," i. 17.
Gozzi's reflections on his character, ii. 321.

Grazzini, Anton-Francesco, his Carnival song of the Zanni and
Magnifichi, i. 41.

Gritti, Francesco, ii. 76.
his play of _Gustavus Vasa_, ii. 184.

Guardi, Francesco, ii. 338.
the interest of his paintings historically, ii. 340.

Gusèo, Giovannantonio, a notary, i. 347, 362.

Hoffmann, E. T. W., his enthusiasm for Gozzi, i. 181.

Hogarth, William, contrasted with Pietro Longhi, ii. 350.

Illyria, the nature of the country, i. 244.

Improvisation, Gozzi's views on, i. 202.

I Rozzi, a company at Siena, who performed farces, i. 33.

Italian Comedy. _See_ Comedy, Italian.

Italian Literature, ii. 91.

Lami, Signor, ii. 117.

Laveleye, Emil de, ii. 99 _note_ 1.

Lazari, V., ii. 347 _note_ 1, 353 _note_ 1.

_Lazzi_--or humorous sallies--in the _Commedia dell'Arte_, i. 63.

Lee, Vernon, i. 23, 182.

Lombard ingredients in the _Commedia dell'Arte_, i. 40.

Longhi, Alessandro, son of Pietro, ii. 346, 357.

Longhi, Pietro, ii. 338-361.
the interest of his works, ii. 338 _note_ 1, 341, 347.
his parentage, ii. 342.
his early training, ii. 342.
his _Fall of the Giants_, ii. 343.
finds his true vocation as a painter in studies of contemporary
Venetian life, ii. 344.
the difference in his handiwork, ii. 346.
his similarity in art with Goldoni the dramatist, ii. 350.
the strong contrast between him and Hogarth, ii. 350.
his portrait, ii. 351.
filled the Chair of Painting in the Pisani Academy, ii. 353.
a picture representing the Pisani family attributed to him, ii. 354.
frescoes in the Palazzo Sina attributed to him, ii. 356.
his sketch-book, a collection of 140 drawings, ii. 357.
its great value, ii. 357.
description of its contents, ii. 358.
its merits and its limitations, ii. 358, 359.
summary of his work, ii. 360.

Loredano, Cavaliere Antonio, i. 212.

Machiavelli, Niccolò, i. 29.

Maffei, Carlo--
account of his character, ii. 276.
his intervention on Gratarol's behalf in the dispute regarding
the "Droghe d'Amore," ii. 277-285.
his sudden death, ii. 326, 327.

Manzoni, Caterina, actress, ii. 170.
her excellent qualities, ii. 192.

Marchiori, Cavaliere, Lieutenant-Colonel of Engineers, i. 225.
Gozzi studies Fortification under, i. 225.
his death, i. 228.

Marsili, Professor Giovanni, ii. 308.

Martelli, Pier Jacopo, i. 97 _note_ 1.

Martellian verses, i. 97 _note_ 1.

Masi, Ernesto, i. 99 _note_ 1.

Masks, the, as employed by Gozzi, i. 149.

Massimo, Innocenzio, i. 226, 227, 278, 326; ii. 28, 162, 310.
his friendship with Gozzi, i. 223, 283.
his character, i. 224.
a foolish adventure, i. 254-260.
his generous kindness to Gozzi, i. 312.
his sudden death, ii. 327.

Medebac (master of a company of comedians), engages Goldoni to
write for his company, i. 95.

Messer Grande, the Chief Constable of Venice, ii. 89 _note_ 1.

Micheli, Maggiore della Provincia, i. 218.

Montenegrins, the women of the, i. 241.

Morlacchi, a tribe of Dalmatians, i. 237 _note_ 1.
their barbarism, i. 237, 239.

Musset, Paul de, his travesty of Gozzi's real character, i. 23,
24 _note_ 1, 181, ii. 89 _note_ 2.

Neapolitan ingredients in the _Commedia dell'Arte_, i. 40.

Pallone, the game of, i. 251 _note_ 1.

Pantalone, i. 34; description of, in the _Commedia dell'Arte_, i. 43.
as employed by Gozzi, i. 152.

Paruta, the Patrician, Gozzi mistaken for, ii. 74.

Perrucci, Andrea, his description of the rehearsal of an
impromptu comedy, i. 58.

Pisani family, their Academy for the Study of the Art of Design, ii. 353.

Pozzobon, Giovanni, i. 100 _note_ 2.

Prata, Count Michele di, i. 282.

Prejudice, Gozzi's dissertation on, ii. 99.

Provveditore Generale di Dalmazia, the office of, i. 212 _note_ 1.

Provveditore Generale di Mare, the head of the Venetian
forces in the Levant, i. 212 _note_ 1.

Pulcinella, i. 35;
description of, i. 49.

Punch (Pulcinella), i. 50.

Quirini, Girolamo, Provveditore di Dalmazia, i. 213, 216, 247, 277, 278.
the town of Zara gives a grand public display in his honour, i. 230.
Gozzi presents a volume of his poems to him, i. 276.

Regina, the actress engaged by Sacchi to fill Ricci's place, ii. 254.

Renier, Paolo, ii. 301, 305.
his brilliant abilities, and his career, ii. 301 _note_ 1, 306 _note_ 1.

Reniero, Senator Daniele, i. 341.

Ricci, Marianna, sister of Teodora, ii. 242.

Ricci, Teodora, ii. 174, 324.
engaged as leading actress by Sacchi, ii. 174.
her personal appearance, ii. 175.
her connection with Gozzi, i. 9.
her connection with Gratarol, i. 10.
Gozzi's tuition of, ii. 177
the opposition to her, ii. 179.
her _début_ at Venice not very successful, ii. 182.
her success in "Gustavus Vasa," ii. 184.
her triumph in Gozzi's "Principessa Filosofa," ii. 185.
her gratitude to Gozzi, ii. 186.
her merits and defects, ii. 188-192.
Gozzi becomes her Cicisbeo, ii. 193.
Gozzi is godfather to her child, ii. 198.
her separation from her husband, ii. 199.
her _liaison_ with Sacchi, ii. 202-210.
her foolish conduct, ii. 216.
her rapacity, ii. 221.
her agreement for five years with Sacchi, ii. 221.
her friendship with P. A. Gratarol, ii. 227, 241, 245.
its consequences, ii. 242.
Gozzi's final rupture with her, ii. 246.
her annoyance of him, ii. 249, 255.
she leaves Sacchi's company and goes to Paris, ii. 254.
her strange manners when she returns, ii. 256.
her failure as an actress when she began to ape the French, ii. 257.
her conduct at the reading of "Le Droghe d'Amore," ii. 260.
her foolish conduct in connection with the play, ii. 269, 275.
pretends illness in order to stop the play, ii. 275.
is ordered to play by the authorities, ii. 276.
her tactics which led to the withdrawal of "Le Droghe d'Amore," ii. 306.
her death in a madhouse, ii. 195 _note_ 1.

Riccoboni, Luigi, i. 63.

"Riflessioni d'un Imparziale," a pamphlet in answer to Gratarol's
"Narrazione," i. 13 _note_ 2, 15 _note_ 1.

Rossi, Pietro, actor, ii. 189.

Royer, Paul, i. 182.

Ruskin, John, ii. 340.

Sacchi, Antonia, actress, i. 112 _note_ 1.

Sacchi, Antonio, i. 53, 100, 101, 112 _note_ 1, 150; ii. 201,
262, 272, 282 _note_ 1, 286, 297, 306, 318.
list of his company, i. 112 _note_ 1.
allusion to his company in Gozzi's first "Fable," i. 127.
the inventor of Truffaldino as a form of Arlecchino, ii. 131 _note_ 1.
his famous company, ii. 142.
ruined by the opposition of Chiari and Goldoni, ii. 132.
their visit to Lisbon, ii. 132.
their return to Venice, ii. 132.
their success with Gozzi's pieces, i. 176; ii. 132.
their gratitude to Gozzi, ii. 137.
Gozzi temporarily withdraws his aid from his company, ii. 166.
obtains a lease of the theatre S. Salvadore, ii. 167, 168.
his passion for the Ricci, ii. 202, 214.
his ill-treatment of her, ii. 207.
its result, ii. 208-210.
his theatre pronounced unsafe, ii. 219.
his five years' agreement with Ricci, ii. 221.
his difficulties with Gratarol, ii. 233.
Ricci leaves his company and he engages Regina in her place, ii. 254.
consents to withdraw the "Droghe d'Amore," ii. 263.
produces it, ii. 271.
the dissolution of his company, ii. 322.
his excesses and tempers, ii. 322.
his last interview with Gozzi, ii. 324.
his death, ii. 325 _note_ 1.

Sacchi-Zannoni, Adriana, actress, i. 112 _note_ 1; ii. 131.

Sacchi's company--
its respectability, ii. 143.
Gozzi's relations with the actors and actresses, ii. 137-155.
dissensions in, ii. 164.
the details of its dissolution, ii. 322-325.

Santorini, Count Francesco, i. 324, 327, 329.

Schlegel, A. W., his praise of Gozzi's "Fiabe," i. 180.

Sciugliaga, Stefano, Secretary of the University of Milan, ii. 198.

Sechellari, Giuseppe, Prince of the Accademia Granellesca, ii. 93.
the tricks played on him, ii. 95.

Seghezzi, Antonio Federigo, i. 199.

Servetta, the, a character in the _Commedia dell'Arte_, i. 48, 154.

Sibiliato, Giovanni, a wonderful _improvisatore_ and a true poet, i. 204.

Smeraldina (Servetta), as employed by Gozzi, i. 154.

Somascan Order of Monks, i. 350 _note_ 1.

Stampa, Gaspara, poetess, i. 206.

Stock speeches in the _Commedia dell'Arte_, i. 62.

Tartaglia, a mask in the _Commedia dell'Arte_, i. 35, 50.
as employed by Gozzi, i. 152.

Terzi, Marchese, of Bergamo, i. 368, 369, 370.
Gozzi's lawsuit against, ii. 160.
its successful issue, ii. 164.

Testa, Antonio, a famous lawyer, i. 335; ii. 163.
his kindness to Gozzi, i. 336.

Theatres, private, in the houses of the Venetian nobility, i. 201 _note_ 1.

Tiepolo family, i. 189 _note_ 1.

Tiepolo, Almorò Cesare, i. 213, 291, 342.
his just and excellent character, i. 344-347.

Tiepolo, G. B., painter, ii. 338.
a genius of the first order, ii. 339.

Tiepolo, Nicolò Maria, his condemnation of comedians, i. 71.

Tiepolo Gozzi, Angela, mother of Carlo Gozzi--_See_ Gozzi, Angela Tiepolo.

Toaldo, Professor, ii. 75.

Todeschini, Raffaelle, ii. 295, 326.

Tommassei, his contempt for Gozzi, i. 179.

Tonina, a courtesan of Zara, i. 262.
Gozzi's impromptu attack on, in the theatre, i. 269.

Tron, Andrea, Procuratore di San Marco, i. 9, 14; ii. 264 _note_ 1.

Tron, Caterina Dolfin, see Dolfin-Tron, Caterina.

Truffaldino, the mask, a modification of Arlecchino, i.
46, 150; ii. 131 _note_ 1.
as used by Gozzi, i. 153.

Vendramini, Antonio, proprietor of the theatre of S. Salvadore,
ii. 167, 173, 276, 286.

Venice--
its decadence, i. 7 _note_ 1.
its political and social state about the middle of the 18th century, i. 82.
conflict of liberalism and conservatism in literature and
the theatre, i. 86.
success of the _Comédie Larmoyante_, i. 87.
foundation of the Academy de' Granelleschi, i. 89.
the granting of citizenship in, i. 186 _note_ 1.
the position of the _Cittadini Originari_, i. 186 _note_ 1.
posts open to the _Cittadini_, i. 187 _note_ 3.
Gozzi's remarks on the degeneration of the Venetian youth, i. 194.
robes of the Dignitaries, i. 217 _note_ 1.
the office of Grand Chancellor, i. 230 _note_ 1.
the values of the sequin and lira, i. 274 _note_ 1.
_Decime_ (taxes), i. 280 _note_ 1.
its theatres, i. 332 _note_ 1; ii. 167.
its law of entail, i. 336 _note_ 1.
the _Avogadori del Comun_, i. 341 _note_ 1.
decay of literary taste in, ii. 108-110.
the length of the theatrical year, ii. 146 _note_ 1.
its decrepitude, as shown in State interference in Gratarol's
quarrel with Gozzi, ii. 303 _note_ 1.
the influence of the French Revolution on, ii. 328.
partial revival of art in, in the 18th century, ii. 338.
Longhi's paintings of contemporary life in, ii. 338 _note_ 1;
ii. 341, 347, 358.

Verdani, Abbé Giovan Antonio, i. 196.

Vilio, Count, of Desenzano, ii. 24.

Vinacesi, Elisabetta, actress, ii. 213.

Vincentini, Tommaso, his excellence as Harlequin, i. 67.

Vitalba, Giovanni, actor, ii. 269.
the actor who caricatured Gratarol in the "Droghe d'Amore," ii. 272.
assaulted by a ruffian in Milan, ii. 318.

Wagner, Richard, his "Fairies," a setting of Gozzi's "Donna Serpente,"
i. 160 _note_ 1, 181.

Werthes, Franz A. C., translator of Gozzi's "Fiabe" into German, i. 180.

Widiman, Count Ludovico, a patron of Goldoni, ii. 124.

Zanche, Daniele, advocate, ii. 161.

Zanerini, Petronio, the best actor of Italy, ii. 323.

Zanoni, Atanagio, comedian, i. 112 _note_ 1; ii. 131, 323.

Zannuzzi, Francesco, of the Comédie Italienne at Paris, ii. 211,
212 _note_ 1.

Zeno, Apostolo, encourages Gozzi in his poetical attempts, i. 207.
his influence in the drama, i. 207 _note_ 1.

Zini, Francesco, a cloth merchant, wishes to buy the Gozzis' house, i. 299.
Carlo Gozzi tries to prevent the purchase, i. 300.

Zon, Signer, Secretary to the Inquisitors of State, ii. 303 _note_ 1.

Zucchi, Padre, an _improvisatore_, i. 203.

* * * * *

The following typographical errors have been corrected by the etext transcriber:

Many years have elasped since Tartaglia married=>Many years have elapsed since Tartaglia married

twirls his moustachioes=>twirls his moustachios

Philarete Chasles=>Philarète Chasles

whence we were to sally forth to the assault of Buda.=>whence we were to sally forth to the assault of Budua.

* * * * *

FOOTNOTES:

[1] Under date August 31, 1885, with the assumed signature of E. H. Westbourne. See _Academy_, No. 696, Sept. 5, 1885.

[2] See Romanin, _Storia Documentata di Venezia_, vol. viii. ch. 7.

[3] Gratarol was not formally divorced from his wife. This appears from several passages of his _Narrazione Apologetica_. It may, however, be here observed that scandalous irregularities with regard to matrimony formed one of the main signs of Venetian decadence. Between 1782 and 1796 the Council of Ten received no fewer than 264 petitions for divorce, and the Patriarch is said to have had 900 applications at one time before him, requiring his decision in matters relating to a dissolution of the marriage tie. See Magrini, _op. cit._, p. 23; and Macchi, _Storia del Concilio dei Dieci_, vol. ii. p. 355. It seems that the most shameless reasons were collusively alleged by the parties in these cases for breaking a tie which the Church regarded as indissoluble. In 1782 the Ten passed a law requiring a divorced woman to enter a convent.

[4] A short while before, he had been appointed Resident at Turin, and had received the usual equipment for that service. Circumstances independent of his own will in the matter prevented him from assuming the office. His political ill-wishers were able to point to the unused grant which he had pocketed.

[5] Caterina was the daughter of the ancient and noble, but impoverished house of Dolfin. She contracted her first marriage with a member of the Tiepolo family, obtained a divorce from him, and married her lover, Andrea Tron.

[6] It may be read in Gratarol's _Narrazione Apologetica_, vol. ii. p. 78, &c.

[7] These magistrates acted for the Fisco or Treasury of the Republic.

[8] It has been suggested that Gratarol so heavily mortgaged his lands before leaving Venice that they were not worth more than this sum, after allowing for rent charges on them and _fidei commissa_. See the observations of a self-styled impartial writer printed at the end of the _Narrazione Apologetica_, ed. 1797. I must, however, observe that this writer is by no means impartial. The essay in question is a piece of skilful special pleading in defence of Mme. Tron, her husband, the oligarchs of Venice, and the officers who executed the _bando_ against Gratarol.

[9] Gratarol pays high tribute to Gozzi's genius. But he sticks to the conviction that the _Droghe d'Amore_ was meant to turn him into ridicule, and that its author could, if he had chosen, have withdrawn it from the stage.

[10] He tells us that he began the Memoirs on April 30, 1780. _Memorie_, vol. i. p. 3. The passage occurs in Gozzi's manifesto, of which more anon. I may add that the manifesto is not included in all copies of the Memoirs.

[11] An anonymous answer, entitled _Riflessioni d'un Imparziale_, appeared at Lugano. This was ascribed to Carlo Gozzi's pen; but he repudiated the pamphlet, and it does not bear the mark of his style. It may be found at the end of vol. ii. of Gratarol's _Narr. Apol._, ed. 1797, Venice, Silvestro Gatti.

[12] _Memorie_, vol i. pp. 3-15.

[13] This is evident from the appearance of the _Ragionamento del Cittadino Carlo Gozzi a' Cittadini amici della Memoria di P. A. Gratarol_ at the beginning of the _Memorie_, vol. ii.

[14] _Memorie Ultime_, p. 39; Gozzi's _Memorie_, vol. ii. p. x.

[15] The family of Widiman or Widman was of patrician rank in Venice.

[16] Vol. i. p. 4.

[17] Vol. ii. p. xvi.

[18] De Musset, in order to support his view of Gozzi as the precursor of Romanticism and of Hoffmann, strains to the utmost the chapter on _Contrattempi_ in the Memoirs. He furthermore professes to have extracted a very bizarre account of the reasons why Gozzi abandoned his _Fiabe_--in plain words, because the elves and spirits he brought upon the stage were resolved to be revenged on him--from a letter addressed to Gasparo by Carlo Gozzi (_Mémoires de Charles Gozzi_, pp. 184-188). De Musset adds no reference to the source of this alleged letter, which is mentioned by neither Magrini nor Masi. Indeed, Signor Ernesto Masi informs me that he knows nothing about it. I too have failed to discover it. In his Memoirs, and in the prefaces to several plays, Gozzi gives a very different account of the reasons why he stopped producing _Fiabe_. I am loth to draw the conclusion that the letter in question was a deliberate forgery of Paul de Musset's. Further researches may bring it still to light, but at present it has to be regarded with the greatest possible suspicion.

[19] I have treated the subject of the Italian drama elsewhere: _Renaissance in Italy_, vol. v. ch. 11.

[20] The full title would be _Commedia dell' Arte all' Improviso_. It is also called _Commedia a soggetto_, _Commedia non scritta_, _Commedia improvisa._ The written comedy, beside _Commedia Erudita_, was also called _Commedia sostenuta, scritta_, or _letteraria_.

[21] See what I have said at length upon this point in my _Shakespeare's Predecessors_, p. 259, and _Renaissance in Italy_, vol. v. p. 188.

[22] To Maurice Sand, in his _Masques et Bouffons_, vol. ii. p. 77 _et seq._, is due the merit of having resuscitated the fame of this great local dramatist, yet I think M. Sand exaggerates Beolco's influence in the creation of impromptu comedy.

[23] See Collier's _English Dramatic Poetry_ (ed. 1879), vol. iii. p. 197.

[24] It is impossible to avoid the awkwardness of using the word _mask_ in a double sense,--both to indicate the fixed character assumed by a certain species of actor, and also the vizard which concealed his features.

[25] It may here be mentioned that in English we still retain the names of some of these masks, as Zany, Harlequin, Pantaloon, and Punch. Our Columbine is the Neapolitan form of the _Servetta_ or soubrette. Our Scaramouch is one of the numerous forms of the Captain, which obtained great popularity at Paris. Whether the Clown of our pantomimes has to be classed with the _Villano_, or rather with one of the Zanni, I am uncertain. His traditional connection with the part of Pantaloon seems to indicate the latter alternative.

[26] In a comedy by Virgilio Verucci (_Li Diversi Linguaggi_, Venezia, 1609), French, Venetian, Bergamasque, Roman, Sicilian, Bolognese, Neapolitan, Matriccian, Perugian, and Florentine dialects were spoken. See Bartoli, _op. cit._, p. lxxix.

[27] Conversely, masks were sometimes created out of persons. Thus the plebeian poet of Naples, Francesco Cerlone, moulded the mask of Don Fastidio upon a barber of his acquaintance, Francesco Massaro. Here the man became a type; and after he had made it famous, it was continued by other players, who adapted themselves to his humours. (See Scherillo's _Commedia dell' Arte_, chap, iii., for the history of Don Fastidio). This mask was very popular for a time in Southern Italy. When Casanova wanted to engage a troop at Otranto for performance at Corfu, he had to choose between the rival companies of Neapolitan Don Fastidio and Sicilian Battipaglia (_Mémoires_, vol. i. ch. xv.). The Capocomici, as I have previously mentioned, were known by the names of their masks.

[28] _Fescenninus_ is variously derived from the town Fescennia in South Etruria, or from _fascinum_, the Latin form of _phallus_.

[29] The common meaning of _satura_ and _farsa_, both of which have reference to stuffing, is somewhat singular.

[30] I have seen them doing this with reticence and decorum at Montepulciano.

[31] A curious passage in the Life of Don Pietro di Toledo (_Arch. Stor._, vol. ix. p. 23) shows what a startling impression these Dionysiac revels made upon a Spanish Viceroy in the early seventeenth century. Pontano's Latin poems are full of matter bearing on the vitality of antique rustic habits in the neighbourhood of Naples.

[32] It was included in the first edition of the _Canti Carnascialeschi_, 1559, and is reprinted in Verzone's edition of Grazzini's _Rime Burlesche_, Firenze, Sansone, 1882.

[33] "Acting the Bergamasque and the Venetian, we roam the whole world over, and the recitation of comedies is our trade.... We are all of us Zanni, excellent and perfect players; the other choice actors of our troupe, lovers, ladies, hermits, and soldiers, have stayed behind to guard our booth.... We have a stock of new comedies, so fine, so mirthful, and so witty, that when you hear them you will die of laughing. Afterwards you will see a dance upon our stage, all full of new and varied sports.... But since there is a certain custom in this country, ladies, which prevents your coming to our public show, if you will open your house-doors to us, we will let you taste in part the sweetness and the pleasure of our sports."

[34] The other channels were French plays, modifications of English plays, adaptations of Spanish plays, and musical melodramas.

[35] I do not vouch for this etymology, which Boerio, the compiler of the Venetian Glossary, has adopted. For myself, I should be well contented with the derivation from San Pantaleone, and would willingly make him the patron saint of pantaloons and professed trousers-makers.

[36] It is singular that Shakespeare, who uses Pantalone as the symbol of old age in _As You Like It_, knew him already in decrepitude.

[37] It was my good fortune, while writing these pages at Davos in the summer of 1888, to become acquainted with two brothers from Bergamo, who were living representatives of the Zanni. They had come to help at the hay-harvest, leaving their own farm in the Bergamasque hills. Brighella's wit and knavery amused me. I marvelled at Arlecchino's simplicity and suppleness.

[38] Carlo Gozzi at Zara in his youth created a new type of the Servetta, adapted to Dalmatian circumstances, under the name of Luce.

[39] Scherillo, in his _Commedia dell' Arte_, has resuscitated Cerlone's fame, as Maurice Sand made us acquainted with Beolco.

[40] See above, p. 38.

[41] For a short notice of these curious Maccaronic poems, _I Cantici di Fidentio Glottogrysio Ludimagistro_, see my _Renaissance in Italy_, vol. v. p. 328. The obscurity of their jargon veiled considerable indecency. It is noticeable that this book, now exceedingly rare, should have become the text-book of the Pedante. But see Bartoli, _op. cit._, pp. lii., lvii.

[42] Burattino is so kaleidoscopic that at last he becomes the patronymic hero of marionettes in Italy. _I Burattini_ are the acting dolls.

[43] In the _Ragionamento Ingenuo_ and _Appendice_, Op., 1772, vols i. and iv.

[44] _Scenari Inediti_, Firenze, Sansoni, 1880.

[45] It has to be mentioned that in plays of a more serious description, the parts of character were frequently written out, and only the parts of the masks left to improvisation. This was the method pursued by Gozzi in his _Fiabe_.

[46] Andrea Perrucci, _Dell' Arte Rappresentativa premeditata ed all' improvviso_, Napoli, 1699, quoted by Bartoli, _op. cit._, p. lxxi.

[47] _Histoire Anecdotique du Théâtre Italien_, Paris, 1769, quoted by Bartoli, _op. cit._, p. lxxvi.

[48] _Le Théâtre Italien_, quoted by Bartoli, _op. cit._, p. lxx.

[49] These phrases are used by Gozzi in his _Memorie Inutili_. Compare what he says in his _Appendice al Ragionamento Ingenuo_, Op., 1772, vol. iv. p. 40.

[50] Quoted by Bartoli, _op. cit._, p. lxxi.

[51] I am indebted to Maurice Sand, _Masques et Bouffons_.

[52] Vol. iii. p. 201.

[53] _Ragionamento Ingenuo_, Op., 1772, vol. i.

[54] Scherillo, in his book on _La Commedia dell' Arte_, ch. vi., has given the history of San Carlo's efforts to suppress the theatre at Milan.

[55] Nicolò Maria Tiepolo, about 1778, quoted by Molmenti in his Essay on Goldoni, Venezia, Ongania, 1880, p. 68.

[56] Pasquali's edition, 1761; also, _Teatro Comico_, act i. sc. 2.

[57] _Mémoires de Jacques Casanova_, Bruxelles, Rozez, vol. i. ch. II.

[58] _Mémoires de M. Goldoni_, Paris, Veuve Duchesne, 1787, vol. i. ch. 5.

[59] A common inn-sign. This reminds us of the earliest performances of plays in the yards of London hostelries.

[60] Ed. cit., vol i. p. 228.

[61] See his Mémoires, part i. ch. 40.

[62] This is perhaps the proper place to explain the meaning of Martellian verses. They owe their name to Pier Jacopo Martelli (1665-1725), who revived them, and used them for the drama. Metrically speaking, Martellian verses are twelve-syllable lines of the Alexandrine type. These long lines had been commonly employed in Italy during the thirteenth century, before the heroic verse of eleven syllables obtained ascendancy. It is difficult to say why the Alexandrine, which Italy in the thirteenth century shared with France, died out in the former country and became the standard heroic line of the latter. Possibly the reason may be found in the Italian tendency toward double rhymes; the so-called _versi piani_ of Dante being decasyllabic iambics with a redundant syllable rather than hendecasyllabics. Anyhow, the Alexandrine has not flourished south of the Alps. Martelli's revival did not prosper; and Carducci, in his _Su' Campi di Marengo_ (_Nuove Poesie_, p. 91), is the only recent poet who has attempted them with success.

[63] Opere, ed. 1772, tom. viii. p. 27. "The partisans on both sides gathered forces daily. One swears by _Original_ (a name for Goldoni), the other by _Plunder_ (Chiari, because of his plagiarisms). The whole city was turned upside down, and indeed it is no laughing matter. Brothers fought with brothers, wives did worse with their husbands. Everywhere the wrangling was fierce; nought but confusion, nought but discord."

[64] The details of the controversy between Gozzi and Goldoni are given at fuller length than I have attempted in Signor Ernesto Masi's masterly Introduction to his edition of the _Fiabe Teatrali_.

[65] Opere, vol. viii. _Tartana_ is a large merchant vessel.

[66] The editor of this Venetian Zadkiel was originally Giovanni Pozzobon. After his death it was continued by Giambattista Bada. Pozzobon was nicknamed Schieson. The almanac was adorned with a ridiculous portrait of a doctor in a huge wig. Owing to this fact, Schieson came to signify any one with rumpled hair. See Boerio's _Dizionario del Dialetto Veneziano_.

[67] Opere, vol. viii. p. 164.

[68] The original exists in MS. at the Marcian Library. Goldoni wrote the poem on the occasion of S. E. Bastian Venier's return from the rectorship of Bergamo. When he reprinted it in the edition of his poetical works (Pasquali, Venezia, 1764), he omitted the passage referring to Gozzi's _Tartana_. The lines above are given in Magrini's and Masi's essays. I add a translation. "I have seen a certain _Tartana_ in print, full of rancid and insipid verses, verses bad enough to terrify a goblin, verses seasoned by the wise plagiary with acrid salt of evil-speaking, full of false arrogant sentiments. One can, however, condone this licence in one who is out of temper with Fortune, she being not greatly well-affected toward him. He who speaks evil without any reason shown, he who does not prove his assumptions and his arguments, acts like the dog who barks against the moon."

[69] It was written for the marriage of Contarini Venier. "A Lombard who pretends to be a Delia Cruscan, with a smile on his lips and venom in his heart."

[70] "Only too well I know that I am not a good writer, and that I never drank at the best fountains. I write and reason as my style dictates, and sometimes by good chance I also have afforded pleasure. But woe to me if the Florentine sieve should be applied to sifting my productions."

[71] Opere, vol. viii. p. 183. "I am engaged in preparing a commentary which shall prove both the assumption and the argument."

[72] _Il Teatro Comico_ was the first of the famous sixteen comedies of 1749-50. The list of the pieces to be expected was announced in it. See Goldoni's _Memoirs_, part i. ch. 7.

[73] "Yes, thou art the eagle, I am the ant. Thou soarest to the zenith without exertion; my Muse cannot rise to the poles of the universe."

[74] Only in this respect, however; otherwise, as artist, Gozzi differs widely from Aristophanes.

[75] Opere, vol. iii. p. 9.

[76] The actors in Sacchi's company were: Antonio Sacchi, _Truffaldino_; Atanagio Zanoni, _Brighella_; Agostino Fiorelli, _Tartaglia_; Cesare Darbes, _Pantalone_; Adriana Sacchi Zanoni, _Smeraldina_; Antonia Sacchi, _Beatrice_; together with Ignazio Casanova and Gaetano Casali. How the parts of Leandro, Clarice, Rè di Coppe, Celio, Morgana, Creonta, Ninetta were distributed, we do not know. Antonia Sacchi (the _Beatrice_ of the troupe) probably played Clarice.

[77] In Italian, _Rè di Coppe_. The Italian suits are _Coppe_ or cups, _Danari_ or coins, _Spade_ or swords (whence our Spades), _Bastoni_ or clubs.

[78] In Italian, _Cavaliere di Coppe_.

[79] I have adopted the old English fourteen-syllable line for the translation of Gozzi's Martellian verses. It seemed to me that the lumbering effect of this metre lent itself to the spirit of his parody. What Martellian verses were has been explained at p. 97.

[80] I cannot pretend to give a literal translation of these gross parodies of Goldoni's forensic verbiage. The most I can do is to stuff the verse with more or less of legal phraseology.

[81] See above, p. 112, for the names of the five actors who sustained these parts in Sacchi's company.

[82] I wrote this in the spring of 1888, before I was aware that Wagner had set the _Donna Serpente_ to music. His early piece, _The Fairies_, was composed in 1833, and first performed this year in June at Munich.

[83] Act ii. sc. 5. In Masi's edition, vol. ii. p. 458. Readers who care for further diatribes _à la Gozzi_ on these topics, may be referred to the _Astrazione_ which serves as introduction to his translation of Boileau, Op., vol. vii. p. 53.

[84]

"Many are now alive,
Who haply are more statues than I am.
Thou shalt experience what power hath a statue,
And how a live man may become an image."