personæ that distinguishes the masked comedy
from the "commedia erudita," to which, in the
conduct of the plot, it bears a much stronger
affinity than it does to the "commedia dell'
arte," which in other respects it so closely
resembles.

One of the "commedia dell' arte," composed
by Flamminio Scala (mentioned above), has been
fully described by Dr. J. L. Klein, a most
industrious student of dramatic literature, who is
at present engaged on an elaborate history of
Italian drama, of which he has completed
the first volume. As Tarleton's tragical outline
is called a "platt," or "plot," the comical outlines
of Flamininio Scala are styled "canevasi,"
or canvases, and of these a collection of fifty was
published at Venice in 1611.

Dr. Klein, to whom I am indebted for much
of the information given above, has translated
into German the argument of the selected piece,
which is entitled Il Fido Amico (The Faithful
Friend), the lists of characters and "properties,"
and the entire canvas of the first of three acts.
The list of "properties" (called in the original
"robbe per la commedia") looks comical
enough, and is as follows:—"Many lanterns,
blood and plaister to make the semblance of a
wound, a chair with a high back, many pieces of
linen and bandages to tie up a broken head, a
lantern for the sbirri." This last lantern is no
doubt a special article, with an official dignity
about it, that altogether distinguished it from
the many lanterns previously named.

There is no indication of painted scenery;
but the action of II Fido Amico is supposed to
take place in the city of Naples, and the first act
commences with the entrance, by night, of
Pantaloon, with a lighted lantern, who states
that he has informed the authorities of the flight
of his daughter Isabella, and strongly suspects
that the Doctor Gratiano is the guilty party.
His servant, Harlequin, now appearing,
expresses his suspicions of Oratio, a young
nobleman, who enters after the retirement of
the others, and informs Pedrolino, also one of
Pantaloon's servants, that he has carried off
Isabella, and has entrusted her to the care of his
friend Flavio, the doctor's son. Pedrolino
warns him not to place too much confidence in
Flavio, and talks to him of the love with which
he has inspired Flavio's sister, Flamminia.
This warning is overheard by Harlequin.
Isabella, at a signal from Oratio, steals out of
the doctor's house and tells Oratio that his
friend is not yet returned. She asks him if he
ever loved another—a question to which he
confidently replies in the negative—and she
implores him to remove her with all possible
speed from her present place of concealment.
This Oratio promises, and sends her back into
the house, with the assurance that it contains
all that is dear to him on earth. This conversation
is overheard by Flamminia, who appears
at the window of her father's house. Oratio
retires on the entrance of Pantaloon and
Harlequin, the latter of whom acquaints the former
with all that he has overheard, and the Doctor
Gratiano now approaches with a lantern, in his
hand, on his way home to supper. Pantaloon
invites himself to partake of the meal, but Gratiano
says he has nothing for him, and retires on
the pretext that he has lost a paper of importance.
This proceeding confirms Pantaloon in
the belief that the doctor has something to do
with his daughter's flight, and Harlequin offers
to enter the house by means of a ladder, asserting
that he has often done so before, in order to
pay clandestine visits to the servant Olivetta, his
sweetheart. When they have returned to their
house to make the necesary preparations for
carrying this scheme into execution, Flamminia
reappears at her window, expressing her
astonishment that her father and brother have not
returned, and her ardent love for Oratio. Her
soliloquy is overheard by Isabella, who lodges
on the floor beneath, and who calls her down,
whereupon they both discourse in the street, for
the benefit, I presume, of the audience.
Isabella receives the unpleasant information that
she has been deceived by Oratio, who loves
Flamminia, and has been carried off for the sake
of Flavio. At this dismal news she bursts
into tears, and imploring Flamminia to watch
over her honour, returns to the house, as does
also Flamminia after she has uttered a short
prayer to Cupid, entreating that potent deity
to alienate the heart of Oratio from Isabella.
Captain Spavento—a permanent conventional
character of the Italian stage, based on the
"Miles Gloriosus" of Plautus, and with attributes
like Jonson's Bobadil, now comes with a
company of musicians to salute Isabella, who
has been promised to him by her father, and of
whose flight he is ignorant. Gratiano reappears
on his way home to supper, and the captain, like
Pantaloon, invites himself to partake of it; but
Gratiano professes to fast, and goes home,
whereupon the captain orders his musicians to
strike up, and the music brings out Harlequin,
who asks for whom the mattimata is intended.
From the use of this word "mattinata," when
we should expect to find "serenata," or serenade, it
may be conjectured that sunrise is now approaching.
To denote music at break of day, the French
I may observe, have the word "aubade," but I
am not aware that there is an exact equivalent to
mattinata in English. In answer to Harlequin's
questions, the captain says that the music is
intended for his affianced spouse Isabella, and he
now for the first time hears of her flight. His
rage is shown by a volley of imprecations, which
frightens Harlequin into the house, and brings
out Pedrolino, who pretends to carry a crossbow
under his cloak, and causes the captain and
his band to flee from the stage in terror. Pedrolino
laughs heartily, and Pantaloon now comes
out to see the cause of disturbance, with a lantern,
which Harlequin, who appears with his ladder,
blows out. The ladder is duly placed against
Gratiano's house and mounted by Harlequin,
when Pedrolino, who has concealed himself,
issues forth, using a feigned voice, cudgels
Pantaloon, and so much terrifies Harlequin that
he falls from the ladder. With this practical