CARLO GOZZI. (continued 6)

III.

It is singular that Longhi should have reached the age of thirty-two without discovering his real vocation. The absence of brain-force in the conception, of strength in the design, and of any effective adaptation to architecture, which damns the Sagredo frescoes, is enough to prove that he was here engaged on work for which he had no faculty and felt no sympathy.

What revealed to him the true bias of his talent?{345} Did he perchance, just about this period, come across some prints from Hogarth? That is very possible. But the records of his life are so hopelessly meagre that it were useless to indulge in conjecture.

I am not aware whether he had already essayed any of those domestic pieces and delineative scenes from social life which displayed his genuine artistic power, and for the sake of which his name will always be appreciated. He is said to have been of a gay, capricious temperament, delighting in the superficial aspects of aristocratic society, savouring the humours of the common folk with no less pleasure, and enjoying all phases of that easy-going Carnival gaiety in which the various classes met and mingled at Venice. These inclinations directed him at last into the right path. For some forty years he continued to paint a series of easel-pictures, none of them very large, some of them quite small, in which the Vanity Fair of Venice at his epoch was represented with fidelity and kindly feeling.

The panels attributed to Pietro Longhi are innumerable. They may be found scattered through public galleries and private collections, adorning the walls of patrician palaces, or thrust away in corners of country-houses. He worked carefully, polished the surface of his pictures to the finish of a miniature, set them in frames of a fixed pattern, and covered them with glass. These genre-pictures, while presenting notes of similarity, differ very considerably{346} in their technical handling and their scheme of colour. Our first inference, after inspecting a miscellaneous selection, is that Longhi must have started a school of imitators. Indeed this is probably the case; and it is certain that some pieces ascribed to his brush are the production of his son Alessandro, who was born in 1733. Yet closer study of authentic paintings by Pietro's hand compels the critic to be cautious before he rejects, on internal evidence of style, a single piece assigned by good tradition to this artist. The Museo Civico at Venice, for example, contains a large number of Longhis, some of which seem to fall below his usual standard. I have, however, discovered elaborate drawings for these doubtful pictures in the book of his original sketches, which is also preserved there. Longhi must therefore have painted the pictures himself, or must have left the execution of his designs to a pupil. Again, the style of his two masterpieces (the Sala del Ridotto and the Parlatorio d'un Convento, both in the Museo Civico) differs in important particulars from that of the elaborately finished little panels by which he is most widely known. These fine compositions are marked by a freer breadth of handling, a sketchy boldness, a combined richness and subtlety of colouring, and an animation of figures in movement, which are not common in the average of his genre-pieces. When I come to speak of the family portrait of the Pisani, signed by his name, I shall have to point out that{347} the style of execution, the scheme of colour, and the pictorial feeling of this large composition belong to a manner dissimilar from either of those which I have already indicated as belonging to authentic Longhis.

IV.

It has been well observed by a Venetian writer, whose meagre panegyric is nearly all we have in print upon the subject of this painter's biography, that "there is no scene or point of domestic life which Longhi has not treated many times and in divers ways. All those episodes which make up the Day of a Gentleman as sung at a later date by Parini, had been already set forth by the brush of Longhi."[93]

The duties of the toilette, over which ladies and young men of fashion dawdled through their mornings; the drinking of chocolate in bed, attended by a wife or mistress or obsequious man of business; the long hours spent before the looking-glass, with maids or valets matching complexions, sorting dresses from the wardrobe, and fixing patches upon telling points of cheek or forehead; the fashionable hairdresser, building up a lady's tower with tongs, or tying the knot of a beau's bag-wig; the children trooping in to kiss their mother's hand at{348} breakfast-time—stiff little girls in hoops, and tiny cavalieri in uniform, with sword and shoe-buckles and queue; the vendors of flowered silks and laces laying out their wares; the pert young laundress smuggling a billet-doux into a beauty's hand before her unsuspecting husband's face; the fine gentleman ordering a waistcoat in the shop of a tailoress, ogling and flirting over the commission, while a running footman with tall cane in hand comes bustling in to ask if his lord's suit is ready; the old patrician lolling in his easy-chair and toying with a fan; the abbé turning over the leaves of some fresh play or morning paper: scenes like these we may assign to the Venetian forenoon.

Afternoon brings ceremonious visits, when grand ladies, sailing in their hoops, salute each other, and beaux make legs on entering a drawing-room, and lacqueys hand round chocolate on silver salvers. Dancing-lessons may perhaps be assigned to this part of the day; a spruce French professor teaching his fair pupil how to drop a curtsey, or to swim with solemn grace through the figures of the minuet. At night we are introduced to the hall of the Ridotto; patricians in toga and snow-white periwig hold banks for faro beneath the glittering chandeliers; men and women, closely masked, jostle each other at the gambling-tables, where sequins and ducats lie about in heaps. The petty houses, or casini, now engage attention. Here may be seen a pair of stealthy,{349} muffled libertines hastening to complete an assignation. Then there are meetings at street-corners or on the landing-places of traghetti—mysterious figures flitting to and fro in wide miraculous bautte beneath the light of flickering flambeaux. Both men and women in these nocturnal scenes wear muffs, trimmed with fur, and secured around their waist by girdles.

Theatres, masked balls, banquets and coffee-houses, music-parties in villa-gardens, the assemblies of literary coteries, promenades on the piazza, and Carnival processions, obtain their due share of attention from this vigilant observer. But, as is the way with Longhi, only episodes are treated. He does not, like some painters of our own time—like Mr. Frith, R.A., for instance—attempt to bring the accumulated details of a complex scene before us. He leaves the context of his chosen incident to be divined.

The traffic of the open streets—quack-doctors on their platforms with a crowd of gaping dupes around them, mountebanks performing tricks, the criers of stewed plums and sausages, fortune-tellers, itinerant musicians, improvisatory poets bawling out their octave stanzas, cloaked serenaders twangling mandolines—such motives may be found in fair abundance among Longhi's genre-pieces. Nor does he altogether neglect the country. Many of his pictures are devoted to hunting-parties, riding-lessons, shooting and fishing, all the amusements of the Venetian villeggiatura. Peasants lounging over their wine or pottage{350} at a rustic table are depicted with no less felicity than the beau and coquette in their glory. The grimy interior of a village-tavern is portrayed with the same gusto as a fine lady's gilt saloon.

V.

Longhi used to tell Goldoni that they—the painter and the playwright—were brethren in Art; and one of the poet's sonnets records this saying:—

"Longhi, tu che la mia Musa sorella

Chiami del tuo pennel che cerca il vero."

It seems that their contemporaries were alive to the similar qualities and the common aims of the two men; for Gasparo Gozzi drew a parallel between them in a number of his Venetian Gazzetta. Indeed the resemblance is more than merely superficial. Longhi surveyed human life with the same kindly glance and the same absence of gravity or depth of intuition as Goldoni. They both studied Nature, but Nature only in her genial moods. They both sincerely aimed at truth, but avoided truths which were sinister or painful.

This renders the designation of Venetian Hogarth peculiarly inappropriate to Longhi. There is neither tragedy nor satire, and only a thin silvery vein of humour, in his work. Indeed it may be questioned{351} whether he was in any exact sense humorous at all. What looks like humour in some of his pictures is probably unconscious. In like manner he lacked pathos, and never strove to moralise the themes he treated. Where would Hogarth be if we excluded Gargantuan humour, Juvenalian satire, stern morality, and cruel pathos from his scenes of social life? Longhi is never gross and never passionate. With a kind of sensitive French curiosity, he likes to graze the darker and the coarser side of life, and pass it by. He does not want to probe the cancers of the human breast, or to lay bare the festering sores of vice. What would become of Hogarth if he were deprived of his grim surgical anatomy? Neither in the heights nor in the depths was Longhi at home—neither in the region of Olympian poetry nor in the purgatory of man's sin and folly. He sailed delightfully, agreeably, across the middle waters of the world, where steering is not difficult.

In all this Goldoni resembles him, except only that Goldoni had a rich vein of cheerful humour. It would be therefore more just to call Longhi the Goldoni of painting than the Venetian Hogarth.

Longhi's portrait, unlike that of Goldoni, betrays no sensuousness. He seems to have had a long, refined face, with bright, benignant black eyes, a pleasantly smiling mouth, thin lips, and a look of gently subrisive appreciation rather than of irony or sarcasm. The engraving by which I know his{352} features suggests an intelligent, attenuated Addison—not a powerful or first-rate man, but a genially observant superior mediocrity.

Although Longhi, as a personality, is clearly not of the same type as Hogarth, there are certain points of similarity between the men as artists. Both were taught the goldsmith's trade, and both learned painting under Bolognese influences. Both eventually found their sphere in the delineation of the life around them. There the similarity ceases. Longhi lacks, as I have said, the humour, the satire, the penetrative imagination, the broad sympathy with human nature in its coarser aspects, which make Hogarth unrivalled as a pictorial moralist. At the same time, it is difficult to imagine that Longhi was not influenced by Hogarth. In the technique of his art he displays something which appears to be derived from the elder and stronger master—a choice of points for observation, an arrangement of figures in groups, a mode of rendering attitude and suggesting movement; finally, the manner of execution reminds us of Hogarth. Longhi abandoned his false decorative style, the style of the Palazzo Sagredo, at some time after 1734. This date corresponds with Hogarth's triumphant entrance upon his career as a satirical painter of society. Possibly Longhi may have met with the engravings of the Marriage à la Mode, and may have been stimulated by them to undertake the work, which he carried on with nothing{353} of Hogarth's moral force, and with a small portion of his descriptive faculty, yet still with valuable results for the student of eighteenth-century manners.

VI.

In 1763 an Academy for the study of the arts of design was opened by some members of the Pisani family in their palace at S. Stefano. The chiefs of that patrician house were four sons of the late Doge Alvise Pisani. According to Lazari, my sole authority for this passage in Longhi's biography, the founder of the Academy was a Procuratore di S. Marco, who had a son of remarkable promise. This son he wished to instruct in the fine arts; and Pietro Longhi was chosen to fill the chair of painting, which he occupied for two years. At the end of that time young Pisani died, and the institution was closed—now that the hopes which led to its foundation were extinguished.[94]

Among the few facts of Longhi's life this connection{354} with the Pisani Academy has to be recorded. It is also of some importance in helping us to decide whether a large portrait-picture, representing the chiefs of the Pisani family, together with the wife and children of one of its most eminent members (Luigi, a godchild of Louis XIV.), is rightly ascribed to him. The huge canvas, which is now in the possession of the Contessa Evelina Almorò Pisani, was found by her rolled up and hidden away in a cabinet beneath the grand staircase of the Palazzo Pisani at S. Stefano.[95] It proved to be in excellent preservation; and it is signed in large clear text letters—opus Petri Longi. So far there would seem to be no doubt that the picture is genuine; and I, for my part, am prepared to accept it as such, when I consider that Longhi enjoyed the confidence of the Pisani family and presided over their Academy about the period when it was executed. Yet the student of his works cannot fail to be struck by marked differences of style between this and other authentic pictures from his hand.

The central group consists of the noble Lady{355} Paolina Gambara, wife of Luigi Pisani, seated with her children round her.[96] Her husband stands behind, together with his three brothers and an intimate friend of the house. Allegorical figures representing the arts and sciences complete the composition. In the distance is seen the princely palace of Stra upon the Brenta, which was designed in part by one of the Pisani brothers. The arrangement of these inter-connected groups is excellent; the characterisation of the several heads, admirable; the drawing, firm and accurate; and the whole scene is bathed in a glow of roseate colour which seems actually to radiate light. Longhi, so far as I am aware, produced nothing in the same style as this complicated masterpiece of portraiture and allegorical suggestion. In conception, execution, and scheme of colour, it reminds us of a French painter; and if he had left a series of such works, he might have deserved what now seems the inappropriate title of the Venetian Boucher.

I cannot pretend to have seen more than a small portion of Longhi's pictures. But this portrait of the Pisani family detaches itself as something in a different key of feeling and of workmanship from any with which I am acquainted. Admirers of his art should not fail to pay it the attention it deserves; and if the{356} day comes when a thorough study of this interesting master shall be made, it is not impossible that genuine paintings in the same manner may be discovered.

VII.

A series of frescoes attributed to Pietro Longhi should also here be mentioned. They decorate three sides of the staircase of the Palazzo Sina (formerly Grassi) on the Grand Canal. The balustrades of an open loggia or gallery are painted with bold architectural relief. Behind the pilasters of this balcony a motley company of life-sized figures promenade or stand about in groups. Some are entering in Carnival costume, with masks and long mantles. Others wear the gala dress of the last century. Elderly ladies are draped in the black zendado of Venetian aristocracy. Grave senators bend their courtly heads beneath the weight of snowy periwigs. Lacqueys in livery and running footmen in Albanian costume wait upon the guests, handing chocolate or wines on silver trays. This scene of fashionable life is depicted with vivacity; the studies of face and attitude are true to nature; an agreeable air of good tone and sober animation pervades the whole society. Probably many of the persons introduced were copied from the life; for it is reported of Longhi that one of his greatest merits was the{357} dexterity with which he reproduced the main actors in the bel monde of Venice—so that folk could recognise their acquaintances upon his canvas merely by the carriage of their mask and domino.

Owing to restoration, it is difficult to say how far the fresco-painting was well executed, and to what extent the original tone has been preserved. At present the colouring is somewhat chalky, dull, and lifeless; and I suspect Longhi's brush-work suffered considerably when the palace was internally remodelled some years ago.

VIII.

It only remains to speak of Pietro Longhi's sketch-book. This collection of original drawings, numbering 140 pieces, and containing a very large variety of studies (several pages being filled on front and back with upwards of ten separate figures) was formed by Alessandro Longhi. It came into the possession of the patrician Teodoro Correr, who bequeathed it, together with the rest of his immense museum, to the town of Venice.

As a supplement to Longhi's paintings, this sketch-book is invaluable. It brings us close to the artist's methods, aims, and personal predilections in the choice of motives. Most of the drawings are done in hard black pencil or chalk, heightened and{358} corrected with white; a few in soft red chalk. Unfortunately, they have suffered to a large extent from rubbing; and this injury is likely to increase with time, owing to the clumsy binding of the volume which contains them.

Studies from the nude are conspicuous by their extreme rarity and want of force. Great attention has been paid to the details of costume and furniture. The zendado, the bautta, the hoop, the bag-wig, the fop's coat and waistcoat, the patrician's civil mantle, the knee-breeches and stockings of a well-dressed gentleman, are copied and re-copied with loving care. Painters at the easel, ballet-girls with castanets, maid-servants holding trays, grooms and lacqueys, men on horseback, serenaders with lute or mandoline, ballad-singers, music and dancing-masters, women working at lace-pillows, gentlemen in bed, sportsmen discharging their fowling-pieces, gondoliers rowing, little girls in go-carts or fenced chairs, sellers of tarts upon the street, country boys in taverns, chests of drawers, pots, pans, jugs, gourds, wine-flasks, parrots in cages, ladies at the clavichord, queues, fans, books, snuff-boxes, tables, petticoats, desks, the draperies of doors and windows, wigs, footmen placing chairs for guests, beaux bowing in the doorway or whispering tender nothings at a beauty's ear, old men reclining in arm-chairs, embroiderers at work, muffs, copper water-buckets, nurses with babies in their arms, silver plate of all{359} descriptions:—such is the farrago of this multiform and graceful, but limited, series of transcripts from the world of visible objects. It is clear that Longhi thought "the proper study of mankind is man;" and man as a clothed, sociable, well-behaved animal.

His sketches are remarkable for their strenuous sincerity—their search after the right attitude, their serious effort to hit the precise line wanted, their suggested movement and seizure of life in the superficies. They have a sustained air of good-breeding, refined intelligence, and genial sympathy with the prose of human nature. Landscape might never have existed so far as Longhi was concerned. I do not think that a tree, a cloud, or even a flower will be found among the miscellaneous objects he so carefully studied and drew so deftly. The world he moved in was the world of men and women meeting on the surface-paths of daily intercourse. Even here, we do not detect the slightest interest in passionate or painful aspects of experience. All Longhi's people are well-to-do and placid in their different degrees. The peasants in the taverns do not brawl, nor the fine gentlemen fight duels, nor the lovers in the drawing-rooms quarrel. He seems to have overlooked beggary, disease, and every form of vice or suffering. He does not care for animals. With the exception of a parrot, a caged canary, and a stiffly drawn riding-horse, the brute creation is not represented{360} in these sketches. No sarcasm, no grossness, no violence of any kind, disturbs the calm artistic seriousness, the sweet painstaking curiosity of his mental mood. The execution throughout is less robust than sensitively delicate. We feel a something French, a suggestion of Watteau's elysium of fashion, in his touch on things. In fine, the sketch-book corroborates the impression made on us by Longhi's finished pictures.

IX.

With all his limitations of character and artistic scope, Longi remains a very interesting and highly respectable painter. In an age of social corruption he remained free from impurity, and depicted only what was blameless and of good repute. We cannot study his work without surmising that manners in Italy were more refined than in our own country at that epoch—a conclusion to which we are also led by Goldoni's, Carlo Gozzi's, and even Casanova's Memoirs. Morally licentious and politically decadent the Venetians undoubtedly were; but they were neither brutal, nor cruel, nor savage, nor sottish. Even the less admirable aspects of their social life—its wasteful luxury and effeminate indulgence in pleasure—have been treated with so much reserve{361} by this humane artist, that youth and innocence can suffer no contamination from the study of his works. At the same time they are delightful for their gracious realism, for their naïve touch upon the follies of the period. Those who love to dream themselves back into the days of hoops and perukes—and there are many such among as now—should not neglect to make themselves acquainted with Pietro Longhi. {362}

INDEX.

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.

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

FOOTNOTES:

Typographical errors corrected by the ebook transcriber:

Agostino Fiorilli => Agostino Fiorelli

Truffaldini => Truffaldino

Mariana => Marianna

Strà => Stra