h for the Church and for
the stage.]

[Footnote 2.19: Giacomo Carissimi, attached during the greater part of
his life to the church of San Apollinaris at Rome. He died in 1674. He
did much for musical art, perfecting recitative and advancing the
development of the sacred cantata. His accompaniments are generally
distinguished for "lightness and variety."]

PART III.

[Footnote 3.1: The first silver ducat is believed to have been struck
in 1140 by Roger II., Norman king of Sicily; and ducats have been
struck constantly since the twelfth century, especially at Venice (see
_Merchant of Venice_). They have varied considerably both in weight and
fineness, and consequently in value, at different times and places.
Ducats have been struck in both gold and silver. The early Venetian
silver ducat was worth about five shillings. The name is said,
according to one account, to have been derived from the last word of
the Latin legend found on the earliest Venetian gold coins:--_Sit tibi,
Christe, datus, quem tu regis, ducatus_ (duchy); according to another
account it is taken from "_il ducato_," the name generally applied to
the duchy of Apulia.]

PART IV.

[Footnote 4.1: Female parts continued to be played by boys in England
down to the Restoration (1660). The practice of women playing in female
parts was introduced somewhat earlier in Italy, but only in certain
kinds of performances.]

[Footnote 4.2: This word is undoubtedly connected with _Pasquillo_ (a
satire), or with _Pasquino_, a Roman cobbler of the fifteenth century,
whose shop stood near the Braschi Palace, near the Piazza Navona. He
lashed the follies of his day, particularly the vices of the clergy,
with caustic satire, scathing wit, and bitter stinging irony. After his
death his name was transferred to a mutilated statue, upon which such
satiric effusions continued to be fastened.

Pasquarello would thus combine the characteristics of the English clown
with those of the Roman Pasquino.]

[Footnote 4.3: Doctor Gratiano, a character in the popular Italian
theatre called _Commedia dell' Arte_, was represented as a Bolognese
doctor, and wore a mask with black nose and forehead and red cheeks.
His _role_ was that of a "pedantic and tedious poser."]

PART VI.

[Footnote 6.1: This was Ferdinand II., a member of the illustrious
Florentine family of the Medi