ut on the Continent generally--took
all the characteristics of the Zanys, Bertoldo, Paggliaccio, Gros,
Giullaume, Pedrolino, Gilles, Corviello, and Peppe Nappa, of the Italian
Comedy, and all owing at least their original conception to the theatres
of the Greeks, and the Romans. On the Italian stage there was not a
principal Clown like in England, the foremost place being occupied by
Arlechino. The four principal masked characters of the Italian _Comedia
del' Arte_ in Venice consisted of Tartaglia (a stammerer), Truffildino,
Brighella (a representative of orators and public personages), and
Pantaloon (a native of Venice). The name of Pantaloon is derived from
_planta-leone_ (_plante-lion_--he planted the lion). The probable
meaning of it in this particular is that the Venetian merchants, it is
said, in boasting of their conquests set up their standard--the Venetian
standard being the lion of St. Mark--on various islands in the
Mediterranean, and from which they were nicknamed, it is said, "plant
lion." A more probable derivation of the word is that the ancient patron
saint of Venice is San Pantaleone. St. Pantaleone's day is July 27. He
was martyred A.D. 303. In "Childe Harold," Lord Byron, in Canto IV.,
stanza 14, has that "The Venetian name of Pantaleone is her very
by-word."

Pantaloon has been, at various times, husband, father, and widower.
Sometimes he is rich, then poor, and occasionally a spendthrift. The
dress that he wore consisted of tight red breeches, rather short, a long
black robe, red stockings and waistcoat, a little woollen skull-cap and
slippers.

When the Venetian republic lost Negropont mourning generally was
adopted, and Pantaloon adopted it with the rest, and on the Continent
mourning has, I believe, formed a component part of Pantaloon's dress
ever since.

In 1750 Darbes, in Italy, was one of the best Pantaloons. Darbes, on
one occasion, ventured to play this character in one of Goldoni
characters, without a mask, and which, we are told, was a failure. A
similar attempt was made on the English stage, which I have previously
referred to.

Mention has been previously made of females appearing on the stage
during the Grecian and Roman periods. From this, however, there arose on
the Italian stage, in after years, the _Servetta_ or _Fantesca_, a kind
of waiting maid, or "accomplished companion" part, and called later, in
France, _Soubrette_, and the origin of which, in all probability, can be
tr