cio; _Pullicinella_, a wag of Apulia;
_Giangurgulo_ and _Coviello_, clowns of Calabria; _Gelfomino_, a
Roman beau; _Brighella_, a Ferrarese pimp; and _Arlecchino_, a
blundering servant of Bergamo. Besides these and a few other such
personages (of whom four at least appeared in each play), there were
the _Amorosos_ or _Innamoratos_, men or women (the latter not before
1560, up to which time actresses were unknown in Italy) with serious
parts, and _Smeraldina_, _Colombina_, _Spilletta_, and other
_servettas_ or waiting-maids. All these spoke Tuscan or Roman, and
wore no masks.

[27] _Pasitea_.

[28] _Amicizia_.

[29] _Milesia_.

[30] _La Lena_; _Il Negromante_.

[31] _La Cassaria_; _I Suppositi_.

[32] Of Machiavelli's other comedies, two are prose adaptations from
Plautus and Terence, _La Clizia_ (Casina) and _Andria_; of the two
others, simply called _Commedie_, and in verse, his authorship seems
doubtful.

[33] _La Cortigiana_, _La Talanta_, _Il Ipocrito_, _Il Filosofo_.

[34] _Momolo Cortesan_ (_Jerome the Accomplished Man_); _La Bottega
del caffe_, &c.

[35] _La Vedova scaltra_ (_The Cunning Widow_); _La Putta onorata_
(_The Respectable Girl_); _La Buona Figlia_; _La B. Sposa_; _La B.
Famiglia_; _La B. Madre_ (the last of which was unsuccessful;
"goodness," says Goldoni, "never displeases, but the public weary of
every thing"), &c.; and _Il Burbero benefico_, called in its original
French version _Le Bourru bienfaisant_.

[36] _Moliere_; _Terenzio_; _Tasso_.

[37] _Pamela_; _Pamela Maritata_; _Il Filosofo Inglese_ (_Mr
Spectator_).

[38] _L' Amore delle tre melarancie_ (_The Three Lemons_); _Il
Corvo_.

[39] _Turandot_; _Zobeide_.

[40] _L' Amore delle tre m._ (against Goldoni); _L' Angellino
Belverde_ (_The Small Green Bird_), (against Helvetius, Rousseau and
Voltaire).

[41] _Aspasia_; _Polyxena_.

[42] _Ephemeridophobos_.

[43] _Timoleon_; _Konstantinos Palaeologos_; _Rhigas of Pherae_.

[44] _The Three Hundred_, or _The Character of the Ancient Hellene_
(Leonidas); _The Death of the Orator_ (Demosthenes); _A Scion of
Timoleon_, &c.

[45] The term is the same as that used in the old French collective
mysteries (_journees_).

[46] In some of his plays (_Comedia Serafina_; _C. Tinelaria_) there
is a mixture of languages even stranger than that of