[38] Carlo Gozzi at Zara in his youth created a new type of the Servetta, adapted to Dalmatian circumstances, under the name of Luce.
[39] Scherillo, in his Commedia dell' Arte, has resuscitated Cerlone's fame, as Maurice Sand made us acquainted with Beolco.
[41] For a short notice of these curious Maccaronic poems, I Cantici di Fidentio Glottogrysio Ludimagistro, see my Renaissance in Italy, vol. v. p. 328. The obscurity of their jargon veiled considerable indecency. It is noticeable that this book, now exceedingly rare, should have become the text-book of the Pedante. But see Bartoli, op. cit., pp. lii., lvii.
[42] Burattino is so kaleidoscopic that at last he becomes the patronymic hero of marionettes in Italy. I Burattini are the acting dolls.
[43] In the Ragionamento Ingenuo and Appendice, Op., 1772, vols i. and iv.
[44] Scenari Inediti, Firenze, Sansoni, 1880.
[45] It has to be mentioned that in plays of a more serious description, the parts of character were frequently written out, and only the parts of the masks left to improvisation. This was the method pursued by Gozzi in his Fiabe.
[46] Andrea Perrucci, Dell' Arte Rappresentativa premeditata ed all' improvviso, Napoli, 1699, quoted by Bartoli, op. cit., p. lxxi.
[47] Histoire Anecdotique du Théâtre Italien, Paris, 1769, quoted by Bartoli, op. cit., p. lxxvi.