The Memoirs of Count Carlo Gozzi; Volume the Second

by Carlo Gozzi

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.

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FOOTNOTES: