[722] Cf. App. B.
[723] Smith, 148, makes him then head of the Gelosi, but the authorities she cites do not bear her out.
[724] Baschet, 18, 25, 34, 43; D’Ancona, ii. 455, 457, 459; Rennert, 28, 479.
[725] R. B. McKerrow (Nashe, iv. 462) suggests that Tristano may have been ‘that famous Francatrip Harlicken’ represented in the dedication of An Almond for a Parrat (1590) as asking questions at Venice about Kempe. But Francatrippa seems to have been the stage name of Gabriello Panzanini da Bologna of the Gelosi (D’Ancona, ii. 469, 511).
[726] Is this ‘the nimble, tumbling Angelica’ of Marston’s Scourge of Villainy (1598), xi. 101? If so, a later visit may be suspected. Drusiano Martinelli was comedian to the Duke of Mantua, to whose son Angelica had been mistress, in 1595 (D’Ancona, ii. 518).
[727] Baschet, 72, 82, 90, 194, 199; D’Ancona, ii. 464, 479, 504, 518, 523, 526; Smith, 147. The main body of the Gelosi passed about this time under the leadership of Flaminio Scala, fifty of whose scenarii are printed in Il Teatro delle Fauole rappresentatiue (1611).
[728] Cf. ch. xviii as to traces of improvised comedy in England.
[729] G. E. P. Arkwright, Notes on the Ferrabosco Family (Musical Antiquary, iii. 221; iv. 42); G. Livi, The Ferrabosco Family (ibid. iv. 121). I may add that he was evidently the Bolognese groom of the chamber, favoured by the Queen as a musician, who dropped a hint for a Venetian embassy in 1575 (V. P. vii. 524). He left an illegitimate son, Alfonso, in England, who also was a Court musician by 1603, and was succeeded in turn by sons, Alfonso and Henry, in 1627 (Lafontaine, 45, 63).
[730] Feuillerat, Eliz. 159, 160.
[731] Ibid. 160, 301.