[416] "Constantino Imperatore," Sacre Rappr. ii. 187. "Un Giovine con la citara annunzia."
[417] Op. cit. vol. i. pp. 357-359.
[418] Sacre Rappr. i. 391. Cp. the Abraam quoted in a note above, [p. 313].
[419] Compare, for example, Vespasiano's naïve astonishment at the virginity of the Cardinal di Portogallo with the protestations of chastity in the Tre Pellegrini (Sacre Rappr. iii. 467).
[420] Sacre Rappr. iii. p. 235 and p. 1.
[421] Sacre Rappr. p. 121. Shakespeare Soc. Publ. vol. xvii.
[422] For the technical terms Nuvola and Paradiso see above, [pp. 318], [319].
[423] It is probable that the painting of the period yields a fair notion of the scenic effects attempted in these shows. Or, what is perhaps a better analogue, we can illustrate the pages of the libretti by remembering the terra-cotta groups of the Sacro Monte at Varallo. Designed by excellent artists and painted in accordance with the traditions of the Milanese school, it is not impossible that these life-size representations of Christ's birth and Passion reproduce the Sacred Drama with fidelity.
[424] Sacre Rappr. iii. 270.
[425] Sacre Rappr. i. 193. See Shakespeare Society's Publications, i. 119.