[74] ii. 35; cp. i. 37.
[75] The pictures of Milanese luxury before the Spanish occupation are particularly interesting. See i. 9, and the beginning of ii. 8. It seems that then, as now, Milan was famous for her equipages and horses. The tale of the two fops who always dressed in white (iii. 11) brings that life before us. For the Venetian and Roman demi-monde, iii. 31; i. 19; i. 42; ii. 51, may be consulted. These passages have the value of authentic studies from contemporary life, and are told about persons whom the author knew at least by name.
[76] i. 8; i. 47.
[77] i. 26.
[78] i. 108.
[79] iii. 65.
[80] i. 44.
[81] ii. 41.
[82] ii. 37. It is clear that both followed the earlier version of Da Porto.
[83] ii. 36. This tale was fashionable in Italy. It forms the basis of that rare comedy, Gli Ingannati, performed by the Academy degli Intronati at Siena, and printed in 1538. The scene in this play is laid at Modena; the main plot is interwoven with two intrigues—between Isabella's father and Lelia, the heroine; and between Isabella's maid and a Spaniard. In spite of these complications the action is lucid, and the comedy is one of the best we possess. There is an excellent humorous scene of two innkeepers touting against each other for travelers (Act iii. 2). That Shakspere knew the Novella or the comedy before he wrote his Twelfth Night is more than probable.