Origin.—Luigi da Porto, 1535 (fr. Masuccio, 1476, nov. xxxiii.).
Parallels.—Belleforest, t. i.; otto novelle rarissime; A. Brooke, 1562; Lopez de Vega, Los Castelveses y Monteses; F. de Roscas, Los Vandos de Verona; L. Groto, Hadriana, 1578.
Painter.—I. ii. 118; II. ii. 179; III. ii. 348; IV. iii. 80.
Derivates.—Shakespeare’s Romeo and Juliet is partly founded on Painter, partly on Brooke’s poem. The English comedians played it in Germany. Sloane MS., 1775, contains a Latin play on this subject.]
XXVI. Two Ladies of Venice.
Two gentlemen of Venice were honourably deceiued of their Wyues, whose notable practises, and secret conference for atchieuinge their desire, occasioned diuers accidentes, and ingendred double benefit: wherein also is recited an eloquent oration, made by one of them, pronounced before the Duke and state of that Cittye: with other chaunces and acts concerninge the same.
[Source and Origin.—Bandello, Part i., nov. 15.
Parallels.—Belleforest, t. iii. p. 58.
Painter.—I. ii. 247; II. ii. 203; III. ii. 393; IV. iii. 125.
Derivates.—The underplot of Marston’s Insatiate Countess is derived from Painter, cf. supra.]