[22] e.g. Bruto I. and II.
[23] Filippo; Maria Stuarda.
[24] Pellico, Francesca da Rimini; Niccolini, Giovanni da Procida; Beatrice Cenci; Giacometti, Cola di Rienzi (Giacometti’s masterpiece was La Marte civile).
[25] Pyrogopolinices in the Miles Gloriosus.
[26] The masked characters, each of which spoke the dialect of the place he represented, were (according to Baretti) Pantalone, a Venetian merchant; Dottore, a Bolognese physician; Spaviento, a Neapolitan braggadocio; Pullicinella, a wag of Apulia; Giangurgulo and Coviello, clowns of Calabria; Gelfomino, a Roman beau; Brighella, a Ferrarese pimp; and Arlecchino, a blundering servant of Bergamo. Besides these and a few other such personages (of whom four at least appeared in each play), there were the Amorosos or Innamoratos, men or women (the latter not before 1560, up to which time actresses were unknown in Italy) with serious parts, and Smeraldina, Colombina, Spilletta, and other servettas or waiting-maids. All these spoke Tuscan or Roman, and wore no masks.
[27] Pasitea.
[28] Amicizia.
[29] Milesia.
[30] La Lena; Il Negromante.
[31] La Cassaria; I Suppositi.