e of Gasparo Gozzi, _see_ Gozzi, Luisa Pisana.

Bettinelli, Abbe Xavier, his attempted revolution in literary taste, ii. 104.
shown up by the Granelleschi, ii. 105.

Bevilacqua, Doctor Bartolommeo, ii. 314.

Boldu, Jacopo, Provveditore Generale di Dalmazia, i. 276.

Borrommeo, Carlo, his crusade against the Comedians, i. 70.

Bragadino, Cavaliere, the curious occurrence that earned
Gozzi his friendship, ii. 80-84.

Brescia, Bishop of, i. 277.

Brighella, i. 35; description of, in the _Commedia dell'Arte_, i. 47.
as employed by Gozzi, i. 152.

Burchiello, an obscure Florentine poet, ii. 116.

Calogera, Padre, ii. 117.

Canale, or Canaletti, Antonio, ii. 338.
his defects, ii. 338.

Canziani, Maria, dancer, ii. 75.

Capitano, the, a character in the _Commedia dell'Arte_, i. 35, 50.

Capocomico, manager of the Comedians, his functions, i. 58-60, 64.

Cappello, Arcadio, physician, i. 368.

Casali, Gaetano, comedian, i. 112 _note_ 1.

Casanova, Ignazio, comedian, i. 112 _note_ 1.

Casanova, Jacques, i. 4, 73, 350 _note_ 1; ii. 99 _note_ 1.

Cavalli, Jacopo, Provveditore Generale di Dalmazia, i. 220.

Cecchi, playwright, i. 33.

Cenet, Madame Jeanne Sarah, ii. 310.

Cerlone, Francesco, poet, i. 35 _note_ 3.
fixed the type of Pulcinella, i. 49.

Chasles, Philarete, i. 181.

Chaussee, Nivelle de la, his sentimental comedies, i. 87.

Chiari, Abbe Pietro, playwright, i. 2.
his rivalry with Goldoni, i. 97.
Gozzi's attacks on, i. 99.
makes common cause with Goldoni against Gozzi, i. 106, ii. 127.
various satirical allusions to him in Gozzi's first "Fable," i. 112-146.
his popularity in Venice, ii. 110.
Gozzi's opinion of, ii. 113, 114.
defeated by Gozzi, gives up play-writing, i. 177, ii. 155, 156.

Cicucci, Regina, actress, ii. 170.

Colombani, Paolo, bookseller, his shop the headquarters
of the Granelleschi, ii. 127.

Colombo, Giovanni, i. 229.
Grand Chancellor of the Venetian Republic, i. 230.

Comedian, qualifications of a good Italian, i. 61.

Comedians, their degraded social position, i. 70.

Comedy, Italian--
Its origin during the Renaissance, i. 26.
its dependence on Latin models, i. 26, 28.
the _Commedia Erudita_, i. 27, 39.
the first attempts at National Italian comedy, i. 28.
its stock characters, i. 28.
_Commedia dell'Arte all'Improviso_, its causes, and its
distinctive features, i. 30-32.
its great antiquity, i. 32.
its relation t