ctor of Italy, ii. 323.

Zanoni, Atanagio, comedian, i. 112 _note_ 1; ii. 131, 323.

Zannuzzi, Francesco, of the Comedie Italienne at Paris, ii. 211, 212
_note_ 1.

Zeno, Apostolo, encourages Gozzi in his poetical attempts, i. 207.
his influence in the drama, i. 207 _note_ 1.

Zini, Francesco, a cloth merchant, wishes to buy the Gozzis' house, i. 299.
Carlo Gozzi tries to prevent the purchase, i. 300.

Zon, Signer, Secretary to the Inquisitors of State, ii. 303 _note_ 1.

Zucchi, Padre, an _improvisatore_, i. 203.

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FOOTNOTES:

[1] Desperiers lived in France between 1480 and 1544. He was servant to
Marguerite de Navarre, and a writer of Rabelaisian humour. His two
principal works are called _Cymbalum Mundi_ and _Nouvelles, Recreations
et Joyeux Devis_.

[2] The Orco was a huge sea-monster, shaped like a gigantic crab. It
first appeared in Boiardo's _Orlando Innamorato_ (Bk. iii. Cant. 3), and
was afterwards developed by Ariosto, _Orl. Fur._ (Cant. 17).

[3] This was one of Gozzi's own comedies.

[4] These words have so much local colouring that they must be left in
the text and explained in a note. A _sotto portico_ at Venice is formed
by the projection of houses over the narrow path which skirts a small
canal or _rio_; the first floor of the houses rests on pillars at the
water-side. A _ponte storto_ is a bridge built askew across a _rio_, not
at right angles to the water, but slanting. A _riva_ is the quay of
stone which runs along the canals of Venice, here and there broken by
steps descending into the water and serving as landing-places.

[5] See above, vol. i. p. 299.

[6] The narrow foot-paths between lines of houses at Venice are so
called. They frequently have scarcely space enough for two men to walk
abreast.

[7] One of Pietro Longhi's pictures in the Museo Civico at Venice
represents exactly such a scene as this in the workroom of a tailoress.
The beau is there, and the woman prepared for flirtation.

[8] Gozzi had a distinct object in writing these chapters on his
love-affairs. Gratarol's accusation of his having been a hypocrite and
covert libertine lay before him. He wished to make a clean breast of his
frailties. To suppress this portion of his _apologia pro vita sua_ would
have been to do him grave injustice. The Memorie must always be read as
an answer to Gratarol's _Narrazione_. See Introduction, Part i.

[9] T