s edition of Carlo
Gozzi's Works.

[26] I may remind my readers that Truffaldino was the specific form
invented for the mask of Arlecchino by Sacchi. See above, vol. i. p. 53.
Truffaldino was originally a character in Boiardo's _Orlando
Innamorato_, where he played the part of a consummate rogue, traitor,
and coward, and was killed by the paladin Rinaldo (Bk. i. Cant. 26).

[27] This passage indicates Gozzi's justice, his habit of conceding the
_suum cuique_, however grudgingly. Goldoni, as we learn from his
Memoirs, piqued himself upon the study he made of actors like Darbes,
Golinetti, and Collalto.

[28] A singular piece of self-criticism. Gozzi appeals to posterity on
points which seem to us the least noteworthy in his work. Nothing is
needed beyond the above sentences to dispel the illusion of his having
been a free romantic genius.

[29] Gozzi uses the word _squarci_ for these stock passages. The
expression is partly explained by what follows in the paragraph, and has
been further illustrated by me above: vol. i. p. 62. See Bartoli's
_Scenari_, pp. lxxv. _et seq._

[30] After the Carnival, until the following October. The theatrical
year in Venice began on the first Sunday in October, and ended with the
next Ash-Wednesday. It corresponded to the months in which masks were
allowed.

[31] Translated in chaps. xxxii., xxxiii., xxxiv.

[32] There is some inaccuracy here. See vol. i. p. 148, for the dates of
Gozzi's _Fiabe_.

[33] Page 33 in vol. ii. of Gozzi is a good specimen of an interminable
sentence broken up by me. It has thirty-nine lines of about eight words
apiece, or 312 words, without a full stop. It begins with _Un' ammasso_,
and ends on p. 34 with _commiserazione_.

[34] See above, cap. xxx.

[35] This theatre was also called S. Luca.

[36] This looks as though Gozzi had reason to believe that Mme. Manzoni
would write her autobiography. Whether she did so or not, I am unable to
say. But the remark shows how popular and common self-indited Memoirs
had become.

[37] That is, the Venetian noble Antonio Vendramini.

[38] Printed in vol. ix. of the _Opere_, ed. cit.

[39] It cannot be denied that Gozzi has spun out the history of his
liaison with Teodora Ricci to a tedious length, giving the episode of
Pier Antonio Gratarol an importance which it is far from deserving. I
intend therefore to abridge the chapters which he invites his readers to
skip. But, with the view of preserving unity of s