d by Dr. Gratiano,[4.3] who in pantomimic action, in voice, and
in his talent for saying the most delightful things mixed up with
apparently the most extravagant nonsense, had perhaps no equal in the
world. This _role_ was played by an old Bolognese named Maria Agli.
Thus in a short time all educated Rome was seen hastening in a
continuous stream to Nicolo Musso's little theatre outside the Porta
del Popolo, whilst Formica's name was on everybody's lips, and people
shouted with wild enthusiasm, "_Oh! Formica! Formica benedetto! Oh!
Formicissimo!_"--not only in the theatre but also in the streets. They
regarded him as a supernatural visitant, and many an old lady who had
split her sides with laughing in the theatre, would suddenly look grave
and say solemnly, "_Scherza coi fanti e lascia star santi_" (Jest with
children but let the saints alone), if anybody ventured to say the
least thing in disparagement of Formica's acting. This arose from the
fact that outside the theatre Signor Formica was an inscrutable
mystery. Never was he seen anywhere, and all efforts to discover traces
of him were vain, whilst Nicolo Musso on his part maintained an
inexorable silence respecting his retreat.

And this was the theatre that Marianna was anxious to go to.

"Let us make a decisive onslaught upon our foes," said Salvator; "we
couldn't have a finer opportunity than when they're returning home from
the theatre." Then he imparted to Antonio the details of a plan, which,
though appearing adventurous and daring, Antonio nevertheless embraced
with joy, since it held out to him a prospect that he should be able to
carry off his Marianna from the hated old Capuzzi. He also heard with
approbation that Salvator was especially concerned to chastise the
Pyramid Doctor.

When night came, Salvator and Antonio each took a guitar and went to
the Via Ripetta, where, with the express view of causing old Capuzzi
annoyance, they complimented lovely Marianna with the finest serenade
that ever was heard. For Salvator played and sang in masterly style,
whilst Antonio, as far as the capabilities of his fine tenor would
allow him, almost rivalled Odoardo Ceccarelli. Although Signor Pasquale
appeared on the balcony and tried to silence the singers with abuse,
his neighbours, attracted to their windows by the good singing, shouted
to him that he and his companions howled and screamed like so many cats
and dogs, and yet he wouldn't listen to good music when i