rformances to the professed actors, and
revived, perhaps in imitation of the licentious _Satyra_ of the Greeks,
the ancient custom of versifying pleasantries, and throwing out jests
and raillery among themselves for their own diversion.[47] These Atellan
Farces were probably not so low in humour as they have been
represented;[48] or at least the Roman youth, on their revival,
exercised a chaster taste, for they are noticed by Cicero in a letter to
his literary friend Papyrius Paetus. "But to turn from the serious to the
jocose part of your letter--the strain of pleasantry you break into,
immediately after having quoted the tragedy of Oenomaus, puts me in mind
of the _modern method_ of introducing at the _end_ of these _graver
dramatic pieces_ the _buffoon humour of our low Mimes_ instead of the
_more delicate burlesque of the old Atellan Farces_."[49] This very
curious passage distinctly marks out the two classes, which so many
centuries after Cicero were revived in the _Pantomime_ of Italy, and in
its _Extemporal Comedy_.[50]

The critics on our side of the Alps reproached the Italians for the
extemporal comedies; and Marmontel rashly declared that the nation did
not possess a single comedy which could endure perusal. But he drew his
notions from the low farces of the Italian theatre at Paris, and he
censured what he had never read.[51] The comedies of Bibiena, Del Lasca,
Del Secchi, and others, are models of classical comedy, but not the
popular favourites of Italy. Signorelli distinguishes two species of
Italian comedy: those which he calls _commedie antiche ed eruditi_,
ancient and learned comedies; and those of _commedie dell' arte_, or _a
soggetto_, comedies suggested.--The first were moulded on classical
models, recited in their academies to a select audience, and performed
by amateurs; but the _commedie a soggetto_, the extemporal comedies,
were invented by professional actors of genius. More delightful to the
fancy of the Italians, and more congenial to their talents, in spite of
the graver critics, who even in their amusements cannot cast off the
manacles of precedence, the Italians resolved to be pleased for
themselves, with their own natural vein; and preferred a freedom of
original humour and invention incompatible with regular productions, but
which inspired admirable actors, and secured full audiences.

Men of great genius had a passion for performing in these extemporal
comedies. Salvator Rosa was famou