Formica, I, who well knew his meaning, instantly glanced my
eye at Bernini, to observe his movements; but he, with an artificial
carelessness, showed that this 'cut of the shears' did not touch him;
and he made no apparent show of being hurt. But Castelli, who was also
near, tossing his head and smiling in bitterness, showed clearly that he
was hit."

This Italian story, told with all the poignant relish of these vivacious
natives, to whom such a stinging incident was an important event, also
shows the personal freedoms taken on these occasions by a man of genius,
entirely in the spirit of the ancient Roman Atellana, or the Grecian
Satyra.

Riccoboni has discussed the curious subject of Extemporal Comedy with
equal modesty and feeling; and Gherardi, with more exultation and
egotism. "This kind of _spectacle_," says Riccoboni, "is peculiar to
Italy; one cannot deny that it has graces perfectly its own, and which
written Comedy can never exhibit. This _impromptu_ mode of acting
furnishes opportunities for a perpetual change in the performance, so
that the same _scenario_ repeated still appears a new one: thus one
Comedy may become twenty Comedies. An actor of this description, always
supposing an actor of genius, is more vividly affected than one who has
coldly got his part by rote." But Riccoboni could not deny that there
were inconveniences in this singular art. One difficulty not easily
surmounted was the preventing of all the actors speaking together; each
one eager to reply before the other had finished. It was a nice point to
know when to yield up the scene entirely to a predominant character,
when agitated by violent passion; nor did it require a less exercised
tact to feel when to stop; the vanity of an actor often spoiled a fine
scene.

It evidently required that some of the actors at least should be blessed
with genius, and what is scarcely less difficult to find, with a certain
equality of talents; for the performance of the happiest actor of this
school greatly depends on the excitement he receives from his companion;
an actor beneath mediocrity would ruin a piece. "But figure, memory,
voice, and even sensibility, are not sufficient for the actor _all'
improvista_; he must be in the habit of cultivating the imagination,
pouring forth the flow of expression, and prompt in those flashes which
instantaneously vibrate in the plaudits of an audience." And this
accomplished extemporal actor feelingly laments tha