while pages and trumpeters hold
the Marquis's three horses.

Act II. Scene I.--A portico. Griseldis reluctantly, but obediently,
gives up her baby. Scene II.--A conspirator in black cloak and red
stockings walks off with it on the tips of his toes, and then returns
and tells the Marquis that his Magnificence's orders have been executed.
Scene III.--Giannucole, father of Griseldis, having been sent for, arrives
in his best Sunday cloak. The Marquis in red, with a crown on, says,
standing hand on hip, "You see, after that I really cannot keep her on
any longer." Several small dogs sniff at each other in the background.
Scene V.--Triumphal arch, with bear chained to it, peacock, tame deer,
crowd of courtiers. A lawyer reads the act of divorce. The Marquis steps
forward to Grizel with hands raised, "After this kind of behaviour, it
is quite impossible for me to live with you any longer." Griseldis is
ladylike and resigned. The Marquis says with acrimonious politeness,
"I am sorry, madam, I must trouble you to restore to me those garments
before departing from my house." Griseldis slowly let her golden frock
fall to her feet, then walks off (Scene VI.) towards the little pink
farm, where her father is driving the sheep. The courtiers look on and
say, "Dear, dear, what very strange things do happen!"

Act III. Scene I.--Outside Giannucole's farm. The Marquis below. Griseldis
at the balcony. He says, "I want to hire you as a maid." "Yes, my Lord."
Scene II.--A portico, with a large company at dinner. The Marquis
introduces his supposed bride and brother-in-law, in reality his own
children. He turns round to Griseldis, who is waiting at table, and bids
her be a little more careful what she is about with those dishes. Scene
III.--Dumb show. Griseldis, in her black smock, is sweeping out the future
Marchioness's chamber. Scene IV.--At table. The Marquis suddenly bids
Griseldis, who is waiting, come and sit by him; he kisses her, and points
at the supposed bride and brother-in-law. "Those are our children, dear."
A young footman is quite amazed. Scene V.--A procession of caparisoned
horse, and giraffes carrying monkeys. A grand supper. "And they live
happy ever after."

But the fairy tale, beyond all others, with these painters of the
fifteenth century, is the antique myth. No Bibbienas and Bembos
and Calvos have as yet indoctrinated them (as Raphael, alas! was
indoctrinated) with the _real spirit of classical times_, teaching t