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O R, À N EXACT AND EARLY ACCOUNT - ''!
OF THE MOST VALUABLE BOOKS Published in the several Parts of
:-, EUROPE. pop
Floriferis ut apes in saltibus omnia libant,
Lucret. "NUMBER XVII. por Being the Fifth of Vol. III,
LONDON: Printed for N. PREVOST', over-against Southamptori
Atreet, in the Strand.
.*. "For No. XVII. - 1732.
since the Decay of the Latin Comedy ; , with a Catalogue of the Italian Tragedies and Comedies that bave been printed
from-the-Year 1509, to the Year 1600, Art. XXIV, The Ancient History of the E
gyptians, Caribaginians, Asyrians, Baby* lonians, Medes, Perfans, Macedonians, ... w Greeks, &c.
?. .... 436 Art. XXY. A Critical History of the superstitious D Em Praktices, which have feduc'd the Vulgar,
and puzzled the Learned. Together witb the Method and Principles bow to distinguiso between natural. Effets, and Jueb as are otherwise, &c. hienos
464 "Art. XXVI. Britannia Romana, or the Roman
Antiquities of Britain. In three Books. 485 Arc. XXVII. I be present State of LEARNING.
From Dantzick :
. ibid. From Lubeck..!!
517 From Nuremberg.
520 From Hamburg. OI
ibid. From Strasbourg, ovisn.
ibid. 518 ibid.
ARTICLE XXIII. Histoire du Theatre Italien, depuis la
Decadence de la Comedie Latine ; avec une Catalogue des Tragedies & Comedies Italiennes, imprimée depuis l'an isoo, jusqu'a l'an 1660: &une Dissertation sur i la Tragedie moderne. Avec des Fi
gures qui representent leurs differens Habillemens. Par Louis Riccoboni. ...)
Icirii , That is,.. i ...
Decay of the Latin Comedywith a
a Disertation on Modern Tragedy. : With Figures representing the different
Dresses." By Lewis Riccoboni, 2 vol. 8v0. Vol. I. containing P: 379. Vol. II. p. 368.
L iving : ..
T H E History of the Italian Stage being
a Subject to curious, and so little I known, and 'which our Author has made not only agreeable but useful, by, interN'. XVII. 1732....Ff spersing • Vol. IIÍ. ..}.
speffing Remarks and Observations proper for forming the Taste, and making an exact Judgment of Dramatick Performances ; we presume fome account of it will not be unacceptable to Our Readers.
The Sieur Riccoboni cells us, that from his Youth he has applied himself to the Stage; and at the Age of two, ånd twenty was Head of a Company of Comedians, and followed his Profession for twenty Years in Italy, with Success and Reputation : but finding that he could not accomplish what he chiefly aim'd at, viz. the Reformation of the Italian Stage, he embraced an Offer of forming and carrying into France à Company of Comedians, which a Prince of his own Country had been commissioned to send to the French King. Accordingly he came into France, where, in his Conversation with the great Men, and by reading some of their molt approved Authors, particularly Monsieur D' Aubignac's Pratique dy Theatre, he found the French so entirely unacquainted with the Italian Dramatick Writers, as to imagine there had never been any good Authors, of that kind, among them; upon which he thought of publishing this History, wherein he shows, chat good modern Tragedies and Comedies were both written and acted in Itały sooner than any other Country in Europe.
In his first Chapter he observes, that the Theatrical Entertainments of the Romans were of three kinds, Tragedies, regular Comedies, and Farces, or inimick Shows; and that the Théatre making a part of the Religion of the Pagans, the Fathers of the Christian Church used their utmost Efforts, by repeated Exhortations and Remonftrances to abolish it: so
State emagne, we havied. From theith
that as Chriftianity prevailed, the Stage continually decay'd, 'till by the Invasion of the Barbarians, the Roman Empire, and with it the polite Arts were buried. From thence, till Charlemagne, we have no Monuments of the State of the Theatre in Italy; but probably (as our Author conjectures) those Diversions which Jealt requir’d the asistance of polite Literature, lafted longest in those barbarous Ages that suca. ceeded the Empire, such as the Mimick-Shows, Ropé-dancing, &c. and by that means the Humours and Habits of those ancient Mimicks might be transmitted to later Times: and from a Passage of Apuleius *, and other Circumstances, he concludes, that the Dress of the ancient Mic micks was the same with that of Harlequin, that the fuligine faciem obdueti. of the ancient Mimicks is Harlequin's Mask; that both had their Heads 'raz'd +, and the same kind of Sock #, or covering for their Feet.
Having thus compar'd their Dresses, he proceeds, in the next Chapter, to examine how far their Characters agree. He observes, that Hars Tequin and Scapin, by the best Italian Authors, are call'd Zanni, which may be read Sanni, it being usual in the Italian Orthography to put a Z for an S; and then he thinks it will be plainly the Latin Sannio, a Buffoon or Droll, whose
: * Quid enim fi choragium thimelicum poffiderem? num ex eo argumentarere etiam uti me consueffe Tragedi Sydmate, Histrionis crocora, Mimi centunculo? Aput. in Apol.
† Sanniones mimum agebanc rafis capicibus. Voff. Instit: Poet. , .;.'.ws
# Planipes græcè dicitur Mimus, ideo autem larinè planipes quod 'Actores planis pedibus, id est nudi, prosceniun introirent. Diomed, Inc. 3.