At this point it might be well to digress for a moment and to consider the commedia dell’arte which is so interwoven with the story of Italian marionettes. Along with the commedia erudita which was flourishing at the courts of the great Italian princes there developed an extemporaneous, popular theatre depending greatly for its spirit upon the invention and talent of the actors. Perhaps the beginnings of its gay humor may be traced back to the comic and local elements introduced into the early _sacre rappresentazione_. Perhaps the characters were copied from the familiar buffoons of Latin comedy. At any rate, the well-known masks or _personaggi_ of the cast represented amusing types from all strata of Italian society, and each was immediately recognizable by a conventionalized and rather grotesque costume. _Arlecchino_, who originally came from Bergamo, is the chief personage of this motley group. He is a unique figure in his strange suit of multi-colored patches, his black mask, his peculiar weapon, all reminiscent of the Roman _Histrio_. At first conceived as a happy, simple fellow, he became in time a character of unbridled gayety and pointed wit. Then there was _Pulcinella_, descended probably from the Roman _Maccus_, a Neapolitan rogue and merry-maker whose white costume serves to accentuate the hump in his back and his other physical peculiarities. There were _Scaramuccia_, also of Naples, false bravo and coward, _Stentorella_, from Florence, a mean miserly wretch, _Cassandrino_, the charming fop and braggart, a Roman invention. _Messer Pantalone_ is a good-natured Venetian merchant deceived by all, _Scapino_ is the mischief maker apt to lead youth astray, _Constantine_ of Verona is “said youth.” Then come _Brighella_, _Capitaine_, _Pierrot_, world renowned, _Columbine_, _Isabella_, and a host of other Italian conceptions, to say nothing of _Pasquino_, _Peppinno_, _Ornofrio_ and _Rosina_ who are the masks of Sicily. [Illustration: PULCINELLA IN ITALY [From original color lithograph]]