In recent issues of _The Marionette_ one will find an enthusiastic eulogy of a remarkable puppet theatre in Torino, the proprietors of which were the Lupi brothers. They had inherited their profession from their grandfather, a wandering showman of Ferrara, and from their father, a man of lively talent who had established the present theatre. The two brothers were named Luigi I and Luigi II, respectively; only one is still living. Their show has been taken far and wide. It travelled from Buenos Aires to London, from Chicago to Venice, and has gained as great applause as did the puppets of the famous Prandi brothers of Brescia in their day. The repertory embraces the universe in time and space, extends from the flood to the siege of Makalle; comprises mythology, natural history and city news; stretches from China to California, from Cafrena to Greenland, from spaces in the air to abysses of ocean, from the circles of Paradise to the caverns of Hell. It includes the old commedia dell’arte, dramas from all literatures, the ballets of Pratesi and Manzotti, the operas of Meyerbeer and Verdi, all the military glories of the nation from the battle of Goito to the occupation of Rome, all the congresses, earthquakes, epidemics, floods, coronations, exhibitions, etc. In Bologna flourished the show founded by Filippo Cuccoli, whose clever invention of the character Sandrone became so popular. In the hands of the son, Angelo Cuccoli, the puppets continued until 1905, delighting the public with their sprightly gayety. In Bologna, too, lived the marionettist whom Gordon Craig designates simply but reverently as _Maestro_. His trade was that of a watchmaker, but he was a master showman of burattini, and the shows in his unpretentious castello are the true evidences of his devotion and deep understanding of the art of the marionette. There are, it is claimed, over four hundred edifizi for marionettes, large and small, in Italy, to say nothing of the wandering booths of which there are two or three times as many. The large mechanical theatres compete with regular players. The most modern maschere on the puppet stage has changed a little in appearance, if not in spirit from the ancient masks. We are told of a miniature Tartaglia, who twists his lips into a grimace; of a puppet, Rogantino, who grinds his teeth; of Stenterello, who can put his finger to his nose and scratch it; and of the newer mask, Carciofo, who has a hollow metallic case for a body which enables him to eat macaroni, drink and smoke. He can also undress himself! In North Italy, Gian Duja is a puppet hero whose exploits delight the public almost as much as those of the Paladins. He is of Piedmontese origin. He slays whomever he encounters, modern politics being mixed up with his various and mighty adventures. * * * * *