But, whoever wrote the first Italian comedy, Ludovico Ariosto was the first master of the species. All but the first two of his comedies, belonging as they do to the field of _commedia erudita_, or scholarly comedy, are in blank verse, to which he gave a singular mobility by the dactylic ending of the line (_sdrucciolo_). Ariosto's models were the masterpieces of the _palliata_, and his morals those of his age, which emulated those of the worst days of ancient Rome or Byzantium in looseness, and surpassed them in effrontery. He chose his subjects accordingly; but his dramatic genius displayed itself in the effective drawing of character,[30] and more especially in the skilful management of complicated intrigues.[31] Such, with an additional brilliancy of wit and lasciviousness of tone, are likewise the characteristics of Machiavelli's famous prose comedy, the _Mandragola_ (_The Magic Draught_);[32] and at the height of their success, of the plays of P. Aretino,[33] especially the prose _Marescalco_ (1526-1527) whose name, it has been said, ought to be written in asterisks. It may be added that the plays of Ariosto and his followers were represented with magnificent scenery and settings. Other dramatists of the 16th century were B. Accolti, whose _Virginia_ (prob. before 1513) treats the story from Boccaccio which reappears in _All's Well that Ends Well_; G. Cecchi, F. d'Ambra, A. F. Grazzini, N. Secco or Secchi and L. Dolce--all writers of romantic comedy of intrigue in verse or prose. The pastoral drama.