The set was a large one, consisting of the ordinary pantomime types, supplemented by duplicates, peasants, priests, sbirri (always a favourite subject of satire and practical jokes), country girls, and others. Don Agostino, whose wit was ready and brilliant, took the part of clown or jester, and Inglesant that of the stage lover, a _rôle_ requiring no great effort to sustain. The part of Columbine was sustained by a young girl, a mistress of Don Agostino, of considerable beauty and wit, and as yet unspoiled by the wicked life of Rome. She was dressed as a Contadina, or peasant girl, in holiday costume. Harlequin was played by a young Count, a boy of weak intellect, involved in every species of dissipation, and consigned to ruin by designing foes, of whom some were of his own family. As the ball progressed the party attracted great notice by the clever interludes and acts they performed between the dances. In these the usual tricks and practical jokes were introduced sparingly, relieved by a higher style of wit, and by allusions to the topics of the day and to the foibles of the society of Rome. The parts were all well sustained, and Don Agostino exerted himself successfully to give brilliancy and life to the whole party. The young Harlequin-Count, who had at first seemed only to excel in lofty capers and somersaults, was the first who showed tokens of fatigue. He became gradually listless and careless, so that he changed his part, and became the butt of the rest, instead of their tormentor. A dance in sets had just begun, and Inglesant could not help being struck with his disconsolate manner, which showed itself plainly, even through his masque and disguise. It seemed that others noticed it as well, for as Inglesant met the Contadina in one of the combinations of the figure, she said in the pause of the dance,— "Do you see the Count, Cavaliere? He is on the brink of ruin, body and soul. His cousin, and one or two more who are in the set, are engaged with him in some desperate complication, and are working upon his feeble mind and his terror. Cannot you help him at all?" When the dance ceased Inglesant went over to the Count, intending to speak to him, but his cousin and others of the set were talking earnestly to him, and Inglesant stepped back. He saw that the longer his treacherous friends spoke to him the more broken down and crushed in spirit did the poor Harlequin-Count become; and it was evident to Inglesant that here a play was being enacted within the play, and that, as often is the case, one of the deep tragedies of life was appearing in the fantastic dress of farce. As he stood dreamily watching what occurred, Don Agostino called him off to commence another comic act, and when at the first pause he turned to look for the Count, he could no longer see him. His cousin and the others were present, however, and soon after the set was again formed for another dance.