Mr. Punch (whose original family name was probably _Pulcinella_) first came into existence at Acerra, an ancient city at a short distance from Naples. The date of this event is differently stated by authors who have incidentally mentioned him, Riccoboni fixing it before the year 1600, and Gimma and Signorelli after the commencement of the seventeenth century. The words of Gimma are very precise, and as he enters into particulars, it seems safe to rely upon his authority for this important fact. The performances, in which the actor was left to his own talents and discretion in furnishing the dialogue, were once extremely popular throughout Italy; but from the very nature of the representation, it unluckily happens that not a single specimen has been handed down to our time. However, to pursue this topic would lead us away from the object of our present inquiry. We take it for granted that Silvio Fiorillo invented Pulcinella, and first introduced him as a variety in the list of buffoons required to represent the impromptu comedies of Naples: but, although he may date his separate existence from about the year 1600, it is a matter of much doubt whether he was not, in fact, only a branch of a family of far greater antiquity. The discovery, in the year 1727, of a bronze statue of a mime, called by the Romans _Maccus_, has indeed led some antiquaries to the conclusion that he was, in fact, Pulcinella under a different name, but with the same attributes, and among them a hump-back and a large nose. The dress, too, corresponds very much with the _motley_ or parti-colored habit of the clowns of our old dramatic poets. It is true that the different hues have been arranged with greater regularity, and the patches are of smaller size. The ordinary habiliments of Punch at the present day, preserved by ancient usage, with his pointed fool's-cap, bear a much nearer resemblance; and this is one circumstance that evidences the strong family likeness between the Vice, Harlequin and Pulcinella. Riccoboni represents the _ancient_ Harlequin in a dress composed of patches, as if his ragged clothes had been often mended, and Goldoni speaks of him as originally a poor, foolish dolt.