The _Calandra_ itself was composed on the model of the _Menechmi_ of Plautus, and is not without likeness to the _Comedy of Errors_. But in this case the two persons whose likeness gives rise to laughable mistakes are twins, brother and sister, neither of whom is aware of the other’s presence in the same town. The brother sometimes dresses up as a woman to gain access to his mistress, the sister sometimes wears men’s clothes to avoid detection. In the prologue the spectators are called upon to decide for themselves who is on the stage, brother or sister, a mystifying _quid pro quo_ which apparently was a source of endless discussion and amusement to the perplexed audience. A vulgar husband, who is said to be drawn from life, and a witty go-between, are the most individual characters. A necromancer is introduced and is credited with transforming men into women, and this gives an opportunity for ridiculing the current belief in magic. The play was in five acts. At the close of each act came an interlude, by which the classical taste of the age was gratified. There was Jason ploughing the field with imitation bulls which snorted real fire; he sowed dragons’ teeth, which presently started up into men who fell to performing a morisc or morris-dance. At the close of the second act Venus appeared in a chariot drawn by cupids, who bore flaming torches; they set free a number of gallants, who likewise performed a dance. Then came Neptune seated on a car, surrounded by sea monsters, the account of whose dance recalls the displays of a modern Christmas pantomime. Later on Juno appeared surrounded by a bevy of birds--peacocks, eagles, ostriches, parrots--all so entertaining in their antics that Castiglione knows no limit to his praise of them. The entire interludes were acted by children, whose freshness and want of affectation were felt a welcome change from the conventionality of the professional actors. The performance closed with an epilogue, in which Cupid spoke of love as the guiding power of life, and enlarged on the blessings of peace as opposed to the terrors of war. The success of the performance was such that six years later (1514), when Giovanni de’ Medici had become Pope Leo X., and Bibbiena had been made cardinal by him, the play was repeated at Rome in the Papal Court for the entertainment of Isabella d’Este, Countess of Mantua. The Pope was persuaded by his cardinal to be present, and again no trouble was spared to secure a look of reality to the stage. Its decoration was entrusted to Perruzzi, who was studying architecture at Rome under Bramante, and whose marvellous talent for perspective equalled his fame as an architect. It was he who designed and built the Farnesina, the ceiling of which Rafael decorated with the history of Cupid and Psyche.