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Eight Portraits of Gelosi Actors in 1589?

  • M. A. Katritzky (a1)

Extract

The group of actors from whom the Gelosi company arose are thought to have first come together in 1568, with the amalgamation of two troupes led by the prima donnas Vincenza and Flaminia. They were already known by the name Gelosi when they toured France in 1571; by 1572 they were popular enough to be able to complain that the stanze in Genoa could only hold an audience of 150; in 1574 their performance, and that of their leading lady, Vittoria Piisimi, were the highlight of Henri III's visit to Venice, and their reputation as the foremost com-media dell'arte troupe was fully established. Por-cacchi's pamphlet of 1574 notes some of the Gelosi actors of the time as Simon of Bologna, who played a facchino Bergamasco, Giulio Pas-quati as the Magnifico and Rinaldo. A Mantuan decree of 5 May 1579 names as Gelosi actors Simon the Bergamasco, Orazio and Adriano the innamorati, and Gabriele their friend.

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Notes

1. Lea, K. M., Italian Popular Comedy, a study in the com-media dell'arte, 1560–1620, with special reference to the English stage (Oxford, 1934), 2 vols, I, p. 262; Ughi, Stefanella, ‘Di Adriatic Valerini, di Silvia Roncagli e dei Comici Gelosi’, Biblioteca Teatrale, 3, 1972, pp. 147150, 150.

2. Baschet, Armand, Les comédians Italians à la cour de France sous Charles IX, Henri HI, Henri IV et Louis XIII (Paris, 1882), p. 61; Lea, 1934, I, 57, p. 80.

3. Gambelli, Delia, ‘Arlecchino: dalla “preistoria” a Bian-colelli’, Biblioteca teatrale, V, 1972, pp. 1768, 42 & Arlecchino a Parigi, dall'infemo alia cone del re sole (Rome, 1993), p. 152.

4. Rasi, Luigi, I comici italiani (Florence, 1897 & 1905), 2 vols, II, p. 243.

5. Lea, 1934, 1, p. 48; Richards, Kenneth and Richards, Laura, The commedia dell'arte. A documentary history (Oxford, 1990), p. 75.

6. Richards, and Richards, 1990, pp. 71–2; Gambelli, 1993, pp. 179180.

7. Duchartre, Pierre Louis, The Italian Comedy (1929/1966), p. 68; Kutscher, A., Die Comedia dell'arte und Deutschland (Emsdetten, 1955), fig. 22; Oreglia, G., Commedia dell'arte e le sue Maschere (Milan, 1976), fig. 1; Jockel, N., Commedia dell'arte zwischen Strassen und Palästen (Hamburg, 1983), p. 16.

8. Dizionario biografico degli italiani, Xni, 1971, pp. 729–31; Nagler, G. K., Die Monogrammisten, I (18771889), I, nos. 942, 946; Arrigoni, P. and Bertarelli, A., Piante e vedute di Roma (Milan, 1939), pp. 8, 15, 79, 134, 160ff., 220, 353; R. Mortimer, Harvard College Library Department of Printing and Graphic Arts, Catalogue of Books and Manuscripts, Part II: Italian 16th-century Books, 2 vols (Cambridge (Mass.), 1974); Katritzky, M. A., ‘Italian Comedians in Renaissance Prints’, Print Quarterly, 4, 1987, p. 246 & ‘The Recueil Fossard 1928–88: a review and three reconstructions’, in The commedia dell'arte from the Renaissance to Dario Fo, ed. Cairns, Christopher (Lewiston/Queenston/Lampeter, 1989), pp. 107–8; & A study in the commedia dell'arte 1560–1620, with special reference to the visual records, 2 vols, [D.Phil, thesis, St. Catherine's College, University of Oxford 1995 = Thesis], pp. 76–80, 228–32.

9. Pierce, Glenn Palen, The ‘caratterista’ and comic reform from Maggi to Goldoni (Naples, 1986), pp. 30–1.

10. Wind, Barry, ‘Pitture ridicole: some late cinquecento comic genre paintings’, Storia dell'arte, 20, 1974, p. 28.

11. Smith, Winifred, ‘The Academies and the popular Italian stage in the sixteenth century’, Modem Philology, 8, 1911, pp. 110.

12. Pandolfi, Vito, La commedia dell'arte. Storia e testo (Florence, 19571961), 6 vols, II, p. 302.

13. Katritzky, 1987, p. 251; 1989, pp. 107–8.

14. Beijer, A. and Duchartre, P.-L., Recueil de plusieurs fragments des premières comédies italiennes (Paris, 1928), p. 18; Katritzky, 1987, p. 250; Brown, John Russell (editor), The Oxford Illustrated History of Theatre (Oxford, 1995), p. 126.

15. Katritzky, 1987, pi. 173.

16. Bellini, P., ‘Printmakers and Dealers in Italy during the 16th and 17th Centuries’, Print Collector, 13, 1975, p. 33.

17. Beall, K. F., Cries and itinerant trades (Hamburg, 1975), p. 319.

18. Corrigan, Beatrice, ‘Commedia dell'arte portraits in the McGill Feather Book’, Renaissance Drama, n.s.2, 1969, pp. 167–88.

19. Katritzky, M. A., ‘A Renaissance commedia dell'arte performance: towards a definitive sequence of Sieur Fossard's woodcuts?’, Nationahnuseum Bulletin (Stockholm), 12, 1988, p. 52; Gambelli, 1993, pp. 151–3.

20. Taviani, Ferdinando, ‘Bella d'Asia. Torquato Tasso, gli attori e l'immortalita’, Paragone/Letteratura, n.408–10, 1984, pp. 376, 74.

21. Baschet, 1882, p. 69.

22. Wolff, Max J., ‘Die Commedia dell'Arte’, Germanisches Romanisches Monatsschrift, 20/21, 1933, pp. 307–18, p. 315; Taviani, 1984, p. 74.

23. Katritzky, 1987, p. 248.

24. Lea, 1934, I, p. 288.

25. Ferrone, Siro, Attori mercanti corsari: la commedia dell'arte in Europa tra cinque e seicento (Turin, 1993), p. 21.

26. Ferrone, 1993, pp. 23–4, 30, 244, 247–53.

27. Askew, Pamela, ‘Fetti's “portrait of an actor” reconsidered’, Burlington Magazine, 120, 1978, pp. 5965.

28. Enciclopedia dello Spettacolo, I, 1954, pi. 9.

29. Lea, 1934, I, pp. 266–7, 275–7; n, pp. 485–6.

30. Lea, , 1934, I, pp. 48, 226, 275–7 & n, pp. 485–6; Scherillo, Michele, ‘The commedia dell'arte’, The Mask, 4, 1911, p. 152.

31. Pandolfi, , (Florence 1957–61), V, p. 238.

32. Katritzky, M. A., ‘The diaries of Prince Ferdinand of Bavaria: commedia dell'arte at the wedding festivals of Florence (1565) and Munich (1568)’, in Mulryne, and Shewring, , eds., Italian Renaissance Festivals and their European Influence (Lewiston/Queenston/Lampeter, 1992), pp. 143172 & plates 24–46, pp. 159160.

33. Ughi, Stefanella, ‘Di Ludovico de’Bianchi e dei Comici Gelosi, Biblioteca Teatiale, 10/11, 1974, pp. 184–8.

34. Lea, 1934, I, p. 29.

35. Lea, 1934, I, p. 270.

36. Krogh, Torben, Musik og Teater (Munksgaard, 1955), fig. 20.

37. Nicoll, Allardyce, Masks, Mimes and Miracles (London, 1931), p. 295; The World of Harlequin (Cambridge, 1963), p. 89.

38. D'Ancona, Alessandro, Origini del teatro italiano (Rome, 1891/1971), 3 vols, II, pp. 478–9.

39. Barbieri, Nicolo (ed. Taviani, ), Supplica, overo discorso famigliare intorno alle comedie mercenarie (Venice, 1634/1971), pp. 86–7; Lea, 1934, I, p. 264.

40. Ferrone, 1993, p. 129.

41. Richards, and Richards, 1990, p. 272.

42. Ferrone, 1993, pp. 103, 106, 109, 118.

43. Gambelli, 1993, pp. 152–3.

44. Corrigan, 1969, p. 179; Lea, 1934, II, p. 491; Posner, Donald, ‘Jacques Callot and the dances called Sfessania’, Art Bulletin, 59, 1977, pp. 203–16 p. 216.

45. Falconieri, John, ‘Historia de la commedia dell'arte en Espana’, Revista de Literatura, 11, 1957, pp. 337 and 12, pp. 6990 (26, 31).

46. Katritzky, M. A., ‘Harlequin in late renaissance pictures’, Renaissance Studies, forthcoming, note 36; & Thesis, pi. 179.

47. Falconieri, John, ‘The commedia dell'arte, the actors' theatre’, Theatre Annual, 12, 1954, pp. 3547, p. 41.

48. Gambelli, 1993, pp. 152–3, 190.

49. Nicholl, 1931, p. 306.

50. Ughi, , 1972, p. 15 & 1974, p. 187.

Eight Portraits of Gelosi Actors in 1589?

  • M. A. Katritzky (a1)

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