Riccoboni, in describing some Lazzi, says that Harlequin and Scapin being in a famished condition, Scapin, in order to bring their young mistress out, asks Harlequin to groan.  Scapin explains to her the reason, and while they are talking, Harlequin is performing his Lazzi.  This consists of eating an imaginary hatful of cherries, and throwing the stones at Scapin; or catching imaginary flies, and chopping off their wings.

“Lazzi,” we are told, “although they seem to interrupt the progress of the action, yet in cutting it they slide back into it, and connect or tie the whole.”

When Riccoboni and his company first appeared in France, though being unable to speak nothing but Italian, their audiences, though not being able to understand the words, yet the performers were such past-masters in the Mimetic Art that their representations were just as intelligible and as expressive as if they had been with words.

Gherardi, in his treatise, “Theatre Italien,” speaks of a Scaramouch, who, waiting for his master, Harlequin, seats and plays on the guitar.  Suddenly, by Pasquariel, he is thrown into a fright.  “It was then,” says Gherardi, “that incomparable model of our most eminent actors displayed the miracles of his art; that art which paints the passions in the face, throws them into every gesture, and through a whole scene of frights upon frights, conveys the most powerful expression of ludicrous terror.  This man moved all hearts by the simplicity of nature, more than skilful orators can with all the charms of persuasive rhetoric.”

The Extemporal Comedies were all improvised, the actors underwent no rehearsal, and, as the name denotes, everything was impromptu.  The Scenario, or plot, had just simply the scenes and the characters set forth, and it was then hung in a conspicuous place on the stage; and just in a similar way as the gas or lime light “plots” are affixed in present day theatres, though the Scenarios were not as elaborate as what some of our gas or limelight “plots” are.

Before going on the stage, the Mimes just inspected the Scenario of the Comedia Del’ Arte, and for the dialogue and action everything depended solely upon their Pantomimic genius.

Disraeli mentions that men of great genius had a passion for performing in these Extemporal Comedies, and, amongst others, the great painter, Salvator Rosa.  A favourite character of Rosa’s was that of Formica, a Clown of Calabria.  Passeri, in his life of Rosa, tells the following anecdote:—­

One summer, Salvator Rosa joined a company of young persons, who were curiously addicted to the making of Comedie all’ Improviso.  In the midst of a vineyard they raised a rustic stage, under the direction of one Mussi, who enjoyed some literary reputation, particularly for his sermons preached in Lent.