have been chronicled either for the invention of some comic character, or for their true imitation of nature in performing some favourite one.  One, already immortalised by having lost his real name in that of Captain Matamoros, by whose inimitable humours he became the most popular man in Italy, invented the Neapolitan Pullicinello; while another, by deeper study, added new graces to another burlesque rival.[44] One Constantini invented the character of Mezetin, as the Narcissus of pantomime.  He acted without a mask, to charm by the beautiful play of his countenance, and display the graces of his figure; the floating drapery of his fanciful dress could be arranged by the changeable humour of the wearer.  Crowds followed him in the streets, and a King of Poland ennobled him.  The Wit and Harlequin Dominic sometimes dined at the table of Louis XIV.—­Tiberio Fiorillo, who invented the character of Scaramouch, had been the amusing companion of the boyhood of Louis XIV.; and from him Moliere learnt much, as appears by the verses under his portrait:—­

    Cet illustre comedien
    De son art traca la carriere: 
    Il fut le maitre de Moliere,
    Et la Nature fut le sien.

The last lines of an epitaph on one of these pantomimic actors may be applied to many of them during their flourishing period:—­

    Toute sa vie il a fait rire;
    Il a fait pleurer a sa mort.

Several of these admirable actors were literary men, who have written on their art, and shown that it was one.  The Harlequin Cecchini composed the most ancient treatise on this subject, and was ennobled by the Emperor Matthias; and Nicholas Barbieri, for his excellent acting called the Beltrame, a Milanese simpleton, in his treatise on comedy, tell us that he was honoured by the conversation of Louis XIII. and rewarded with fortune.

What was the nature of that perfection to which the Italian pantomime reached; and that prodigality of genius which excited such enthusiasm, not only among the populace, but the studious, and the noble, and the men of genius?

The Italian Pantomime had two peculiar features; a species of buffoonery technically termed Lazzi, and one of a more extraordinary nature, the extempore dialogue of its comedy.

These Lazzi were certain pleasantries of gesticulation, quite national, yet so closely allied to our notions of buffoonery, that a northern critic would not readily detect the separating shade; yet Riccoboni asserts that they formed a critical, and not a trivial art.  That these arts of gesticulation had something in them peculiar to Italian humour, we infer from Gherardi, who could not explain the term but by describing it as “Un Tour; JEU ITALIEN!” It was so peculiar to them, that he could only call it by their own name.  It is difficult to describe that of which the whole magic consists in being seen; and what is more evanescent than the humour which consists in gestures?