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 XIX

STAGING AT COURT

[Bibliographical Note.—Of the dissertations named in the note to ch. xviii, T. S. Graves, The Court and the London Theatres (1913), is perhaps the most valuable for the subject of the present chapter, which was mainly written before it reached me. A general account of the Italian drama of the Renaissance is in W. Creizenach, Geschichte des neueren Dramas, vol. ii (1901). Full details for Ferrara and Mantua are given by A. D'Ancona, Origini del Teatro Italiano (1891), of which App. II is a special study of Il Teatro Mantovano nel secolo xvi. F. Neri, ''La Tragedia italiana del Cinquecento (1904), E. Gardner, Dukes and Poets at Ferrara'' (1904), and The King of Court Poets (1906), W. Smith, The Commedia dell' Arte (1912), are also useful. Special works on staging are E. Flechsig, ''Die Dekorationen der modernen Bühne in Italien (1894), and G. Ferrari, La Scenografia'' (1902). The Terence engravings are described by M. Herrmann, ''Forschungen zur deutschen Theatergeschichte des Mittelalters und der Renaissance'' (1914). Of contemporary Italian treatises, the unprinted Spectacula of Pellegrino Prisciano is in ''Cod. Est. lat. d. x. 1, 6 (cf. G. Bertoni, La Biblioteca Estense, 13), and of L. de Sommi's Dialoghi in materia di rappresentazione scenica (c. 1565) a part only is in L. Rasi, I Comici italiani'' (1897), i. 107. The first complete edition of S. Serlio, Architettura (1551), contains Bk. ii, on Perspettiva; the English translation was published by R. Peake (1611); extracts are in App. G; a biography is L. Charvet, Sébastien Serlio (1869). Later are L. Sirigatti, La pratica di prospettiva (1596), A. Ingegneri, ''Della poesia rappresentativa e del modo di rappresentare le favole sceniche'' (1598), and N. Sabbatini, Pratica di fabricar scene e macchine ne' Teatri (1638).

For France, E. Rigal, Le Théâtre de la Renaissance and Le Théâtre au xvii^e siècle avant Corneille, both in L. Petit de Julleville, ''Hist. de la Langue et de la Litt. Françaises'' (1897), iii. 261, iv. 186, and the same writer's Le Théâtre Français avant la Période Classique (1901), may be supplemented by a series of studies in Revue d'Histoire Littéraire de la France—P. Toldo, La Comédie Française de la Renaissance (1897-1900, iv. 336; v. 220, 554; vi. 571; vii. 263), G. Lanson, ''Études sur les Origines de la Tragédie Classique en France (1903, x. 177, 413) and L'Idée de la Tragédie en France avant Jodelle (1904, xi. 541), E. Rigal, La Mise en Scène dans les Tragédies du xvi^e siècle (1905, xii. 1, 203), J. Haraszti, La Comédie Française de la Renaissance et la Scène (1909, xvi. 285); also G. Lanson, Note sur un Passage de Vitruve, in Revue de la Renaissance'' (1904), 72. Less important is E. Lintilhac, ''Hist. Générale du Théâtre en France'' (1904-9, in progress). G. Bapst, Essai sur l'Histoire du Théâtre (1893), and D. C. Stuart, ''Stage Decoration and the Unity of Place in France in the Seventeenth Century'' (1913, M. P. x. 393), deal with staging, for which the chief material is E. Dacier, ''La Mise en Scène à Paris au xvii^e siècle: Mémoire de L. Mahelot et M. Laurent in Mémoires de la Soc. de l'Hist. de Paris et de l'Ile-de-France'', xxviii (1901), 105. An edition by H. C. Lancaster (1920) adds Mahelot's designs.]

We come now to the problems, reserved from treatment in the foregoing chapter, of scenic background. What sort of setting did the types of theatre described afford for the