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 Performances continued after the death of Pomponius in 1597, but we get no more scenic details, and when the Menaechmi was given at the wedding of Alfonso d'Este and Lucrezia Borgia in 1502 it is noted that 'non gli era scena alcuna, perchè la camera non era capace'. It is not until 1513 that we get anything like a description of a Roman neo-classical stage, at the conferment of Roman citizenship on Giuliano and Lorenzo de' Medici, the Florentine kinsmen of Leo X. This had a decorated back wall divided by pilasters into five spaces, in each of which was a door covered by a curtain of golden stuff. There were also two side doors, for entrance and exit, marked 'via ad forum'.

An even more important centre of humanistic drama than Rome was Ferrara, where the poets and artists, who gathered round Duke Ercole I of Este, established a tradition which spread to the allied courts of the Gonzagas at Mantua and the Delle Rovere at Urbino. The first neo-classical revival on record at Ferrara was of the Menaechmi in 1486, from which we learn that Epidamnus was represented by five marvellous 'case' each with its door and window, and that a practicable boat moved across the cortile where the performance was given.

In 1487 it was the turn of the Amphitrio 'in dicto cortile a tempo di notte, con uno paradiso cum stelle et altre rode'.

Creizenach, ii. 1.]
 * [Footnote: adolescentes et docuit, et agentibus praefuit'; cf. also D'Ancona, ii. 65;