Not till then was the second half of the fable of Amphitruo performed, with unmistakable references to the future birth of a Hercules of the House of Este.At a former representation of the same piece in the courtyard of the palace (1487), 'a paradise with stars and other wheels,' was constantly burning, by which is probably meant an illumination with fireworks, that, no doubt, absorbed most of the attention of the spectators.It was certainly better when such performances were given separately, as was the case at other courts.We shall have to speak of the entertainments given by the Cardinal Pietro Riario, by the Bentivogli at Bologna, and by others, when we come to treat of the festivals in general.
This scenic magnificence, now become universal, had a disastrous effect on Italian tragedy.'In Venice formerly,' writes Francesco Sansovino, about 1570, 'besides comedies, tragedies by ancient and modern writers were put on the stage with great pomp.The fame of the scenic arrangements _(apparati) _brought spectators from far and near.
Nowadays, performances are given by private individuals in their own houses, and the custom has long been fixed of passing the carnival in comedies and other cheerful entertainments.' In other words, scenic display had helped to kill tragedy.
The various starts or attempts of these modern tragedians, among which the 'Sofonisba' of Trissino (1515) was the most celebrated, belong in the history of literature.The same may be said of genteel comedy, modelled on Plautus and Terence.Even Ariosto could do nothing of the first order in this style.On the other hand, popular prose-comedy, as treated by Machiavelli, Bibbiena, and Aretino, might have had a future, if its matter had not condemned it to destruction.This was, on the one hand, licentious to the last degree, and on the other, aimed at certain classes in society, which, after the middle of the sixteenth century, ceased to afford a ground for public attacks.If in the 'Sofonisba' the portrayal of character gave place to brilliant declamation, the latter, with its half-sister, caricature, was used far too freely in comedy also.