how ripe the times were for Luther. A dozen more plays of equal merit would have raised the Italian stage very high. But no successor to Machiavelli appeared; and his other play, the Clizia, is deficient in originality, being little more than a paraphrase of the Casina of Plautus.
Many comedies of considerable merit succeeded Machiavelli's, among which may be particularly mentioned those of Firenzuola, who followed Roman precedents, and of Cecchi, and Gelli, and Grazzini, who to a considerable extent disengaged themselves from tradition. Angelo Beolco, called Il Ruzzante, struck upon a new vein in the delineation of rustic life, involving the employment of dialect; and, near the end of the century, the life of the people was represented with extreme vividness by Buonarotti, nephew of Michael Angelo, in his Fiera and Tancia. One other comic dramatist takes an important place, the repulsive and decried Aretino. His claim to permanent significance is grounded, not on the scanty literary merits of his works, but on the unique characteristic thus expressed by Symonds, "They depict the great world from the standpoint of the servants' hall." They are the work of a low-minded man, who could see nothing but the baser traits of the society around him, but saw these clearly, and also saw no reason why he should not blazon what he saw. Hence his usefulness is in the ratio of his offensiveness.
It is significant of the difference between the Italian mind and the Spanish, and of the extent to which the former had emancipated itself from mediævalism, that the Rappresentazione, touching so nearly on the confines of the Spanish Auto, never developed into that or any allied variety of the drama. The abstractions of the vices
