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See the interesting pamphlet, Sulla Estrazione delle Acque Sotterrance, by C. Calandra. Torino, 1867. The most remarkable case of infiltration known to me by personal observation is the occurrence of fresh water in the beach-sand on the eastern side of the Gulf of Akaba, the eastern arm of the Red Sea.
And they obeyed him, holding a most beautiful supper, with a comedy, every year over a long period of time; and thus there were performed at various times, as was related in the Life of Aristotile da San Gallo, the Calandra of M. Bernardo, Cardinal of Bibbiena, the Suppositi and the Cassaria of Ariosto, and the Clizia and Mandragola of Macchiavelli, with many others.
The tubular wells generally known as the American wells furnish another proof of the free diffusion and circulation of water through the soil. I do not know the date of the first employment of these tubes in the United States, but as early as 1861, the Chevalier Calandra used wooden tubes for this pose in Piedmont, with complete success.
The interesting point is that the fame of the scenic attire of "Calandra" seems to have been well established among the early writers on the theater and that they also regarded as significant its indoor performance.
The performance of Poliziano's "Orfeo," however, took place some forty years earlier than that of "Calandra," and it was without doubt in a closed hall and therefore most probably with artificial light of flambeaux and lamps. [Footnote 21: "Histoire du Théâtre de l'Opéra en France depuis l'Etablissement de l'Académie Royale de Musique jusqu'
Duruy de Noirville says that Peruzzi revived the "ancient decorations" of the theater in this "Calandra" which "was one of the first Italian plays in music prepared for the theater. Italy never saw scenery more magnificent than that of Peruzzi." This is a matter in which Noirville cannot be called authoritative, but it is certain that the fame of the production of "Calandra" was well established.
The Calandra of Dovizi, which a few years later caused such a sensation, was not yet written. It is true Ariosto had already composed his Cassaria and the Suppositi, but he had not yet won sufficient renown for him to be honored by their presentation at the wedding festivities. Moreover, the duke would have none but classic productions.
"The oldest representation," he says, "given in a closed hall, with artificial light and with scenery, appears to have been that of the 'Calandra, a comedy which Balthazzar Peruzzi caused to be performed before Leo X in 1516 at the Château of St. Ange."
He brings together the Duchess Elizabetta Gonzaga; Emilia Pia, wife of Antonio da Montefeltro, whose wit is as keen and active as that of Shakespeare's Beatrice; Pietro Bembo, the Ciceronian dictator of letters in the sixteenth century; Bernardo Bibbiena, Berni's patron, the author of 'Calandra, whose portrait by Raphael in the Pitti enables us to estimate his innate love of humor; Giuliano de' Medici, Duke of Nemours, of whom the marble effigy by Michael Angelo still guards the tomb in San Lorenzo; together with other knights and gentlemen less known to fame two Genoese Fregosi, Gasparo Pallavicini, Lodovico, Count of Canossa, Cesare Gonzaga, l' Unico Aretino, and Fra Serafino the humorist.
Her Capitoli in verse go to incredible lengths; and the astonishing success of Aretino must not be forgotten, nor the licence of the whole Italian comic theatre of the sixteenth century. The Calandra of Bibbiena, who was afterwards a Cardinal, and the Mandragola of Machiavelli, are evidence enough, and these were played before Popes, who were not a whit embarrassed.
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