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Whether this blithe humor is not considered decent, I do not know, but though the Gobbo serves me faithfully, I find him one day replaced by a venerable old man, whom from his personal resemblance to Time I should think much better occupied with an hourglass, or engaged with a scythe in mowing me and other mortals down, than in cleaning my boat.
"Item: to see that El Gobbo carves the reliefs for the altar this year, and that he has sufficient marble, and if more is needed, send to Venice or Carrara. "Item: to see that the sepulchre is finished without delay, and to desire Gobbo to work at the covering and all the other portions belonging to the tomb, so that it may be ready as soon as the rest of the sepulchre.
After the collapse of the Roman Empire the district of Como seems to have maintained more vividly than the rest of Northern Italy some memory of classic art. Magistri Comacini is a title frequently inscribed upon deeds and charters of the earlier middle ages, as synonymous with sculptors and architects. This fact may help to account for the purity and beauty of the Duomo. It is the work of a race in which the tradition of delicate artistic invention had never been wholly interrupted. To Tommaso Rodari and his brothers, Bernardino and Jacopo, the world owes this sympathetic fusion of the Gothic and the Bramantesque styles; and theirs too is the sculpture with which the Duomo is so richly decorated. They were natives of Maroggia, a village near Mendrisio, beneath the crests of Monte Generoso, close to Campione, which sent so many able craftsmen out into the world between the years 1300 and 1500. Indeed the name of Campionesi would probably have been given to the Rodari, had they left their native province for service in Eastern Lombardy. The body of the Duomo had been finished when Tommaso Rodari was appointed master of the fabric in 1487. To complete the work by the addition of a tribune was his duty. He prepared a wooden model and exposed it, after the fashion of those times, for criticism in his bottega; and the usual difference of opinion arose among the citizens of Como concerning its merits. Cristoforo Solaro, surnamed Il Gobbo, was called in to advise. It may be remembered that when Michelangelo first placed his Piet
One side of his face was working convulsively, and he was gibbering and mowing the air with his hand. When he saw me, he called out: "Little Nelly! oh, little Nelly!" I stood transfixed with horror. He was still dressed as Launcelot Gobbo, and this made it all the more terrible. A doctor was sent for, and Mr.
Last night I was sitting at home when a man and a woman knocked at the door carrying this Gobbo who was sick, and gave my handmaid a quarter dinar, bidding her hand me the fee and tell me to come down and see him.
In the Merchant of Venice, at all events, there is hardly a single character from Portia to old Gobbo, a single incident from the exaction of Shylock's bond to the computation of hairs in Launcelot's beard and Dobbin's tail, which has not been more plentifully beprosed than ever Rosalind was berhymed.
It is patent, for example, that the same comedian must have created Launce in Two Gentlemen of Verona and Launcelot Gobbo in the Merchant of Venice; the low comic hit of one production was bodily repeated in the next. It is almost as obvious that the parts of Mercutio and Gratiano must have been intrusted to the same performer; both characters seem made to fit the same histrionic temperament.
Madam Ponisi used to play Portia, and so did Mrs. Hoey. In December 1858, when The Merchant of Venice was finely revived at Wallack's theatre, with the elder Wallack as Shylock, the cast included Lester Wallack as Bassanio, John Brougham as Gratiano, A. W. Young a quaintly comic actor, too soon cut off as Launcelot Gobbo, Mary Gannon the fascinating, the irresistible as Nerissa, and handsome Mrs.
What is this thou tellest me? Where be thy wits?" "O my father," she rejoined, "thou breakest my heart; enough for thee that thou hast been so hard upon me! At this sight he was confounded and said, "This is none other than he, the rascal Hunchback!" So he called to him, "Ho Hunchback!" The Gobbo grunted out, "Taghum!
After this, Giovanni da Cepperello and Battista Gobbo of San Gallo who had caused the Florentine painter Jacopo del Conte, then a young man, to paint in the Florentine Company of the Misericordia in S. Giovanni Decollato, under the Campidoglio at Rome, namely, in the second church where they hold their assemblies, a story of that same S. John the Baptist, showing the Angel appearing to Zacharias in the Temple commissioned Francesco to paint below that scene another story of the same Saint, namely, the Visitation of Our Lady to S. Elizabeth.
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