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The printer of the Ferrarese edition of the same year remarks: 'Tosto che la Fama ... mi rapportò, che in Venetia si stampava l' Aminta, ... così subito pensai, che quella sola Impressione dovesse essere ben poca per sodisfattione di tanti virtuosi, che sono desiderosi di vederla alla luce. A critical edition was prepared at Paris in the middle of the following century by Egidio Menagio of the Accademia della Crusca, and dedicated to Maria della Vergna, better known, under her married name of Madame de la Fayette, as the author of the Princesse de Clèves . In 1693 the play was attacked by Bartolomeo Ceva Grimaldi, Duke of Telese, in an address read before the Accademia degli Uniti at Naples . He was answered before the same society by Francesco Baldassare Paglia, and in 1700 appeared Giusto Fontanini's elaborate defence . To each chapter of this work is prefixed a passage from Grimaldi's address, which is then laboriously refuted.
Serassi reports that in 1614 Clementi Bartoli of Urbino possessed no less than eighty pastoral plays; while by 1700, the year of Fontanini's work on the Aminta, Giannantonio Moraldi is said to hsve brought together in Rome a collection of over two hundred.
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