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Updated: May 25, 2025
They filled their works with Italian things: from the whole plot of a play borrowed from an Italian novel, to the mere passing allusion to an Italian habit, or the mere quotation of an Italian word; from the full-length picture of the actions of Italian men and women, down to the mere sketch, in two or three words, of a bit of Italian garden or a group of Italian figures; nay, to the innumerable scraps of tiny detail, grotesque, graceful, or richly coloured, which they stuffed into all their works: allusions to the buffoons of the mask comedy, to the high-voiced singers, to the dress of the Venetian merchants, to the step of a dance; to the pomegranate in the garden or the cypress on the hillside; mere names of Italian things: the lavolta and corranto dances, the Traglietto ferry, the Rialto bridge; countless little touches, trifling to us, but which brought home to the audience at the Globe or at Blackfriars that wonderful Italy which every man of the day had travelled through at least in spirit, and had loved at least in imagination.
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