in 
and Art. 
Literature 
30, 
0 
iigure is a picture in itfelf. This engraving produced quite a fenfation, 
and it was followed by other pietures of fairs, and, after his final return 
to Nancy, Callot engraved it anew. It was this talent for grouping 
large malfes of perfons which cauied the artiiiz to be fo often employed 
in drawing great public ceremonies, Iieges, and other warlike operations. 
By the duke of Florence, Colino II., Callot was liberally patronifed 
and loaded with benefits, but on his death the government had to be 
placed in the hands of a regency, and art and literature no longer met 
with the fame encouragement. In this ftate of things, Callot was found 
by Charles of Lorraine, afterwards duke Charles IV., and perfnaded to 
return to his native country. He arrived at Nancy in I622, and began 
to work there with greater activity even than he had difplayed before. It 
was not long after this that he produced his fets of grotefques, the Balli 
(or dancers), the Gobbi (or hunchbacks), and the Beggars. The iirlt of 
thefe fets, called in the title Balli, or Cucurucu," connfts of twenty-four 
fmall plates, each of them containing two comic characters in grotefque 
attitudes, with groups of fmaller ligures in the diliance. Beneath the 
two prominent figures are their names, now unintelligible, but at that 
time no doubt well known on the comic Rage at Florence. Thus, in 
the couple given in our cut No. 165, which is taken from the fourth 
plate of the feries, the perfonage to the left is named Smaraolo Cornuto, 
which means Iimply Smaraolo the cuckold; and the one on the right is 
called Ratfa di Boio. In the original the background is occupied by a 
Itreet, full of fpeftators, looking on at a dance of pantaloons, round one 
who is mounted on {tilts and playing on the tabour. The couple in our cut 
No. I66, 
9" Meaume appears to be doubtful of the meaning of this word; a Friend has 
pointed out to me the correction. It was the title of a song, so called because the 
burden was an imitation of the crowing of a cock, the singer mimicking also the 
action of the bird. When Bacchus, in Redi's " Bacco in Toscanzt," is beginning 
to feel the exhilarating effects of his critical investigation of the Tuscan wines, he 
calls upon Ariadne to sing to him "sulla. mandola la Cucurucil," "on the man- 
dnla the Cucurucu." A note fully explains the word as we have stated it-" Can_ 
zone cosi detta, perche in esse si replica molte volte la voce del gallo; e cantandola 
si fanno atti e moti simili a quegli di esso gallo."