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represented the gods of [f.68v] the pagans with seven clouds which descended onto the stage, in each of which was a great number of musicians and instrumentalists. They all came out of the said clouds. After having sung and danced, they all went back into their clouds, and gradually re-ascended up to the sky, and so skillfully that one lost sight of them, without anyone at all appearing for any of the ropes or other things necessary for this ascent. In order to make this music, the grand-duke had searched out all the cleverest men of Italy, and so the comedy was completed. And it was staged five times: the first time as a rehearsal, the second, at which I was, for the arrival of the grand-duchess. On this day the done of Florence were very strongly represented there, with an infinity of jewelry. The third time for the Florentine and foreign gentlemen who had come for the wedding, the fourth for the common people and the courtiers of Florence. On that day with the Venetian and Genoese ambassadors who had come to congratulate the grand-duke on his marriage (I went there with them); and the fifth time on the arrival of the ambassador of Spain, who arrived after the wedding for the same reason as the other ambassadors. notes
DOI link for represented the gods of [f.68v] the pagans with seven clouds which descended onto the stage, in each of which was a great number of musicians and instrumentalists. They all came out of the said clouds. After having sung and danced, they all went back into their clouds, and gradually re-ascended up to the sky, and so skillfully that one lost sight of them, without anyone at all appearing for any of the ropes or other things necessary for this ascent. In order to make this music, the grand-duke had searched out all the cleverest men of Italy, and so the comedy was completed. And it was staged five times: the first time as a rehearsal, the second, at which I was, for the arrival of the grand-duchess. On this day the done of Florence were very strongly represented there, with an infinity of jewelry. The third time for the Florentine and foreign gentlemen who had come for the wedding, the fourth for the common people and the courtiers of Florence. On that day with the Venetian and Genoese ambassadors who had come to congratulate the grand-duke on his marriage (I went there with them); and the fifth time on the arrival of the ambassador of Spain, who arrived after the wedding for the same reason as the other ambassadors. notes
represented the gods of [f.68v] the pagans with seven clouds which descended onto the stage, in each of which was a great number of musicians and instrumentalists. They all came out of the said clouds. After having sung and danced, they all went back into their clouds, and gradually re-ascended up to the sky, and so skillfully that one lost sight of them, without anyone at all appearing for any of the ropes or other things necessary for this ascent. In order to make this music, the grand-duke had searched out all the cleverest men of Italy, and so the comedy was completed. And it was staged five times: the first time as a rehearsal, the second, at which I was, for the arrival of the grand-duchess. On this day the done of Florence were very strongly represented there, with an infinity of jewelry. The third time for the Florentine and foreign gentlemen who had come for the wedding, the fourth for the common people and the courtiers of Florence. On that day with the Venetian and Genoese ambassadors who had come to congratulate the grand-duke on his marriage (I went there with them); and the fifth time on the arrival of the ambassador of Spain, who arrived after the wedding for the same reason as the other ambassadors. notes
ABSTRACT
Institut für Theaterwissenschaft, Universitàt M ünchen, hosts: Professors
Christopher Balme and Hans-Peter Bayerdórfer) for supporting this research;
to Jill Bepler, Julian Brooks, Philippe Büttgen, Eva Engel-Holland, Marie-Laure
Lartigue, Elizabeth McGrath, O uti Merisalo, William Twining and Richard
Woodfield; and to Dr. Cram er-Fürtig (Bayerisches Hauptstaatsarchiv,
München); the DAAD and Gladys Krieble Delmas Foundation (Fellowships to
Germany and Venice: 1996, 1997); and the British Academy (Research,
Conference and Travel Grants: 1995,1996,1997). Otherwise unattributed transla-
tions are mine, and are intended only as a guide to the originals.