648 linda l. carroll
Commedia dell’arte: caratteri, tecniche, fortuna,” pp. 381–408; and anna
Laura bellina and thomas Walker, “il melodramma: poesia e musica
nell’esperienza teatrale,” pp. 409–32.
a detailed history of the romance is found in adolfo albertazzi, Romanzi
e romanzieri del Cinquecento e del Seicento (bologna, 1891).
the enormous literature on galileo is outside the scope of this essay; of
great interest recently are the precise reasons for his inquisition trial.
the Commedia dell’arte is the subject most recently of robert henke,
Performance and Literature in the Commedia dell’Arte (Cambridge and new
York, 2002); and for its fortune outside of italy, M. a. Katritzky, The Art of
Commedia. A Study in the Commedia dell’arte 1560–1620 with special refer-
ence to the visual records (amsterdam and new York, 2006). Melodrama
has attracted great interest of late as attested by ellen rosand, Opera in
Seventeenth-century Venice: The Creation of a Genre (berkeley, 1991); beth L.
glixon and Jonathan e. glixon, Inventing the Business of Opera: The Impresa-
rio and His World in Seventeenth-century Venice (Oxford, 2006); and edward
Muir, The Culture Wars of the Late Renaissance (Cambridge, 2007).
the works of women writers of the 17th century have recently been
studied and published. numerous of Marinella’s works have been pub-
lished, and she has been studied by Paola Malpezzi Price and Christini
ristaino in Lucrezia Marinella and the “Querelle des Femmes” in Seven-
teenth-Century Italy (Madison, n.J., 2008). a play, poetry, and letters of isa-
bella andreini have been published. Modesta Pozzo’s treatise on women
and a chivalric romance have been published, the latter edited by Valeria
Finucci. arcangela tarabotti’s treatise on paternal tyranny has been fully
published, as have two studies of her. the extraordinary career of elena
Cornaro Piscopia has been researched in great detail by by Francesco
Ludovico Maschietto, Elena Lucrezia Cornaro Piscopia (1646–84): The First
Woman in the World to Earn a University Degree, ed. Catherine Marshall,
trans. Jan Vairo and William Crochetiere (Philadelphia, 2007).
The 18th Century
Modern scholarship on goldoni began with the meticulous work of
giuseppe Ortolani, which appears in his introductions and notes to the
plays in the Mondadori edition and in a wide range of articles, the most
important of which are collected in gino damerini, ed., La riforma del
teatro nel Settecento, e altri scritti (Venice, 1962). the volume also contains
essays on goldoni’s warm reception in various countries. Mario baratto’s
research is foundational; beyond the essay “goldoni,” in Tre studi, he wrote