Such representations as were wholly or chiefly secular in their character were arranged, especially at the more important princely courts, mainly with a view to splendid and striking scenic effects. The subjects were mythological or allegorical, and the interpretation commonly lay on the surface. Extravagances, indeed, were not wanting - gigantic animals from which a crowd of masked figures suddenly emerged, as at Siena in the year 1465, when at a public reception a ballet of twelve persons came out of a golden wolf; living table ornaments, not always, however, showing the tasteless exaggeration of the Burgundian Court and the like. Most of them showed some artistic or poetical feeling. The mixture of pantomime and drama at the Court of Ferrara has been already referred to in the treating of poetry. The entertainments given in 1473 by the Cardinal Pietro Riario at Rome when Leonora of Aragon, the destined bride of Prince Hercules of Ferrara, was passing through the city, were famous far beyond the limits of Italy. The plays acted were mysteries on some ecclesiastical subject, the pantomimes, on the contrary, were mythological. There were represented Orpheus with the beasts, Perseus and Andromeda, Ceres drawn by dragons, Bacchus and Ariadne by panthers, and finally the education of Achilles. Then followed a ballet of the famous lovers of ancient times, with a troop of nymphs, which was interrupted by an attack of predatory centaurs, who in their turn were vanquished and put to flight by Hercules. The fact, in itself a trifle, may be mentioned as characteristic of the taste of the time, that the human beings who at all festivals appeared as statues in niches or on pillars and triumphal arches, and then showed themselves to be alive by singing or speaking, wore their natural complexion and a natural costume, and thus the sense of incongruity was removed; while in the house of Riario there was exhibited a living child, gilt from head to foot, who showered water round him from a spring.
