Military-esque uniform (a satire on the period). UNmasked Capitano: II Cavaliere (The Lover Capitano). The mask often has a strong mustache and brow lines that can be black or have a purple/blue tone. Originally, the color of the mask was probably flesh tone, now it can be many flamboyant colors such as bright pink, yellow and light blue. His mask is described as having 'a long nose, often unambiguously phallic' The nose for Captain Spavento's mask is fairly large, but it lengthens with Matamoros, and becomes absolutely gargantuan for Coccodrillo. II Capitano mask being made at the University of Mississippi He exists to be stripped of his excessive confidence and shown in a moment of panic and humility. He stands in a high posture, occupying as much space as possible, with a straight back and his chest pushed forward. When frightened, he often screams in a high and womanly falsetto, or else faints.It turns out the person in the room is just Capitano's reflection in a full-length mirror. He shakes his fist at the person, the person shakes their fist back at the same time. There is someone crouching in the corner. He wakes up to find he is not the only one in the room.Capitano gloats to Arlecchino (Harlequin) about his expertise with the ladies and then proceeds to demonstrate on Arlecchino how he would make love to a woman.Whenever Capitano sees the audience, he stops to be admired.The first famous Captain, Capitano Spavento, appeared in Francesco Andreini's Bravure di Capitan Spaventa (The Boast of the Terrifying Captain). The origin of Capitano comes from 2 literary sources: Plautus's Miles Gloriosus and Terence's Eunuchus. Columbina sometimes uses him to make Arlecchino jealous, much to Capitano's bewilderment and fright. Typically, however, his cowardice is such that when one of the characters orders him to do something, he often steps down out of fear, but is able to make up an excuse that ensures the other characters still see him as a brave and fierce individual. In this case, his cowardice is usually overcome by the fury of his passion, which he makes every effort to demonstrate. 'I think of him as a peacock who has moulted all but one of his tail feathers, but does not know it,' notes author John Rudlin.

When they are driven off, he will change sides again and boast about his loyalty and bravery. If he is hired to fight the Turks, he will bluster about fighting them to his last drop of blood, but when the Turks seem to be winning, he will join them. If hired by Pantalone to protect his daughter from her many suitors, Capitano would set up a bidding war for his services or aid between the suitors and Pantalone while wooing her himself. He is also extremely opportunistic and greedy.

He would be the first to run away from any and all battles, and he has trouble talking to and being around men. He gets easily carried away in his tales and doesn't realise when those around him don't buy his act. Il Capitano often talks at length about made-up conquests of both the militaristic and the carnal variety in an attempt to impress others, but often ends up impressing only himself. He was most likely inspired by the boisterous Iberic caudillos who told tall tales of their exploits either in the conquest of the Americas or in the wars with Germany. He is usually a Spaniard, given the fact that for most of the late Renaissance to well into 17th century, parts of Italy were under Spanish domination. He is often a braggart and a swaggerer who can maintain his claims only by benefit of the fact that none of the locals know him. The Captain uses bravado and excessive shows of manliness to hide his true cowardly nature.

Smbup el capitan