Since the beginning of the Opera is practically the beginning of a century, the 17th, it should not be a difficult matter to keep this date in mind. It therefore antedates the settlement at Jamestown, Va., by a few years, making the beginning of American history under English auspices and the Opera coincide. LESSON XVIII. THE ORATORIO. DEVELOPMENT OF THE OPERA. =The First Oratorio=.—The novelty of the new style, which was called the _stilo rappresentativo_ (representative style), the vigor and freedom it gave to an impressive delivery of the text, aroused universal attention. Among the composers who essayed it was =Emilio del Cavaliere= (1550-1599). By applying it to a sacred subject, he originated the Oratorio. Roman by birth, he had passed part of his life in Florence, and though not a member of the _Camerata_, was familiar with its aims and practice. The germ both of the Opera and Oratorio is to be found in the Miracle Plays or so-called Mysteries of the Middle Ages. These were dramatic representations of _Bible scenes_ or _religious allegories_ by means of which a populace unable to read was taught the great truths of sacred history. Cavaliere’s oratorio, _La Rappresentazione di Anima e di Corpo_ (The Representation of Soul and Body), was given in 1600 in Rome, at the Oratory of the Church of Santa Maria in Vallicella—hence its name. [Music: PASSAGE FROM CAVALIERE’S ORATORIO.] =Its Characteristics=.—Save for the _nature_ of the _subject_, there was no apparent difference between it and an opera. The allegorical characters taking part appeared in costume and in action. The score even gives directions by which it may be concluded with a dance if so desired. By this, however, dignified and stately movements are understood, in nowise resembling the rapid dance of modern times. The composer in his instructions for performance, which are unusually full and complete, lays great stress upon an expressive delivery of the text, and the swelling and diminishing of the tones by the singers. In vigor and characterization it far surpasses Peri’s and Caccini’s operas. Cavaliere’s death, which occurred ten months before the production of his work, and the great popularity of the Opera, put a stop to the immediate development of the Oratorio; that was reserved for Carissimi a generation later.