=Characteristics of the Venetian School=.—Thus was taken the first step toward the complete reversal of the conditions under which the early Opera had arisen. Instead of the music’s being subordinate to the drama, the drama was soon to serve merely as an excuse for the music; the opera was destined to sink to the level of a concert sung in costume; the dramatic action reduced to a minimum. The Venetian school marks the turning-point in this direction. The high ideals of Monteverde and his predecessors were gradually thrust into the background; the singer began to assume precedence over the actor; truth of _expression yielded_ to the fascinations of _time_ and _tune_, which even the musically uncultivated could enjoy without bothering their heads as to real dramatic fitness. Closely connected with these tendencies was the establishment of a school of singing which, if we may believe contemporary accounts, surpassed in technical facility and brilliancy any vocal art heard either before or since that time. The result was that singers finally regarded the opera only as a field for the display of their dazzling accomplishments and in this they were willingly supported by a public eager to be entertained and amused. REFERENCES. Apthorp.—The Opera, Past and Present. Elson.—The History of Opera. Grove.—Dictionary of Music and Musicians, article on Opera. QUESTIONS AND SUGGESTIONS. Who wrote the first oratorio? In what respects did an opera and an oratorio differ? Give an account of Monteverde and his innovations in Opera. What was the state of music in the 17th century? Describe Monteverde’s first opera. Describe Monteverde’s second opera. What was understood by the terms Toccata, Ritornello? What were Monteverde’s contributions to the Opera? What change took place in the character of the Opera in the latter half of the 17th century? Who were the prominent members of the Venetian school? Give an account of Carissimi and his work. Give a characterization of the Venetian school. A short account of the Mysteries or Miracle Plays of the Middle Ages may be assigned to a pupil as special work. The Passion Play, still given today at Oberammergau, Germany, is a relic of the old-time religious plays. LESSON XIX. ALESSANDRO SCARLATTI AND THE NEAPOLITAN SCHOOL.