In 1574, Claudio Merulo, organist at St. Mark’s, composed music to a drama, which was performed in the presence of Henry III., of France. Vincent Galileo, father of the astronomer, and Giovanni Bardi invented the recitative at about the same time. Peri and Caccini, two of the best musicians of Florence were engaged by two rich noblemen to write for them a complete opera; _Dafne_, produced in Florence (1597,) was the result, and was the first complete opera in modern form; these composers were therefore the originators of the opera. An opera by the same writers was given at the wedding of Henry IV., and Marie de Medici. Rinucci, the author of the _libretti_ of both the above was silly enough to imagine that Marie de Medici loved him, and followed her into France the ridicule which he received for his conceit soon sent him back to Italy. The score of “Orpheus,” by Monteverde, 1608, allows us to see the construction of his orchestra. There were,— 2 Clavichords, 2 Lyres, or Grand Viols (13 strings), 10 Violas, 3 Bass Viols, 2 Double Bass, 1 Double Harp (2 rows of strings), 2 Small French Violins, 2 Great Guitars, 2 Organs (wood), 4 Trombones, 1 Pair of Regals (small organ), 2 Cornets, 1 Small Flute, 1 Clarion, 3 Sourdines (muted trumpets). These instruments gave to each chorus and character a different effect, thus the double basses accompanied Orpheus; the viols, Euridice; the trombones, Pluto; the regals, Apollo. The shepherd’s choruses were accompanied by flute, cornets, sourdines and clarion, and most singular of all, Charon sang to the light tones of the _guitar_.[280] In Italy, from this time forth, opera followed opera. In France it was not known till much later plays “with songs” were known however, and one of these, “in the Italian style,” was performed in Paris, before the King and Royal family, on the occasion of the victory of the Duke of Guise at Calais, 1558. The chief representations for years after, lay rather in the direction of ballets, than of operas. Religious plays also still were given at Paris, but after the ordinance, of 1548, that no Catholic ceremony should be represented on the stage, they disappeared.[281] The theatres, that is those which were public, were at this time very poorly appointed, but through the constant festivities of the court, many inventions came into use. The Court of France had always a _penchant_ for music, the drama, and dancing. Henry IV., was very fond of the latter.