Between 1637 and 1700, there were performed three hundred operas at Venice alone. An account of the performance of "Berenice," composed by Domenico Freschi, at Padua, in 1680, dwarfs all our present ideas of spectacular splendor. In this opera there were choruses of a hundred virgins and a hundred soldiers; a hundred horsemen in steel armor; a hundred performers on trumpets, cornets, sackbuts, drums, flutes, and other instruments, on horseback and on foot; two lions led by two Turks, and two elephants led by two Indians; Berenice's triumphal car drawn by four horses, and six other cars with spoils and prisoners, drawn by twelve horses. Among the scenes in the first act was a vast plain with two triumphal arches; another with pavilions and tents; a square prepared for the entrance of the triumphal procession, and a forest for the chase. In the second act there were the royal apartments of Berenice's temple of vengeance, a spacious court with view of the prison and a covered way with long lines of chariots. In the third act there were the royal dressing-room, the stables with a hundred live horses, porticoes adorned with tapestry, and a great palace in the perspective. In the course of the piece there were representations of the hunting of the boar, the stag, and the lions. The whole concluded with a huge globe descending from the skies, and dividing itself in lesser globes of fire on which stood allegorical figures of fame, honor, nobility, virtue, and glory. The theatriccal manager had princes and nobles for bankers and assistants, and they lavished their treasures of art and money to make such spectacles as the modern stagemen of London and Paris cannot approach.