A decided advance in the development of the orchestra was made by Claudio Monteverde, whose "Orfeo" (1608) had an accompaniment of two harpsichords, two bass viols, ten tenor viols, two "little French violins," one harp, two large guitars, two organs (small ones), two violas di gamba, four trombones, one regal (a little reed organ), two cornets, one piccolo, one clarion (an instrument of the trumpet family), and three trumpets. But even in this opera Monteverde showed that he had not discovered the true relations of the instruments. The "little French violins" seem to be the first modern violins used in the orchestra, yet they may have been somewhat crude instruments, for the first maker of real violins of whom we know anything was Gasparo di Salo (1542-1610). He was a much better maker of violas than of violins, and it was Giovanni Paolo Maggini (1581-1631) who left us the violin as we have it to-day. Monteverde may have regarded violins from Salo's Lombardy home, Brescia, as French, because the French and Italians were continually at war there. The violin, having once entered the orchestra, however, speedily began to move toward its proper position as the principal voice, and as soon as composers recognized its sphere, they began to employ the other instruments with due regard for their relative capacities. Monteverde was the first composer who took advantage of the contrasting qualities of tone in the orchestra. His position in regard to the treatment of orchestral music shows a remarkable advance, and had a direct and wide influence upon the development of the orchestra. Monteverde's operas contain many bits of independent orchestral music, but it was in attempting to illustrate the incidents of his dramas by means of the orchestral part that he divorced the accompaniment from the voice parts and discovered the relative values of some of his instruments. In one of his operas he uses a string quartet, composed of three violas and a bass, and while the voices sing the text to a recitative, these instruments depict the rushing together of horses in combat, the struggle of the opponents, and other actions not described by the text, but performed by the actors. In writing this passage Monteverde invented two well-known effects: the tremolo (a rapid tremulous repetition of a single note), and the pizzicato (plucking the strings with the fingers). The feeling for instrumental description displayed in this score led Monteverde to emphasize the essential utility of the strings, and at the same time it led him to use the other instruments to produce contrasts.