Also, following the French ideas, Monteverde used a large orchestra of forty pieces, including two clavichords; two little organs called _organi di legno_, which sounded like flutes; a regal, also a kind of small organ; a bass viol; a _viol da gamba_; two very tiny violins called _pochettes_, because they could be carried in the pockets of the French dancing-masters; ten _violes da bracchia_ or tenor viols; ordinary violins, two _chitarroni_ or large lutes, and the usual trumpets, cornets, flutes and oboes. In this Monteverde was a pioneer for he had no other works to guide him, and had to find out for himself the effects of combining different instruments. Today many of his musical effects sound crude to us, but he had no symphony concerts, at which to hear an orchestra, for such a thing did not exist. Neither were orchestral scores written out, but only indicated, and when instruments were used, their parts were made up at the moment and played, according to the “figured bass.” During the 16th century, the musicians had learned that trombones and cornets made a wonderful effect in scenes of the underworld (Hades, Inferno, Hell), of which there were many. They discovered, too, that trumpets and drums made battle scenes and war songs real; that flutes, oboes and bassoons gave a pastoral, or shepherd-like effect; that viols were for scenes of love and of sadness; and that to represent Heaven, they needed harps, lutes and regals. Monteverde brought them all together, and studied how to simplify the orchestra to give it a better balance in tone and variety. It must have been a wonderful time to live in this “young manhood” day of music. The opera _Arianna_ was written a year after _Orfeo_, to celebrate the wedding of the Duke’s son. It must have been a sad task for Monteverde, as he had just lost his wife to whom he was very devoted. Ottavio Rinuccini, poet of the “Camerata”, was his librettist (the writer of the words), and a famous Italian architect, Vianini, built an immense theatre in the castle for the first performance in 1608. Six thousand people assembled, the largest audience that had ever heard an opera! Nothing remains of the opera today, but the text, or words, some published accounts of the performances, and a very touching and beautiful _Lamentation_ in which Arianna expresses her grief at being left by Theseus. This one piece is enough to show Monteverde’s genius, also how freely he expressed human feelings in music. Not a house in Italy with either a clavichord or a theorbo was without a copy of the _Lamentation_! About this time, Monteverde wrote a prologue for a comedy composed by five other musicians of the court, all well-known composers of their day, Rossi, Gastoldi, Gagliano, Giulio Monteverde, and Birt.