For the other roles and for the chorus the numerous singers of the court were sufficient. That there was an organized orchestra must be doubted, yet there may have been instrumental accompaniments in certain passages. This also is a matter into which we shall further inquire when we take up a detailed examination of the musical means at the command of Poliziano and his musical associates. The study of this entire matter calls for care and judgment, for it is involved in a mass of misinformation, lack of any information and ill grounded conclusions. For example, we read in a foot-note of Rolland's excellent work [18] that in March, 1518, the "Suppositi" of Ariosto was performed at the Vatican before Pope Leo with musical intermezzi. The author quotes from a letter of Pauluzo, envoy of the Duke of Ferrara, written on March 8. He wrote: "The comedy was recited and well acted, and at the end of each act there was an intermezzo with fifes, bag-pipes, two cornets, some viols, some lutes and a small organ with a variety of tone. There was at the same time a flute and a voice which pleased much. There was also a concert of voices which did not come off quite so well, in my opinion, as other parts of the music." [Footnote 18: "Histoire de l'Opera en Europe avant Lully et Scarlatti," par Romain Rolland. Paris, 1895.] Upon this passage Rolland makes the following comment: "This is the type of piece performed in Italy up to Vecchi, as the 'Orfeo' of Poliziano (1475), The Conversion of Saint Paul (Rome, 1484-92, music by Beverini), Cephale et Aurore (music by Nicolo de Coreggio) 1487, Ferrara, etc." This confusion of Poliziano's "Orfeo" with spoken drama interspersed with intermezzi is unfortunate. There were no intermezzi at the representation of this lyric drama. It was in itself an entire novelty and nothing was done to distract the attention of the audience from its poetic and musical beauties. We can hardly believe that there was any close consideration of the fact that the work was an adaptation of the apparatus of the sacra rappresentazione to the secular play. The audience was without doubt absorbed in the immediate interest of the entertainment and was not engaged in critical analysis or esthetic speculations.