In 1488 Bergonzo Botta, of Tortoni, prepared a festal play for the marriage of Galeazzo Sforza and Isabella of Arragon. Arteaga[31] quotes from Tristan Chalco, a Milanese historiographer, an account of this production. The entertainment took place in a great hall, which had a gallery holding many instrumental players. In the center of the hall was a bare table. As soon as the prince and princess had entered the spectacle began with the return of Jason and his companions who deposited the golden fleece on the table as a present. Mercury then appeared and related some of his adventures in Thessaly with Apollo. Next came Diana with her nymphs dragging a handsome stag. She gave the stag to the bridal pair and told a pretty story about his being the one into which she had changed the incautious Acteon. After Diana had retired the orchestra became silent and the tones of a lyre were heard. Then entered Orpheus who began his tale with the words, "I bewailed on the spires of the Apennines the untimely death of my Euridice." But, as he explained, his song had changed as his heart had changed, and since Euridice was no more, he wished now to lay his homage at the feet of the most amiable Princess in the world. Orpheus was interrupted by the entrance of Atalanta and Theseus and a party of hunters, who brought the first part to an end in an animated dance. [Footnote 31: "Le Rivoluzioni del Teatro Musicale Italiano della sua Origine fino al Presente," by Stefano Arteaga. Venice, 1785.] The second part introduced Iris, Hebe, Pomona, Vertumnus, and choruses of Arcadians and others. This part concluded with a dance by gods of the sea and the Lombardian rivers. The third part began with the appearance of Orpheus leading Hymen, to whom he sang praises, accompanying himself on the lyre. Behind him were the Graces, in the midst of whom came "Marital Fidelity" and presented herself to the princess. After some other minor incidents of the same kind the spectacle came to an end with a ballet in which Bacchus, Silenus, Pan and a chorus of satyrs were principal figures. This lively and comic dance, says Chalco, "brought to an end the most splendid and astonishing spectacle that Italy had witnessed." In 1487 Nicolo de Corregio Visconti produced at Ferrara his fable "Cephale et l'Aurore." In this there were choruses of nymphs, vows to Diana, dialogues between Corydon and Thyrsis and other pastoral dainties. At the carnival of 1506 at Urbino, Castiglione and his friend Cesare Gonzaga, of the great Mantuan family, recited the former's "Tirsi," dialogues in verse. The two interpreters wore pastoral costumes. The dialogue was couched in the customary pastoral phrase, but it was made plain that fulsome flattery of living personages was intended.[32] The musical numbers of which we can be certain were one solo, sung by Iola, a chorus of shepherds and a morris dance. [Footnote 32: "Poesie Volgari e Latine del Conte B. Castiglione." Rome, 1760.]