[Musical Notation] In 1554 Beccari of Ferrara (1510-1590) produced his "Il Sagrifizio," a genuine pastoral drama, in which the actors were Arcadian shepherds with Roman manners. The dialogues were connected by a series of dramatic actions, and the music was composed by Alfonso della Viola, a pupil of Willaert. Among the personages was a high priest who sang, like Poliziano's Orpheus, to the accompaniment of his own lyre. The same composer wrote choruses for Alberto Lollio's pastoral, "Aretusa" (1563) and several musical numbers for "Lo Sfortunato" by Agostino Argenti, of Ferrara (1571). In 1574 on the occasion of the visit of Henri III to Venice, the doge ordered a performance of a piece called simply "Tragedia," which had choruses and some other music by the great Claudio Merulo, composer of the first definitely designed instrumental works. For the wedding festivities attendant upon the marriage of Francesco de Medicis and Bianca Capella in 1579 Gualterotti arranged a grand tournee in the interior court of the Pitti Palace at Florence. This entertainment was of a nature similar to that of 1539 above described. It was composed of mythologic episodes spectacularly treated. The verse was by Giovanni Rucellai, the distinguished author of "Rosamunda" and the "Api," and the music by Pietro Strozzi. One of the singers was a certain young Giulio Caccini, who lived to be famous. Torquato Tasso's pastoral play "Aminta" (1573) had choruses though we cannot say who composed the music. It is known that Luzzasco Luzzaschi, pupil of Cyprian di Rore, master of Frescobaldi, and composer of madrigals and organ toccatas, wrote the chorals in madrigal style for Guarini's famous "Pastor Fido." There were choruses to separate the acts and two introduced in the action. These two, which had a kind of refrain, were the chorus of hunters in Act IV, scene sixth, and the chorus of priests and shepherds in Act V, scene third. There was also an episode in which a dance was executed to the music of a chorus sung behind the scenes.