The fifth intermezzo must have rivaled the glories of the ancient sacred plays in the public squares. Rinuccini arranged it from the story of Arion. The theater, so we are told, represented a sea dotted with rocks and from many of these spouted springs of living water. At the foot of the mountains in the background floated little ships. Amphitrite entered in a car drawn by two dolphins and accompanied by fourteen tritons and fourteen naiads. Arion arrived in a ship with a crew of forty. When he had precipitated himself into the sea he sang a solo accompanied by a harp, not by a lyre as in the ancient fable. When the avaricious sailors thought him engulfed forever, they sang a chorus of rejoicing, accompanied by oboes, bassoons, cornets and trombones. The music of this intermezzo was by Malvezzi, who was a distinguished madrigalist. The last intermezzo was also arranged by Rinuccini and its music was by Cavaliere. In this the poet divided the muses into three groups, in order to give antiphonal effect to their songs. He combined the episodes so as to furnish the musician with the motives for a dance and in a manner permit of the use of numerous and varied instruments, from the organ to the Spanish guitar. Probably this ballet morceau was one of the first of many medleys of national character dances so familiar now to the operatic stage.[33] [Footnote 33: This account is taken from Bastiano de' Rossi's "Descrizione dell' apparato e degli intermedi fatti per la commedia rappresentata in Firenze nello nozze del serenissimo D. Ferdinando Medici," etc. Firenze, 1589. This work is not in any of the great libraries and is here quoted from the previously mentioned history of M. Chouquet, who had access to it in the private library of an Italian scholar. The voice and instrumental partbooks were edited by Malvezzi, and published at Venice in 1591 under the title "Intermedii e concerti, fatti per la commedia rappresentata in Firenze nelle nozze del Ferdinando Medici e Madama Cristiana di Lorena." Malvezzi's edition contains valuable notes and an instructive preface.] The published text of these creations shows that they contain much that rests on the traditions of the lyric drama as it had been known in Italy for a century, while there is also a little that approaches the new style then in process of development. This is not strange, indeed, since several of the men most deeply interested in the search after the ancient Greek declamation were active in the preparation of this entertainment. Nevertheless we learn from Malvezzi's publication that the pieces were all written in the madrigal style, frequently in numerous voice parts. The entire orchestra was employed in company with the voices only in the heavier numbers.