Here, then, we have a clear statement of the artistic ideals cherished by Caccini, and these, we may take it, were shared by the other members of the camerata who were engaged in the pursuit of a method of direct, eloquent, dramatic solo expression. The opening measures of one of the numbers in the "Nuove Musiche" will serve to show in what manner Caccini developed his theories in practice and equally what close relation this style had to that of the new dramatic recitative. [Musical Notation] In the preface to his score of "Euridice" Peri has set forth his ideas about recitative. He has told us how he tried to base its movement upon that of ordinary speech, using few tones and calm movements for quiet conversation and more extended intervals and animated movement for the delineation of emotion. This was founded upon the same basis as the theory of Caccini, which condemned emphatically the indiscriminate employment of swelled tones, exclamatory emphases and other vocal devices. Caccini desired that the employment of all these factors in song should be regulated by the significance of the text. In other words these reformers were fighting a fight not unlike that of Wagner. They deplored the making of vocal ornaments and the display of ingenuity in the interweaving of parts for their own sakes, just as Wagner decried the writing of tune for tune's sake, and on one of the same grounds, namely, that nothing could result but a tickling of the ear. Yet these young reformers had no intention of throwing overboard all the charms of floridity in song. Here are two examples of their treatment of passionate utterance in recitative. The first is by Peri and the second by Caccini. Both are settings of the same text in the "Euridice." [Musical Notation: two excerpts] Caccini was somewhat more liberal than Peri in the use of floridity and always showed taste and judgement therein. Here is a sample of his style taken from a solo by one of the nymphs in "Euridice": [Musical Notation] Caccini also showed that he was not averse to the lascivious allurements of two female voices moving in elementary harmonies. Here is a passage from a scene between two nymphs upon which rest many hundreds of pages in later Italian operas. [Musical Notation] This was the immediate predecessor of the well-known "Saliam cantando" in Monteverde's "Orfeo."