Vecchi’s disciple, Banchieri, gives a clear account of the manner of performing these madrigals in the preface to _La comedia di prudenza giovenile_: 'Before the music one of the singers will read in a loud voice the name of the scene, the names of the characters and the argument. The place of performance is a room of medium size, as closed-in as possible (for the sake of acoustics); in one corner of the room two large carpets are laid on the floor and an agreeable decoration is used for the background. Two seats are placed at the right and left respectively. Behind the “back-drop” are benches for the singers, who must turn toward the audience and be seated at a hand’s breadth from each other. Behind them is an orchestra of lutes, _clavicembali_, etc., attuned to the voices. Above is a large sheet which hides both singers and musicians. The singers (invisible) follow the music of their parts; there should be three (or better six) at a time. They must give animation to the cheerful words, pathos to the sad ones, and enunciate loudly and intelligibly. The reciting actors (alone on the scene) must prepare their rôles, know them well by heart and follow the music closely. It would not be amiss to have a prompter aid the singers, instrumentalists and reciters.’ These 'actors’ do not, as may be supposed, perform pantomime; they simply pronounce the prologue and announce the scenes. At the end they would, perhaps, dance a few ballet steps in order to leave the spectator in a happy frame of mind. By way of example we shall briefly recount the plot of Vecchi’s _chef-d’œuvre_, that _commedia armonica_ of the strangely inexplicable title _Amfiparnasso_. The story centers around the love intrigue of Lucio and Isabella, the daughter of Pantalone, who has determined to marry her to the pedantic Gratiano. Lucio attempts to commit suicide but is saved. Isabella, about to follow him into death, declares her love. They are married and in the last scene receive the forced consent and the presents of all concerned. Meantime, Pantalone serenades and is rejected by the courtesan Hortensia, Lelio pursues another adventure with the beautiful Nisa, and the captain, Cardone, believing himself loved by Isabella, makes advances and is promptly rebuked. Doctor Gratiano sings absurd serenades while Francatrippa, the valet of Pantalone, goes to borrow money at the Jews’ house, who reject him under pretext of the Sabbath. The book for this amazing comedy, as indeed for all the others, was written by Vecchi himself. He makes all his characters speak in their various dialects and the 'score’ is full of humorous descriptions and characterizations. The piece had great success and, while there were many adverse criticisms, the number of his imitators attests the continued popularity of the form which he developed.