Then came the band of Florentine nobles who were not originators, but merely revived certain musical practices and traditions of the 14th century and modeled these on the early Greek tragedies. "Eurydice" was accompanied by a large orchestra for those days consisting of a chitarone, viola di gamba, theorba, three flutes and smaller trombones. There was a brief entr'acte, and a trio of two sopranos and a tenor. The chorus was in five parts. Previous to this the solo without harmony or harmonic support was unknown. The instrumental music was of course in its infancy and expressive melody was out of the question. This first operatic orchestra was concealed--perhaps this suggested the idea to Wagner--perhaps not. There were no set tunes, nor any sort of formal melody divided into periods, balancing each other symmetrically, but a sort of recitative which observed the inflection of the spoken words was created. Peri developed this principle to a great extent. He expressed soft gentle speech by half spoken, half sung tones on a sustained instrumental bass. Feelings of deeper emotional kind, he expressed by melody with greater intervals and a lively tempo, accompanied by instrumental harmonies changing frequently, sometimes using dissonance. His prologue was in verse and he gave short metrical passages for the chorus which were rich in harmony. An instrumental episode in the first act and dancing in the end are effective. Vecchi's "L'Amfiparnasso" and "Commedia Armonica" are really only a series of madrigals for five voices. There was no overture, no orchestral accompaniment, nor ritornello of any kind. When the stage was occupied by a single character, four voices were made to sing behind the scenes, foretelling the modern orchestra. In "Orfeo" the accompaniment was a figured bass. "Dafne" and "Arianna" were written in this newly invented "Stilo rappresentatino" with a larger orchestra. "Dafne" consisted of an imitation of speech, a sort of melodious recitative accompanied only with a sustained bass. The instruments were really so contrasted and combined as to invest each character and scene with marked individuality. The introductory toccata (founded on a single chord) was followed by a ritornello, the recitative was accompanied by a figured bass, sometimes by two or more instruments indicated at the beginning.