akin to our own, made free use of the Chord of the Dominant Seventh, and introduced bolder harmonies and unprepared dissonances. These harmonic innovations were already noticeable in his earlier vocal compositions. [Footnote 1: See Appendix of Musical Illustrations, Examples 1 to 5.] As we have seen, Peri contributed much to his successors from a dramatic standpoint, but as for expression, the Florentine _pseudo_ music dramas consisted of a monotonous and long-spun succession of primitive and dreary _recitativi_ with but little support other than a _basso continuo_ and meagre chords, whereas Monteverde, absorbed in the discovery of means by which he might emphasize expression, developed true creative talent in a diversity of ways. For although his chord successions were still crude and his perspective for design but slightly evolved, his realization of the importance of stage effects led him to intensify the dramatic action, to vary the tone-color, to extend the functions of the accompaniment to the voice, and to relieve the monotony of constant _recitativo_ by a more liberal and artistic use of the _arioso_. These innovations were destined to wield far-reaching influence. Though admiration for the earlier pure choral style was soon rekindled in Italy, it was not long before the two styles, the old and the new, were combined, as embodied in the oratorios of Carissimi; and Schütz, who had been taught by Giovanni Gabrieli of Venice, transplanted these Italian methods into Germany. But the direct line of development from Monteverde's dramatic theories is to be traced through Cavalli, and from him through Lulli, into France, thenceforth the permanent home for histrionic displays; for Italy turned to a more careful consideration of melodic beauty and taste for design, whereas the disciples of Schütz, though cultivating the new principles especially in oratorio, still retained their German characteristics.