Nothing of the kind! What Monteverde called for in his Orchestra of _Orfeo_ was _exactly what the Court of Mantua had been accustomed to see and to hear. There was not a single new instrument of any kind whatsoever!_ Now this is what he had: an Orchestra of forty instruments. As instruments of the piano class he had two _clavicembali_, two _organi di legno_ (little organs with flute tones) and a _regale_ (little organ). As instruments of sustaining bass—_bass continuo_—he had two double-bass viols, three _violas da gamba_ and two _chitaroni_ (deep lutes). As instruments for string ensemble he had two little violins _à la française_, or _pochettes_, ten _violas da braccio_ (soprano, alto, tenor and bass), and ordinary violins (such as Gasparo di Salò and Maggini were making). As wind instruments he had a _clarino_ (shrill trumpet) (see page 110); three _trompettes_ with _sordini_; four trumpets and two _cornets à bouquin_; flutes, both shrill and deep; and two oboes. He also had an _arpa doppia_ (double harp). First of all, as was usual in those days, the trumpets gave a fanfare, or “flourish,” to announce the beginning of the drama. Then came the introduction. Though called a “Toccata,” it was very nearly a _real overture_. It had to be repeated three times before the rising of the curtain. The organ, clavecin and _chitaroni_ seem always to have accompanied the singers; the _ritournellas_, which marked the entrance of the singers, were usually played by two solo instruments—the little tiny “French violins,” or the little flutes, on a continued bass from some of the bass instruments; and in the “symphonies” two groups of instruments were used—first, a group of violins in five parts, _viole di brazzo_ (ten in number) supported by the bass of double-bass viols, clavecins, or _chitaroni_. Then a group of seven instruments (five trombones and two cornets). The “symphonies” were very short—just an air played through once; but they are very sweetly harmonized and resemble dance-tunes. The groups of instruments were intended to express, accompany and even symbolize each personage in the drama. _Orfeo_ was, therefore, not an innovation; it was the highest expression of the _end of a period—the crowning-point of the music of the Italian Renaissance_. There were several new ideas in _Orfeo_, however, even if the instruments of the Orchestra were just those of the Italian Renaissance. In one place, for instance, two violins were allowed to play independently of the viols; and _that_ was absolutely novel. The fact is _Monteverde was new_, if his Orchestra was not; and his originality was going to express itself more fully in after years as we shall presently see. [Illustration: CLAUDIO MONTEVERDE]