lost glories of Greek
tragedy, was a complete failure; but, unknown to themselves, they
produced the germ of that art-form which, as years passed on, was
destined, in their own country at least, to reign alone in the
affections of the people, and to take the place, so far as the altered
conditions permitted, of the national drama which they had fondly hoped
to recreate.

The foundations of the new art-form rested upon the theory that the
drama of the Greeks was throughout declaimed to a musical accompaniment.
The reformers, therefore, dismissed spoken dialogue from their drama,
and employed in its place a species of free declamation or recitative,
which they called _musica parlante_. The first work in which the new
style of composition was used was the 'Dafne' of Jacopo Peri, which was
privately performed in 1597. No trace of this work survives, nor of the
musical dramas by Emilio del Cavaliere and Vincenzo Galilei to which the
closing years of the sixteenth century gave birth. But it is best to
regard these privately performed works merely as experiments, and to
date the actual foundation of opera from the year 1600, when a public
performance of Peri's 'Euridice' was given at Florence in honour of the
marriage of Maria de' Medici and Henry IV. of France. A few years later
a printed edition of this work was published at Venice, a copy of which
is now in the library of the British Museum, and in recent times it has
been reprinted, so that those who are curious in these matters can study
this protoplasmic opera at their leisure. Expect for a few bars of
insignificant chorus, the whole work consists of the accompanied
recitative, which was the invention of these Florentine reformers. The
voices are accompanied by a violin, _chitarone_ (a large guitar), _lira
grande_, _liuto grosso_, and _gravicembalo_ or harpsichord, which filled
in the harmonies indicated by the figured bass. The instrumental
portions of the work are poor and thin, and the chief beauty lies in the
vocal part, which is often really pathetic and expressive. Peri
evidently tried to give musical form to the ordinary inflections of the
human voice, how successfully may be seen in the Lament of Orpheus which
Mr. Morton Latham has reprinted in his 'Renaissance of Music,' The
original edition of 'Euridice' contains an interesting preface, in which
the composer sets forth the theory upon which he worked, and the aims
which he had in view. It is too long to be rep