[20.] "Les Décors, les Costumes et la Mise en Scène au XVIIe Siècle," par Ludovic Celler. Paris, 1869.
[21.] "Histoire du Théâtre de l'Opéra en France depuis l'Etablissement de l'Académie Royale de Musique jusqu'à présent." (Published anonymously.) Paris, 1753.
[22.] "During the fifteenth century the love of part-singing seems to have taken hold of all phases of society in the Netherlands; princes and people, corporate bodies, both lay and clerical, vying with each other in the formation of choral societies." Naumann, "History of Music," Vol. I, p. 318.
"The practice of concerted singing was not confined to the social circles of the dilettanti, but was also very popular in the army; and we have before alluded to the fact that Antoine Busnois and numerous others followed Charles the Bold into the field." Ibid., p. 320.
[23.] "The Present State of Music in France and Italy," by Charles Burney. London, 1773.
[24.] "Geschichte der Musik" von August Wilhelm Ambros. Leipsic, 1880.
[25.] "El Melopeo y Maestro," by Dominic Pierre Cerone. Naples, 1613. (Quoted here from Ambros.)
[26.] This passage is not a literal quotation, but partly a paraphrase and partly a condensation of the text of Ambros.
[27.] Michael Prætorius, "Syntagma Musicum," vol. ii, Organographia. Wolfenbüttel, 1619-20.
[28.] "Although the existence of 'Orfeo' as an opera appears to me to be problematical, there would be nothing impossible about the construction of a tragedy accompanied by music, because instruments were cultivated in Italy more than in France. Before that epoch the Medici had given concerts at Florence. Giovanni de Medici died in 1429, and Cosimo, who succeeded him and reigned till 1464, gave at the Pitti Palace concerts where there were as many as four hundred musicians. Under his successors and before the death of Alexander de' Medici in 1537, the violinists Pietro Caldara and Antonio Mazzini were often the objects of veritable ovations, and about the same time, 1536, at Venice, was played a piece called 'Il Sacrificio,' in which violins sustained the principal parts."—"Les Origines de l'Opera et le Ballet de la Reine," par Ludovic Celler. Paris, 1868.