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Updated: May 7, 2025
It is interesting to make a brief comparison between the two representations, for this shows the novelties which entered between the twelfth and the fifteenth centuries. The lute, the trombone, the pommer and the triangle were new acquisitions. If now we refer again to the orchestra of 1518 mentioned by Pauluzo we shall seem to have gone backward.
That there was some sort of an orchestra in the "Orfeo" is probable, though it is not wholly certain. The letter of the Envoy Pauluzo on the performance of Ariosto's "Suppositi" at the Vatican in March, 1518, has already been quoted. From this we learn that there was an orchestra containing fifes, bag-pipes, two cornets, some viols and lutes and a small organ.
The painter of the scenery of the production of Ariosto's "Suppositi," described by Pauluzo, was no less a personage than the mighty Raphael. The accounts of the writers of the latter part of the fifteenth and all of the sixteenth centuries are prolific in testimony as to the splendor of the pictorial elements in the festal entertainments of courts and pontiffs.
The author quotes from a letter of Pauluzo, envoy of the Duke of Ferrara, written on March 8. He wrote: "The comedy was recited and well acted, and at the end of each act there was an intermezzo with fifes, bag-pipes, two cornets, some viols, some lutes and a small organ with a variety of tone. There was at the same time a flute and a voice which pleased much.
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