tag="{http://www.w3.org/1999/xhtml}a">12 But while the characters of these were almost as clearly defined as they are in Gluck's "Orfeo," their musical basis, as we shall see, was altogether different. Nevertheless it was distinctly lyric and secular and was therefore as near the spirit of the popular music of the time as any new attempt could well approach. It had, too, in embryonic form all that apparatus for the enchantment of the sense and the beguilement of the intellect which in the following century was the chief attraction of a lyric drama, partly opera, partly spectacle and partly ballet.

CHAPTER V

POLIZIANO'S "FAVOLA DI ORFEO"

In the year 1472 the Cardinal Francesco Gonzaga, who had stayed long in Bologna, returned to Mantua. He was received with jubilant celebrations. There were banquets, processions and public rejoicings. It would have been quite unusual if there had been no festival play of some kind. It is uncertain whether Poliziano's "Orfeo" was written for this occasion, but there seems to be a fair amount of reason for believing that it was. At any rate it could not have been produced later than 1483, for we know it was made in honor of this Cardinal and that he died in that year.