One of his motets calls for an orchestra of eight trombones, eight violas, eight large flutes, a spinet and a large lute.

Without doubt his most significant work in the domain of the lyric drama was "Il Calamento delle Donne al Bucato," published at Florence in 1584.
This is a series of rustic scenes, of which the first begins with an introductory recitation by the poet, set for four voices: "In the gentle month of May I found myself by chance near a clear stream where some troops of women in various poses washed their white linen, and when they had spread it to the sun on the grass, they chattered thus in lively repartee, laughing." Then begin the action and the dialogue.

The scenario may be set forth in this wise: boisterous salutations, hilarious talk and accounts of flirtations; tittle tattle about neighbors and lively scandals; exchange of commiserations on the insupportable humor of masters and the fatigue of service; cessation of laughing, kissing and shouting, the day being ended; quick change of scene to a levee of washing mallets; one of the women steals a trinket from another, and a general riot ensues, after which there is a reconciliation as the sun goes down and the women disperse with embraces, tender words and cries of adieu.[34] [Footnote 34: Something suggestive of a similar train of musical thought is found in some reflections of George Moore on Zola: "I had read the 'Assomoir,' and had been much impressed by its pyramid size, strength, height and decorative grandeur, and also by the immense harmonic development of the idea; and the fugal treatment of the different scenes had seemed to me astonishingly new--the washhouse, for example: the fight motive is indicated, then follows the development of side issues, then comes the fight motive explained; it is broken off short, it flutters through a web of progressive detail, the fight motive is again taken up, and now it is worked out in all its fulness; it is worked up to _crescendo_, another side issue is introduced, and again the theme is given forth." ("Confessions of a Young Man.")] One can have no difficulty in imagining how this story, furnished as it must have been, with some very free action, was set to music in the madrigal style.

The contrast of moods provides an excellent background for variety of musical movement and for a generous exercise of the expressional skill which the composers of that period had acquired.
Lovers of the ballet of action will perceive that the scenario of Striggio's musical comedy could also serve perfectly for that of a suite of pantomimic dances.
Nor can the reader fail to discern in this story some of the germs of the opera buffa.

What is lacking here, to wit, the advancing of some individual characters from the choral mass to the center of the stage, was better accomplished in the earlier or more serious works.