A ladder was let down, and God leaning upon it "sang majestically to the sound of many instruments in a sonorous bass voice." The other interludes were also filled with scenic and musical effects.
For instance one showed the ecstasy of David, dancing before the ark "to the sound of a large lute, a violin, a trombone, but more especially to his own harp." These references to the employment of many instruments in accompanying the voice or the dance make us wonder whether our historical stories of the birth and development of the orchestra are well grounded.

But we shall have occasion to consider this matter more fully when we approach the study of the musical apparatus of the first lyric dramas.

It may be noted, however, in passing that the Italian word "violino" was used as late as 1597 to designate the tenor viol.

This instance of uncertainty in terminology warns us to be careful in accepting all things literally.
Perhaps what is of greater significance is the fact that there seems to have been more uniformity of effort and style in the first secular drama, doubtless owing to its great superiority as a piece of literary art.

That sacred plays were seldom written by men of literary rank and ability we have already noted.