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.[19] [Footnote 19: "At the end of the fifteenth century, about 1480, are cited as famous scene painters Balthasar Reuzzi at Volterra, Parigi at Florence, Bibiena at Rome."-- "Les Origines de l'Opera et le Ballet de la Reine," par Ludovic Celler.

Paris, 1868.] Celler,[20] in speaking of the theater of the period of Louis XIV, says: "The simplicity of our fathers is somewhat doubtful; if they did not have as regards the theater ideas exactly like ours, the luxury which they displayed was most remarkable, and the anachronisms in local color were not so extraordinary as we have often been told." The author a little further on calls attention to the fact that the mise en scene of the old mystery plays had combined splendor with naive poverty.

But he is careful to note that the latter condition accompanied the representations given by strolling troupes in small villages or towns, while the former state was found where well paid and highly trained actors gave performances in rich municipalities.

In the villages rude stage and scenery sufficed; in the cities all the resources of theatric art were employed.
[Footnote 20: "Les Decors, les Costumes et la Mise en Scene au XVIIe Siecle," par Ludovic Celler.

Paris, 1869.] Without doubt one of the most serious of all problems was that of lighting.