The use of the refrains, "l'aria di pianti" in the first, and "Ciascun segua, O Bacco, te," in the second, is an additional influence in moving us toward this conclusion because we know that it was the employment of the refrain which helped to lead the frottola toward the strophic form of the song.

We are, moreover, justified in concluding from the character of the final chorus that it was a ballata or dance song and hence a frottola of the carnival song variety.

No student of classic literature will need any demonstration of the probability that the Maenads in their Bacchic invocation danced; and here we have in all likelihood the origin of that fashion of concluding operas with a chorus and a dance which survived as late as Mozart's "Die Zauberfloete.".