The second shows the same music as arranged for solo voice and lute by Franciscus Bossinensis as found in a collection published by Petrucci in 1509.
[Musical Notation: two excerpts] How far removed this species of lyric solo was from the dramatic recitative of Peri and Caccini is apparent at a single glance.

But on the other hand it is impossible to be blind to its relationship to the more metrical arioso of Monteverde's earlier work or perhaps to the canzone of Caccini's "Nuove Musiche." The line of development or progress is distinctly traceable.

At this point it is not essential that we should satisfy ourselves that the solo songs of Caccini were descendants of the lyrics of the _cantori a liuto_, for when the two species are placed in juxtaposition the lineage is almost unmistakable.
What we do need to remember here is that the method of the lute singers entered fully into the construction of the score--if it may be so called--of Poliziano's "Orfeo" and passed from that to the madrigal drama and was there brought under the reformatory experiments of Galilei and his contemporaries.

This subject must be discussed more fully in a later chapter.
The first lyric number of the "Orfeo," that sung by Aristaeus, is plainly labeled "canzona," and was, therefore, without doubt a song made after the manner of the lutenists.

The words "forth from thy wallet take thy pipe" indicate that a wind instrument figured in this number.