Many Italian dramatists of the sixteenth century were thoroughly convinced that ancient playwrights had attained the highest degree of excellence and felt, therefore, that the only thing remaining to do was to imitate their works and endeavor to come as near as possible to their perfection. Others, notwithstanding their equally sincere and profound admiration for the classics, either suggested or introduced into their plays certain innovations which they deemed necessary in the light of the new social order. When doing so, however, they sometimes used a great deal of caution and prudence, so as not to be too severely criticized by those who would not tolerate any departure from classical traditions.