At the same time the seventeenth-century scientific movement, heralded pre-eminently by Francis Bacon, had the effect of establishing English finally as an adequate medium of technical writing in place of Latin. It also led to the cultivation of a plain style of writing, without the use of the devices of rhetoric. Bacon, who wrote in both English and Latin, himself criticized the valuing of style above matter. His followers carried the attack much further. The Royal Society, according to its historian, Bishop Thomas Sprat, was to be praised for correcting stylistic excesses in writing.
Inside the Pantheon's single-shell concrete dome is coffering which greatly decreases the weight. The vertical partitions of the coffering effectively serve as ribs, although this feature does not dominate visually. At the apex of the Pantheon's dome is an opening, 8 meters across. Brunelleschi was aware that a dome of enormous proportion could in fact be engineered without a keystone. The dome in Florence is supported by the eight large ribs and sixteen more internal ones holding a brick shell, with the bricks arranged in a herringbone manner. Although the techniques employed are different, in practice both domes comprise a thick network of ribs supporting very much lighter and thinner infilling. And both have a large opening at the top. 
Around 1600 in England, composers and poets were collaborating on a body of music known as the English madrigal . The composer and lutenist John Dowland (1563-1626) , although concentrating mostly on melancholy ayres for solo voice with lute accompaniment, also wrote madrigals. Some of the best known of the English madrigalists include Thomas Morley (1558-1602) , Francis Pilkington (-1638) , William Byrd (1543-1623) , Orlando Gibbons(1583-1625) , and Thomas Weelkes (1576-1623) . Queen Elizabeth I herself was an accomplished lute player, and supposedly delighted in the songs and ayres of the madrigalists. Weelkes' madrigal Come, let's begin to revel't out is a prime example of this cheerful and sprightly part-song. The texts of many of these madrigals, however, deal with spurned or unrequited love, and are often sad, but very beautiful.