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In different ages an entirely different capacity of expression, often an exactly opposite color, has been attributed to each separate key. In the eighteenth century G-major was still a brilliant, ingratiating, voluptuous key indeed, in the seventeenth century, Athanasius Kircher goes so far as to call it tonum voluptuosum.
More than once, in the choir, at the hour of the offices, his neighbor in the stalls had heard him mingle with the plain song, ad omnem tonum, unintelligible parentheses. More than once the laundress of the Terrain charged "with washing the chapter" had observed, not without affright, the marks of nails and clenched fingers on the surplice of monsieur the archdeacon of Josas.
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