bots came to be bled, he bled them freely and with satisfaction. Justinian decreed that anyone guilty of performing the operation which deprived an individual of virility should be subjected to a similar operation, and this crime was later punished with death. In the sixteenth and seventeenth centuries we encounter another and even viler reason for this practice: that “the voice of such a person” (one castrated in boyhood) “after arriving at adult age, combines the high range and sweetness of the female with the power of the male voice,” had long been known, and Italian singing masters were not slow in putting this hint to practical use. The poor sometimes sold their children for this purpose, and the castrati and soprani are terms well known to the musical historian.
These artificial voices disgraced the Italian stage until literally driven from it by public hostility, and the punishment of death was the reward of the individual bold enough to perform such an operation. The papal authority excommunicated those guilty of the crime and those upon whom such an operation had been performed, but received artificial voices, which were the result of accident, into the Sistine choir. This pretext served the church well and, until the year 1878, when the disgrace was wiped out by Pope Leo XIII, the Sistine choir was an eloquent commentary
