"I must really beg you," continued Napoleon, "not to address me in this manner." "Forgive me, General," answered Paisiello, "but I cannot give up the habit I have contracted in addressing sovereigns who, compared with you, seem but pigmies. However, I will not forget your commands, sire; and if I have been unfortunate enough to offend, I must throw myself upon your Majesty's indulgence." [Sidenote: EXPRESSION IN MUSIC.] Paisiello received ten thousand francs for the mass he wrote for Napoleon's coronation. Each of the masses for the imperial chapel brought him one thousand francs. Not much, certainly; but then it must be remembered that he produced as many as fourteen in two years. They were for the most part made up of pieces of church music, which the maestro had written for Italy, and when this fruitful source failed him, he had recourse to his numerous serious and comic operas. Thus, an air from the _Nittetti_ was made to do duty as a _Gloria_, another from the _Scuffiera_ as an _Agnus Dei_. Music depends so much upon association that, doubtless, only those persons who had already heard these melodies on the stage, found them at all inappropriate in a church. Figaro's air in the _Barber of Seville_ would certainly not sound well in a mass; but there are plenty of love songs, songs expressive of despair (if not of too violent a kind), songs, in short, of a sentimental and slightly passionate cast, which only require to be united to religious words to be at once and thereby endowed with a religious character. Gluck, himself, who is supposed by many to have believed that music was capable of conveying absolute, definite ideas, borrowed pieces from his old Italian operas to introduce into the scores he was writing, on entirely different subjects, for the Académie Royale of Paris. Thus, he has employed an air from his _Telemacco_ in the introduction to the overture of _Iphigénie en Aulide_. The chorus in the latter work, _Que d'attraits que de majesté_, is founded on the air, _Al mio spirto_, in the same composer's _Clemenza di Tito_. The overture to Gluck's _Telemacco_ became that of his _Armide_. Music serves admirably to heighten the effect of a dramatic situation, or to give force and intensity to the expression of words; but the same music may often be allied with equal advantage to words of very different shades of meaning. Thus, the same melody will depict equally well the rage of a baffled conspirator, the jealousy of an injured and most respectable husband, and various other kinds of agitation; the grief of lovers about to part, the joy of lovers at meeting again, and other emotions of a tender nature; the despondency of a man firmly bent on suicide, the calm devotion of a pious woman entering a convent, and other feelings of a solemn class. The signification we discover in music also depends much upon the circumstances under which it is heard, and to some extent also on the mood we are in when hearing it.