This mannerism prevailed for some years; we again find it in the works of Froberger (_Toccata fatto a Bruxellis Anno 1650_) and in a fugue in _E_ flat by Christopher Bach, of which the following is the subject: [Music] Finally, to illustrate the employment of this sort of theme, we will quote the beginning of a "_Point d'orgue sur les Grands Jeux_," by Grigny.[90] [Footnote 90: _Livre d'orgue_ (1701).] [Music] In secular music composers exhibited the same fondness for this chromatic style of progression, employed to express sorrow or dread (it is interesting to note that at every musical epoch this or that motive or chord, later certain instruments, express certain definite emotions). Thus, in the following example from G. Andrea Bontempi, taken from the opera "_Paride_" produced at Dresden in 1662: [Music: ERMILLO. Già trafitto ha il mesto seno, chi soccorso, o ciel, mi da?] In the second _Sonate à Programme_ of Kuhnau this phrase must impress one with the depth of Saul's melancholy:[91] [Music] [Footnote 91: Let it be remembered that Bach, imitating these same Sonatas in composing the _Lamento_ of the "Capriccio upon the departure of his most beloved brother" (1704), employs this motif as a _basso quasi ostinato_, and that in the Easter Cantata written in the same year the viola sorrowfully gives expression to the same theme.] Purcell,[92] in the "_Orpheus brittanicus_" (London, 1706) gives us still further examples of this character. Among others, "O let me weep" (Book I, p. 171), [Music] and "Here the Deities approve" (Book I, p. 206): [Music] [Footnote 92: His compatriot, John Bull, who died in Antwerp in 1628, had already written a series of variations upon this subject. (See "A General History of Music," by Charles Burney. London, 1789, p. 115.)] We repeat, it is undoubtedly in intentional recollection of the "_Fiori musicali_" that Bach here makes use of a mannerism which, moreover, was so familiar to him; it is through details of this sort that one is able to gain the mastery of a style which one desires to imitate. As for that, we must not forget that Bach wrote after nearly a century had elapsed. If you will, it is like an ancient painting copied by a modern master, who, although able to correct the perspective, would cause the picture to lose none of its archaic charm, while he would impart to it a certain quality of warmth. Thus, in the _canzona_, notice that progression of the soprano (beginning at the 48th measure) which ascends like the broad sweep of violins, then falls gracefully back upon a well-rounded line--a contrast expressing great tenderness, compared with the austere rigidity of the scholastic rhythm with which the countersubject at the same time pursues its heavy course, in an obsolete style of counterpoint.