This exclusively consonant music, in which the intervals of fourths were considered dissonant, while the diminishing fifth was the _diabolus in musica_, ought from its very nature to be antithetical to expression.

Nothing in the _Kyrie, in La Messe du Pape Marcel_, gives the impression of a prayer, unless expressive accents, without any real justification, are introduced by main strength.
Expression came into existence with the chord of the dominant seventh from which all modern harmony developed.

This invention is attributed to Monteverde.

No matter what has been said, however, it occurs in Palestrina's _Adoremus_.

Floods of ink have been poured out in discussing this question, some affirming, while others--and not the least, by any manner of means--denying the existence of the famous chord.