Contempora- neous reports do vary as to the timbre of the castrato voice within either vocal category—more so than the difference in timbre a trained ear might hear within most single voice types today (e.g., the difference in timbre between Placido Domingo and Luciano Pavarotti). But on some aspects of that voice there is little disagreement. Of those aspects, one may list volume, stamina, and breath. Some attribute the extraordinary development of those qualities to the physical consequences o( castra- tion before puberty, which differentiated the castrato from both a boy and a normal man. Thus, V. E. Negus, in his article “Castrati,” notesthat the larynx of the eunuch does not undergo the normal changesthat take place in the passage of a boy to adulthood.