way, Cherubini ventured for the first time to step forward with an entire opera of his own composition. It was called "Quinto Fabio," and was brought out in Alexandria, through Sarti's influence. "Armida" and "Messenzio," performed in Florence, also "Adriano in Siria," produced at Livorno, followed in 1782, but these works seem to have made no permanent impression upon the public. Nevertheless Cherubini's earnest, profound, and eminently artistic nature was revealed in them to an extent that astonished his countrymen, who were accustomed to music of a lighter and more pleasing character, such as the operatic compositions of the Neapolitan and Venetian school. A certain degree of admiration was accorded him, and he was occasionally honored with flattering appellations, as for example "Il Cherubino" (the cherub); but none the less the fact remains that neither the earlier nor the later works of the musician found true appreciation in his native land. Sarti, meantime, strove without ceasing to secure the advancement of his pupil, and procured for him in 1784 the position of composer at the Haymarket Theatre in London. After Handel's death, Italian music had quickly regained its old place in the popular esteem in England. During the three years of Cherubini's residence in London, he wrote the operas "La Finta Principessa" and "Giulio Sabino," the first of which was received with much applause, while the latter proved a complete failure. Wounded by this want of success, Cherubini repaired to Paris in 1786, and, after one more visit to London in 1787, he took up his permanent residence in the French metropolis. He had found there a true friend in Viotti, the famous violin virtuoso, and with his assistance gained admission to the upper circles of society, even receiving the honor of an introduction to Queen Marie Antoinette. An event of great importance in deciding the direction of his artistic faculties was his attendance at the so-called _Concert de la Loge Olympique_, where he heard for the first time a symphony of Haydn's, probably one of a series of six, composed in 1786, by especial command of the society. A new world was suddenly opened to Cherubini by this magnificently rendered work. From this hour he began to feel the influence of German instrumental music, and Haydn, in particular, remained to the end of his life the object of his highest veneration.