“And at the very time when permission was given for this piece (“Samson”) to be played at the Theatre of the Comédie Italienne, and when ‘Samson’ worked miracles conjointly with Arlequin, permission was not granted for the same subject to be represented in a noble and worthy manner at the Theatre of the Académie de Musique. Our musician has since made use of nearly all the airs in ‘Samson’ in other lyric compositions, which envy was unable to suppress.” It is quite true that Rameau utilized, but long afterwards, a part of the music in “Samson” for his opera “Zoroastre.” This work was not his début at the opera. The composer appeared before the Académie de Musique with “Hippolyte et Aricie,” by the Abbé Pellegrin, a worldly abbé if there ever was one, and a great playwright, concerning whom these verses were written: Le matin catholique et le soir idolâtre, Il dîne de l’autel et soupe du théâtre. M. de la Popelinière advanced 500 livres to the Abbé to secure him against the possible failure of the piece, and Rameau set to work again. This opera was given on the first of October, 1733. The composer attained renown in his fiftieth year: he was old in years but young in fame, as we have seen. [Illustration: RAMEAU. From a copperplate engraved by J. W. Bellinger, Berlin, 1802. ] Before examining the dramatic works of Rameau and forming an opinion as to their influence upon French art, we will add a few words concerning the composer’s personal appearance. He was tall in stature and extraordinarily thin. His face was furrowed by deep wrinkles; he had an aquiline nose, a broad and open forehead and prominent cheek-bones. The mouth was large, the look frank and bold and indicative of energy, perseverance and will power. One might have supposed him a person of delicate health, although he was never seriously ill, owing to the very sober regime which he had adopted. Given much to reflection, he was not talkative and never spoke of himself. He married a young lady named Marie Louise Mangot, who was a good musician and had a very fine voice, and she made her illustrious husband very happy in his home circle by her amiable character and her kindness of heart. He had by her three children, one son and two daughters. Rameau died at the age of about eighty-one, in the same month as that which saw his birth—the 12th of September, 1764—leaving behind him a considerable quantity of dramatic music, although he had only begun to write for the theatre, as we know, at an age when many men have finished their career. [Illustration: STATUE OF RAMEAU IN PARIS OPERA HOUSE Reproduced from a photograph made for this work by special permission. One of four life-size statues placed in the vestibule of the Opera House, at the foot of the grand marble staircase. ]