At this time Parisian frivolity thought it good taste to admire the rustic and naïve. The idyls of Gessner and the pastorals of Florian were the favourite reading, and Watteau the popular painter. Gentlefolks, steeped in artifice, vice, and intrigue, masked their empty lives under the assumption of Arcadian simplicity, and minced and ambled in the costumes of shepherds and shepherdesses. Marie Antoinette transformed her chalet of Petit Trianon into a farm, where she and her courtiers played at pastoral life--the farce preceding the tragedy of the Revolution. It was the effort of dazed society seeking change. Grétry followed the fashionable bent by composing pastoral comedies, and mounted on the wave of success. In 1774 "Fausse Magie" was produced with the greatest applause. Rousseau was present, and the composer waited on him in his box, meeting a most cordial reception. On their way home after the opera, Grétry offered his new friend his arm to help him over an obstruction. Rousseau with a burst of rage said, "Let me make use of my own powers," and henceforward the sentimental misanthrope refused to recognise the composer. About this time Grétry met the English humorist Hales, who afterwards furnished him with many of his comic texts. The two combined to produce the "Jugement de Midas," a satire on the old style of music, which met with remarkable popular favour, though it was not so well received by the court. The crowning work of this composer's life was given to the world in 1785. This was "Richard Coeur de Lion," and it proved one of the great musical events of the period. Paris was in ecstasies, and the judgment of succeeding generations has confirmed the contemporary verdict, as it is still a favourite opera in France and Germany. The works afterwards composed by Grétry showed decadence in power. Singularly rich in fresh and sprightly ideas, he lacked depth and grandeur, and failed to suit the deeper and sounder taste which Cherubini and Méhul, great followers in the footsteps of Gluck, gratified by a series of noble masterpieces. Grétry's services to his art, however, by his production of comic operas full of lyric vivacity and sparkle, have never been forgotten nor underrated. His bust was placed in the opera-house during his lifetime, and he was made a member of the French Academy of Fine Arts and Inspector of the Conservatory. Grétry possessed qualities of heart which endeared him to all, and his death in 1813 was the occasion of a general outburst of lamentation. Deputations from the theatres and the Conservatory accompanied his remains to the cemetery, where Méhul pronounced an eloquent eulogium. In 1828 a nephew of Grétry caused the heart of him who was one of the glorious sons of Liége to be returned to his native city.