It was not until Italian opera made its way into France that a genuine French opera was developed. The first attempt was made by Rinuccini, who took "Eurydice" to Paris in 1600. Its total failure to touch the popular taste is an excellent demonstration of the difference between it and the musical shows to which the French were accustomed; and during the entire reign of Louis XIII. (1610-1643) the ballet remained the favorite form in France. An attempt was made in the minority of Louis XIV. by Cardinal Mazarin to revive the Italian opera, but again it did not meet with favor. The earliest attempt at a genuine opera in French, so far as is known, was "Akebar, Roi de Mogol," by the Abbé Mailly, produced in 1646. Pierre Perrin, a French poet (1616-1676) was a conspicuous figure in the establishment of opera in France. He was a sort of major domo in the employ of Gaston, Duke of Orléans, and his post enabled him to make the acquaintance of some powerful personages. Of these the Cardinal Mazarin took a liking to him and became his patron. He also met the composer Robert Cambert (1628-1677), who, after hearing a performance of "Eurydice," acceded to Perrin's proposition to set to music his "Pastorale," described as the "première comedie Française en musique." This was performed at Issy in 1659, and afterward at Vincennes before the king. It was successful and led to the production by the two men of "Ariane," "Adonis," and other works. On Nov. 10, 1668, Perrin obtained from Louis XIV. a patent for the performance of opera, and founded the Académie de Musique, now known to all the world as the Paris Grand Opéra. Perrin and Cambert carried on this enterprise for thirty-two years. Their principal work was "Pomone," produced on March 19, 1671. The success of this embryonic opera was something remarkable. It ran eight months and paid to the poet alone 30,000 francs. The score of "Pomone," as well as that of the "Ballet Comique de la Royne" and other early French works, is published by Theodore Michaelis, in a collection of the "Chefs-d'oeuvre de l'opéra Français," with piano arrangement and an historical introduction by J. B. Wekerlin. The following example of Cambert's recitative, leading to a duet, is taken from this score:-- [Music: "Pomone".] FAUNE. C'est bien à toi, dieu mi-sé-ra-ble, De pré-tendre à tes maux quel-que sou-la-ge-ment! PIANO LE DIEU DES JARDINS. C'est bien à toi, monstre effroy-a-ble, De se vir un ob-jet si ra-re et si char-mant! FAUNE. Elle a beau re-sis-ter et fai-re-la C'est à moi, c'est à mu-ti-ne, DUET. . . . . . . C'est à moi, . . . . . . c'est à moi, C'est à moi, . . . . . . c'est à moi, . . . . . . c'est à moi, c'est à moi, que le ciel la des-ti . . c'est à moi, c'est à moi, que le ciel la des-ti . .