It is not difficult to see that this recitative shows an advance in flexibility and directness over that of Beaujoyeux. Undoubtedly Cambert had profited by his study of the Italian works produced under the auspices of the Cardinal Mazarin, but he did not penetrate the secret of the Italian method. The influence of the ballet style is discernible throughout the work. Probably Cambert would have hesitated at a complete adoption of the Italian method, even if he had been capable of it, for it would hardly have been approved by the public taste of France at that time. Perrin and Cambert had associated with themselves in the Académie the Marquis de Sourdeac, with whom Perrin, for some reason not on record, had a quarrel in the course of the run of "Pomone." Perrin resigned from the partnership, which continued without him. But he was not content to be idle, and in company with Henri Sinchard, a poet, and the Sieur de Sablières, a musician, started a rival enterprise. It was at this point that the famous composer, Giovanni Battista Lulli, usually known by his French name, Jean Baptiste Lully, entered upon the scene and became the virtual founder of French opera in the grand style. Lulli was born in 1633 near Florence, and as a boy received some musical instruction. He was taken to Paris by the Chevalier de Guise and placed in the service of Mlle. de Montpensier. He became a fine violinist and was made a member of her band. But he was stupid enough to write an indecent poem referring to his mistress, and she dismissed him. In spite of this temporary downfall he succeeded in working his way into the orchestra of Louis XIV., known as "Les Violons du Roi," and in 1652 became its director. He appears to have been an expert courtier, for he won the favor of the king and set to music some ballet-comedies by Molière. When Perrin parted company with Cambert and Sourdeac, the opera suffered from his rivalry. Lulli, who had now acquired great influence with the king, saw in the battle of the two houses his opportunity. He proposed to purchase the interest of Sourdeac and Cambert in the opera patent and they accepted his terms. He then induced the king to remodel the patent so as to make its provisions exclusive. The new patent conferred upon Lulli the sole right to the performance of opera. It prohibited the managers of other theatres from employing more than two singers or six players of stringed instruments. This, of course, made grand operas out of the question for Lulli's rivals, and he set about producing such large works as he alone could present.