[Footnote 14: J. Brown, Letters upon the Poetry and Music of the Italian Opera (Edinb., 1789), p. 29.] [Footnote 15: Goldoni enumerates the practical directions given to him for writing an operatic libretto. Mém., I., p. 102.] [Footnote 16: Mancini gives an account of the more important among them. Rifl. prat, sul canto fig., p. 14.] [Footnote 17: Even in 1752 Metastasio bitterly complains of this perversion of dramatic] Binging (Opp. post., II., pp. 94, 99, 215, 330).] [Footnote 18: Grétry declares that he once saw a singer go behind the scenes to suck an orange, while another on the stage continued to address him as though he were present (Mém., I., p. 119).] [Footnote 19: Grétry, Mém., I., p. 114.] [Footnote 20: Arteaga (cap. 12) gives a graphic account of the downfall of the opera, which had been incessantly bewailed ever since the publication of Marcello's bitter satire, Il Teatro alla modo (Ven., 1722, 1738). Cf. Le Brigandage de la Musique Italienne (Amst., 1780).] [Footnote 21: Raguenet (Parallèle des Italiens et des François, 1702, § 26, in Mattheson's Musik. Kritik, I., p. 141).] [Footnote 22: Metastasio, Opp. post., II., p. 145.] [Footnote 23: Metastasio, Opp. post., I., p. 282.] [Footnote 24: Arteaga, Rivol., 13 t., II., p. 172 (II., p. 239, trans.), contradicted by Manfredini (Dif. d. Mus. Med., p. 128. Cf. Rousseau, Dictionn. de Mus., Ouverture. Weber, Hinterl. Schr., I., p. 68).] [Footnote 25: Rousseau, Diet, de Mus., Orchestre. Kandler, Vita di Hasse, I. Furstenau, Zur Gesch. d. Mus. in Dresden, II., p. 290.] [Footnote 26: Sacchi, Vita di C. Broschi (Ven., 1784), p. 8. Burney, Reise, I., p. 153.] [Footnote 27: Ap. Zeno, Lettres, IV., p. 21.] [Footnote 28: Arteaga, Rivol., 10, I., p. 67 (II., p. 56).] [Footnote 29: Metastasio, Opp. post., II., p. 409.] [Footnote 30: Grétry, Mém., I., p. 114.] [Footnote 31: Cf. Arteaga, I., p. 69 (II., p. 58). Goldoni, Mém., I., p. 176.] [Footnote 32: Arteaga's criticism (Le Riv., c. 11) is in the main correct. Hiller's (Ueber Metastasio u. seine Werke. Leipzig, 1786) is far more partial. See also Rousseau, Dictionn. de Mus., Génie; Jacobs Nachtr. zu Sulzer, III., p. 95; Herder, Briefe z. Bef. d. Hum., VII., p. 117; A W. Schlegel, Vorles, 16 W, V., p. 350.] [Footnote 33: Karajan, Aus Metastasio's Hofleben (Vienna, 1861).] [Footnote 34: Burney remarks how the character of Metastasio is 'displayed in all his works (Reise, II., p. 170).] [Footnote 35: Metastasio, Opp. post., I., p. 384.] [Footnote 36: He mentions trifling compositions (Opp. post., I., pp. 386, 402); some are printed--e.g., 36 Canoni (Vienna Artaria, 1782).] [Footnote 37: Metastasio, Opp. post., I., p. 384.] [Footnote 38: Metastasio, Opp. post., II., p. 47.]