[Footnote 6: Raguenet, Parallèle des Italiens et François en ce qui regarde la Musique et les Opéras (.Paris, 1702), translated into German, with notes, and the rejoinder of Freneuse de la Vieuville ( Bonnet, Histoire de la Musique, p. 425; Bourdelot, Hist, de la Mus., I., p. 291), in Mattheson's Critica Musica (Hamburg, 1712), I., p. 91, and in Marpurg's Krit. Briefen, I., pp. 65, 89, 113, 398. Freneuse, Comparaison de la Mus. Ital. et de la Mus. Franç. Brussels, 1705 (in Bourdelot'8 Hist, de la Mus., 1725 and 1743, II.-IV.). Raguenet, Défense du Parallèle (Paris, 1705).] [Footnote 7: La Harpe, Corresp. Litt., II., p. 302.] [Footnote 8: When Grimm first came to Paris he wrote to Gottsched: "M. Rameau is rightly considered by all connoisseurs to be the greatest musician who has ever lived" (Danzel Gottsched, p. 349). His opinion soon changed, but the account he afterwards gives of Rameau (Corr. Litt., IV., p. 80), prejudiced as it is, recognises Rameau's merits, though without giving him the credit of them. In his Lettre sur "Omphale" (1752, Corr. Litt., XV., p. 281), Grimm gave a detailed criticism in a very moderate tone. A good account of him may be found in Ad. Adam's Derniers Souvenirs d'un Musicien, p. 39.] [Footnote 9: Hiller, Wöch. Nachr., 1770, p. 331. Schelle, N. Ztschr. f. Mus., LVII., and LVIII., p. 119.] [Footnote 10: According to Castil-Blaze (L'Opéra Italien, p. 144), the operas produced by the Bouffons were, "La Serva Padrona," by Pergolese; "ü Giocatore," by Orlandini: "ü Maestro di Musica," by Al. Scarlatti; "La Finta Cameri'era," by Atella; "La Donna Superba," by Rinaldo da Capua; "La Scaltra Gover-natrice," by Cocchi; "ü Cinese Rimpatriato," by Selletti; "La Zingara" by Rinaldo da Capua; "Gli Artigiani Arrichiti," by Ladlla; "II. Paratajo" by Jomelli; "Bertoldo in Corte," by Ciampi; "I Viaggiatori," by Leo.] [Footnote 11: The Italian opera was conducted from the pianoforte only, while in the French opera time was beaten audibly with a stick. Cf. Grétry, Mém., I.p. 39.] [Footnote 12: The heads of the parties had their regular places below the box of the King and Queen.] [Footnote 13: It was republished (Corr. Litt., XV., p. 315,) and translated into German (N. Ztschr. f. Mus., IV., p. 63, where it is wrongly ascribed to Rousseau). Grimm speaks of its extraordinary success to Gottsched, and Frau Gottsched speaks of an imitation of it directed against Weisse's operetta, "Der Teufel ist los" (Danzel Gottsched, p. 350).] [Footnote 14: The account which he gives to Rameau's nephew of his uncle and Italian music is graphic enough (Goethe, XXIII., p. 208).] [Footnote 15: This was in the well-known Lettre sur la Musique Française (1753), to which the Lettre d'un symphoniste de l'Académie Royale de Musique ä ses camarades de l'orchestre (1753) was a witty after-piece.] [Footnote 16: Grétry, Mém., I., p. 279.]