[Footnote 17: Rousseau, Confessions 1., VIII. Grimm, Corr. Litt., I., p. 92. Fétis, Curios. Hist, de la Mus., p. 107.] [Footnote 18: Grimm, Corr. Litt., I., p. 114.] [Footnote 19: Rousseau had apparently a natural musical talent, which was quickened by Italian music; his logical reflections sometimes led him into error, but he remained accessible to new musical impressions, even when they contradicted his expressed opinions.] [Footnote 20: Diderot appears to have had some musical taste, but not much cultivation, and in this respect Grimm had some influence upon his opinions, as he certainly had upon Grimm's in more important matters. The article "Poème lyrique" in the Encyclopédie (publ. Corr. Litt., XV., p. 349), is a curious mixture of Italian taste, and of reflections after Diderot's manner: the views it upholds are often warped and superficial.] [Footnote 21: Grimm, Corr. Litt., VI., p. 229. The parodies are collected in Les Parodies du Nouveau Théätre Italien ( Paris, 1738,I.-IV.). Supplément aux Parodies (Paris, 1763,1. III.).] [Footnote 22: Favart, Mém., I., p. XVII.] [Footnote 23: Favart, Mém., I., pp. 203, 214, 228, 233.] [Footnote 24: [ D'Orville] Histoire de l'Opéra Bouffon (Amst., 1760). [Footnote Desboulmiers] Histoire du Théätre de l'Opéra-Comique (Paris, 1769, I., II.). Fétis, Curios. Hist, de la Mus., p. 342. Castil-Blaze, Acad. Imp. de la Mus., I., p. 216.] [Footnote 25: Grimm, Corr. Litt., VII., p. 289.] [Footnote 26: Goldoni concedes the superiority of the opéra-comique over the Italian huffa (Mém., II., p. 227).] [Footnote 27: Grimm, Corr. Litt., IV., p. 164; VII., p. 126. After 1765 he thought his style "un peu vieux et faible, mais ailleurs plein de finesse, de charme, de grace, et de vérité. C'est toujours malgré sa faiblesse l'homme chez lequel nos jeunes compositeurs devraient aller ä l'école" (Corr. Litt., IV., p. 414). He afterwards exhorts Philidor and Grétry to yield the field to him with honour (Corr. Litt., V.» pp. 140, 369; VI., p. 63).] [Footnote 28: A. Adam, Derniers Souvenirs d'un Musicien, p. 107.] [Footnote 29: Grimm, Corr. Litt., VI., p. 61.] [Footnote 30: Grimm, Corr. Litt., III., p. 136.] [Footnote 31: Grimm judged him so severely (Corr. inéd., p. 219; cf. Corr. Litt., III., p. 136; VI., p. 208; IX., p. 463); that one suspects personal dislike. Madame de Genlis rightly protested against his severity (Mém., II., p. 22).] [Footnote 32: Grimm, even in this case, ascribed all the merit to the poet (Corr. Litt., VI., pp. 197, 206); Madame de Genlis, on the contrary, maintained that Monsigny's music caused one to overlook the improbabilities of the piece ( Mém., II., p. 21)]