The performances of the Italians came permanently to an end in 1783. In spite of the jealousy with which they were regarded by the great bulk of the theatrical profession, the Italian actors had an excellent effect on the development of the French stage, which, when the first troupe of Gelosi arrived in Paris, had no substantial existence. Molière profited much by their performances and borrowed freely from their productions, taking from them, according to his well-known saying, "his property" (that is to say, all that naturally belonged to him through affinity and sympathy) wherever "he found it." Apart from many other subjects and scenes, Molière borrowed his version of _Don Juan_ from the Italians. Much of it, including most of its philosophy and wit, belongs in the very fullest sense to the great comic dramatist of France. But the very title, _Festin de Pierre_--an incorrect and, indeed, unintelligible translation of _Il Convitato de Pietra_--is enough to show the origin of Molière's admirable work. The new establishment had been only ten years on the Boulevard des Italiens when its name was altered definitely from Comédie Italienne to Opéra Comique. A few years later the establishment was moved to the Rue Feydeau, where it was destined to enjoy a long life and a merry one. Meanwhile, the house which had given its ancient name to the Italian boulevard remained unoccupied--or but rarely occupied--for some considerable time, until, in 1815, the celebrated Catalani opened it for serious Italian opera. The Théâtre des Italiens now became the most fashionable theatre in Paris. Here Madames Pasta, Malibran, Grisi, Persiani, MM. Rubini, Tamburini, Lablache, etc., were heard. Here, too, Rossini for a time acted as musical director. This theatre, like all others, was soon destined to perish by fire; and Italian opera has of late years led a somewhat wandering life in France, to find itself ultimately without any home at all.