His Italian successes procured for him, however, an invitation in 1745 to visit London and compose for the Haymarket. Thither he went, and produced a new opera, _La caduta de’ giganti_, which, though it earned the high praise of Burney, was coldly received by the public. A revised version of an earlier opera, _Artamene_, was somewhat more successful, but _Piramo e Tisbe_, a _pasticcio_ (a kind of dramatic potpourri or medley, often made up of selections from a number of operas), fell flat. ‘Gluck knows no more counterpoint than my cook,’ Handel is reported to have said--but then, Handel’s cook was an excellent bassist and sang in many of the composer’s own operas. Counterpoint, it is true, was not Gluck’s forte, and the lack of depth of harmonic expression which characterized his early work was no doubt due to the want of contrapuntal knowledge. Handel quite naturally received Gluck with a somewhat negligent kindness. Gluck, on the other hand, always preserved the greatest admiration for him--we are told that he hung the master’s picture over his bed. Not only the acquaintance of Handel, whose influence is clearly felt in his later works, but the musical atmosphere of the English capital must have been of benefit to him. Perhaps the most valuable lesson of his life was the London failure of _Piramo e Tisbe_. He was astonished that this _pasticcio_, which presented a number of the most popular airs of his operas, was so unappreciated. After thinking it over he may well have concluded that all music properly deserving of the name should be the fitting expression of a situation; this vital quality lacking, in spite of melodic splendor and harmonic richness and originality, what remained would be no more than a meaningless arrangement of sounds, which might tickle the ear pleasantly, but would have no emotional power. A short trip to Paris afforded him an opportunity of becoming acquainted with the classic traditions of the French opera as developed by Lully and Rameau. Lully, it will be remembered, more nearly maintained the ideals of the early Florentines than their own immediate successors. In his operas the orchestra assumed a considerable importance, the overture took a stately though conventional aspect. The chorus and the ballet furnished a plastic background to the drama and, indeed, had become integral features. Rameau had added harmonic depth and variety and given a new charm to the graceful dance melodies. Gluck must have absorbed some or all of this; yet, for fifteen years following his visit to London, he continued to compose in the stereotyped form of the Italian opera. He did not, it is true, return to Italy, but he joined a travelling Italian opera company conducted by Pietro Mingotti, as musical director and composer. One of his contributions to its répertoire was _Le nozze d’Ercole e d’Ebe_, which was performed in the gardens of the Castle of Pillnitz (near Dresden) to celebrate the