The countless _agrémens_ are more than an external feature of his music, and of other music of his time. The analogies which have often been drawn between them and the formal superficialities of court life under the great Louis are in the main false. Both Couperin and Emanuel Bach, a man of perhaps less sensitive, certainly of less elegant, taste, regarded them as of vital importance. Even the learned Kuhnau, who can hardly be called a stylist at all, considered them the sugar of his fruit. It would seem as if only by means of these flourishes harpsichord music could take on some grace of line and warmth of color. Whatever subtlety of expression the dry-toned instrument was capable of found life only in the _agrémens_. We cannot judge of the need of them nor of their peculiar beauties by the sound of them on the modern pianoforte, even under the lightest fingers. It is open to question whether any but a few of them should be retained in the performance of Couperin’s works, now that the instrument, the shortcomings of which they were intended to supplement, has been banished in general from the concert stage. This is not only because the peculiarities of the pianoforte call for a different kind of ornamentation, but also because the playing of harpsichord flourishes is practically a lost art. Couperin and Emanuel Bach left minute directions and explanations in regard to them; but in their treatises we have only the letter of the law, not the spirit which inspired it. Even in their day, in spite of all laws, the _agrémens_ were subject to the caprice of the player; and they remained so down to the time of Chopin. Neither the freedom from polyphonic strictness nor the profusion of ornaments are the special peculiarities of Couperin’s style. They were more or less common to a great deal of the harpsichord music of his day. But he had a way, all his own at that time, of accompanying his melodies with a sort of singing bass or a melodious inner voice that moved with the melody in thirds or sixths, or in smooth contrary motion. This may be studied in such pieces as _La fleurie_, _Le bavolet-flottant_, _Les moissoneurs_, _Les abeilles_, and many others. It has little to do with polyphony. The accompanying voices are only suggested. They never claim attention by their own movement. They seem a sort of spirit or tinted shadow of the melody, hardly more than whispering.