This supposition is borne out by the fact that he spoke all his many languages with an Italian accent. It was about the year 1750 that he first began to be heard of in Europe as the Count St. Germain, and put forth the astounding pretensions that soon gave him celebrity over the whole continent. The celebrated Marquis de Belleisle made his acquaintance about that time in Germany, and brought him to Paris, where he was introduced to Madame de Pompadour, whose favor he very quickly gained. The influence of that famous beauty was just then paramount with Louis XV, and the Count was soon one of the most eminent men at court. He was remarkably handsome--as an old portrait at Friersdorf, in Saxony, in the rooms he once occupied, sufficiently indicated; and his musical accomplishments, added to the ineffable charm of his manners and conversation, and the miracles he performed, rendered him an irresistible attraction, especially to the ladies, who appear to have almost idolized him. Endowed with an enchanting voice, he could also play every instrument then in vogue, but especially excelled upon the violin, which he could handle in such a manner as to give it the effect of a small orchestra. Cotemporary writers declare that, in his more ordinary performances, a connoisseur could distinctly hear the separate tones of a full quartet when the count was extemporizing on his favorite Cremona. His little work, entitled "La Musique Raisonnee," published in England, for private circulation only, bears testimony to his musical genius, and to the wondrous eccentricity, as well as beauty, of his conceptions. But it was in alectromancy, or divination by signs and circles; hydromancy, or divination by water; cleidomancy, or divination by the key, and dactylomancy, or divination by the fingers, that the count chiefly excelled, although he, at the same time, professed alchemy, astrology, and prophecy in the higher branches.