During the fierce battles Gluck fought in Paris, one of his most ardent partisans was Jean Jacques Rousseau, who was a musician in a small way, wrote songs, an enormously successful opera, "Le Devin du Village," and other musical works, besides making an attempt to reform musical notation, and writing a dictionary of music. The world, however, does not accept him as a musician but as a writer, and his numerous and curious love affairs are told in so much detail in his immortal "Confessions," that I cannot attempt to treat them here. Vandam, in his book on "Great Amours," dissects Rousseau's heart ruthlessly. For his ability to do this, he must thank Rousseau most, for the unequalled frankness of his own biography, Francis Greble, dissecting "Rousseau's first love," has neatly dubbed him "the Great High Priest of those who kiss and tell." THE AMIABLE PICCINNI In this same war of operatic schools and composers which raged in Paris upon the reforms of Gluck, the Italian composer Piccinni was haled to the front as an unwilling opponent of Gluck. The world is needlessly cruel to those who happen to interfere in any way with the favourites of posterity, and Piccinni's name is a byword in the history of music. We hear much of the unscrupulous opposition that his partisans made to the reforms of Gluck, but we should also take into consideration the unscrupulous opposition that the partisans of Gluck made to the prosperity and honest endeavours of Piccinni, a man of no mean talent, whose misfortune and not whose fault it was, that he was not a genius of the first order. But we are not concerned here with the history of music, only with the intimate history of musicians. Piccinni's domestic life was so beautiful, that it makes it all the more pitiable that he should have been dragged willy-nilly into a contest for which he had neither inclination nor ability. Piccinni fell in love with a pupil, like him an Italian, Vicenza Sibilla. When he was twenty-eight he married her. His biographer Ginguené says: "She joined to the charms of her sex, a most beautiful and touching voice. All that happy disposition, assiduous study under so good a master could accomplish, especially when teacher and pupil loved each other passionately, and were equally impassioned for the art, which one taught, and the other learned, it is all that which you must imagine, to get an idea of the talent of Mme. Piccinni. He did not wish her to go on the stage, where everything promised her the greatest success and the most brilliant fortune; but at home almost every evening, at the private concerts, or, as the Italians say, in all the 'academies' where one is glad to be invited, she sang only her husband's music. She rendered it with the true spirit of the master; and I have it from him, that he never heard his works, especially his 'Cara Cecchina' sung with such perfect art, and what would put it above art, so much soul, and expression, as by his wife."