added. This maneuvering business was very fatiguing to me. I proposed it to Philidor, offering him at the same time a part of the profits. He came twice, and did something to the middle parts in the act of Ovid; but he could not confine himself to an assiduous application by the allurement of advantages which were distant and uncertain. He did not come a third time, and I finished the work myself.
My opera completed, the next thing was to make something of it: this was by much the more difficult task of the two. A man living in solitude in Paris will never succeed in anything. I was on the point of making my way by means of M. de la Popliniere, to whom Gauffecourt, at my return to Geneva had introduced me. M. de la Popliniere was the Mecaenas of Rameau; Madam de la Popliniere his very humble scholar. Rameau was said to govern in that house. Judging that he would with pleasure protect the work of one of his disciples, I wished to show him what I had done. He refused to examine it; saying he could not read score, it was too fatiguing to him. M. de la Popliniere, to obviate this difficulty, said he might hear it; and offered me to send for musicians to execute certain detached pieces. I wished for nothing better. Rameau consented with an ill grace, incessantly repeating that the composition of a man not regularly bred to the science, and who had learned music without a master, must certainly be very fine! I hastened to copy into parts five or six select passages. Ten symphonies were procured, and Albert, Berard, and Mademoiselle Bourbonois undertook the vocal part. Remeau, the moment he heard the overture, was purposely extravagant in his eulogium, by which he intended it should be understood it could not be my composition. He showed signs of impatience at every passage: but after a counter tenor song, the air of which was noble and harmonious, with a brilliant accompaniment, he could no longer contain himself; he apostrophised me with a brutality at which everybody was shocked, maintaining that a part of what he had heard was by a man experienced in the art, and the rest by some ignorant person who did not so much as understand music. It is true my composition, unequal and without rule, was sometimes sublime, and at others insipid, as that of a person who forms himself in an art by the soarings of his own genius, unsupported by science, must necessarily be. Rameau pretended to see nothing in me but a contemptible
