their hold on the East Indies; though Mirabeau was thundering in the
tribune, and Jacobin clubs were commencing their baleful work, soon to
drench Paris in blood, all factions and discords were forgotten.
The question was no longer, "Is he a Jansenist, a Molinist, an
Encyclopædist, a philosopher, a free-thinker?" One question only was
thought of: "Is he a Gluckist or Piccinist?" and on the answer often
depended the peace of families and the cement of long-established
friendships.

Piccini's opera was a brilliant success with the fickle Parisians,
though the Gluckists sneered at it as pretty concert music. The retort
was that Gluck had no gift of melody, though they admitted he had the
advantage over his rival of making more noise. The poor Italian was so
much distressed by the fierce contest that he and his family were in
despair on the night of the first representation. He could only say
to his weeping wife and son: "Come, my children, this is unreasonable.
Remember that we are not among savages; we are living with the politest
and kindest nation in Europe. If they do not like me as a musician, they
will at all events respect me as a man and a stranger." To do justico
to Piccini, a mild and timid man, he never took part in the controversy,
and always spoke of his opponent with profound respect and admiration.


III.

Marie Antoinette, whom Mme. du Barry and her clique looked on as
Piccini's enemy, astonished both cabals by appointing Piccini her
singing-master, an unprofitable honor, for he received no pay, and was
obliged to give costly copies of his compositions to the royal family.
He might have quoted from the Latin poet in regard to this favor from