ols."

"But," objected the alarmed Italian, "if Gluck's opera is played first,
the public will be so delighted that they will not listen to mine."

"To avoid that catastrophe," said the director, "we will play yours
first."

"But Gluck will not permit it."

"I give you my word of honor," said De Vismes, "that your opera shall be
put in rehearsal and brought out as soon as it is finished."

Before Piccini had finished his opera, he heard that his rival was
back from Germany with his "Iphigenia" completed, and that it was in
rehearsal. The director excused himself on the plea of its being a royal
command. Gluck's work was his masterpiece, and produced an unparalleled
sensation among the Parisians. Even his enemies were silenced, and La
Harpe said it was the _chef d'oeuvre_ of the world. Piccini's work,
when produced, was admired, but it stood no chance with the profound,
serious, and wonderfully dramatic composition of his rival.

On the night of the first performance Mile. Laguerre, to whom Piccini
had trusted the role of Iphigenia, could not stand straight from
intoxication. "This is not 'Iphigenia in Tauris,'" said the witty Sophie
Arnould, "but 'Iphigenia in champagne.'" She compensated afterward
though by singing the part with exquisite effect.

While the Gluck-Piccini battle was at its height, an amateur who was
disgusted with the contest returned to the country and sang the praises
of the birds and their gratuitous performances in the following epigram:

"La n'est point d'art, d'ennui scientifique;
Piccini, Gluck, n'ont point note les airs.
Nature seule en dicta la musique,
Et Marmontel n'en a pas fait les vers."

The sentiment of this was probably applauded by the many who were
wearied of the bitter recriminations, which degraded the art which they
professed to serve.

During the period when Gluck and Piccini were composing for the French
opera, its affairs flourished liberally under the sway of De Vismes.
Gluck, Piccini, and Rameau wrote serious operas, while Piccini,
Sacchini, Anfossi, and Paisiello composed comic operas. The ballet
flourished with unsurpassed splendor, and on the whole it may be said
that never has the opera presented more magnificence at Paris than
during the time France was on the eve of the Reign of Terror. The
gay capital was thronged with great singers, the traditions of whose
artistic ability compare favorably with those of a more recent period.

The witt