it is now engraved; and this recitative a little after the French manner,
I confess, drawled out, instead of pronounced by the actors, far from
shocking the ears of any person, equally succeeded with the airs, and
seemed in the judgment of the public to possess as much musical merit.
I dedicated my piece to Duclos, who had given it his protection, and
declared it should be my only dedication. I have, however, with his
consent, written a second; but he must have thought himself more honored
by the exception, than if I had not written a dedication to any person.

I could relate many anecdotes concerning this piece, but things of
greater importance prevent me from entering into a detail of them at
present. I shall perhaps resume the subject in a supplement. There is
however one which I cannot omit, as it relates to the greater part of
what is to follow. I one day examined the music of D'Holbach, in his
closet. After having looked over many different kinds, he said, showing
me a collection of pieces for the harpsichord: "These were composed for
me; they are full of taste and harmony, and unknown to everybody but
myself. You ought to make a selection from them for your
divertissement." Having in my head more subjects of airs and symphonies
than I could make use of, I was not the least anxious to have any of his.
However, he pressed me so much, that, from a motive of complaisance, I
chose a Pastoral, which I abridged and converted into a trio, for the
entry of the companions of Colette. Some months afterwards, and whilst
the Devin still continued to be performed, going into Grimms I found
several people about his harpsichord, whence he hastily rose on my
arrival. As I accidently looked toward his music stand, I there saw the
same collection of the Baron d'Holback, opened precisely at the piece he
had prevailed upon me to take, assuring me at the same time that it
should never go out of his hands. Some time afterwards, I again saw the
collection open on the harpischord of M. d'Papinay, one day when he gave