Note 19 — INTRODUCTION.

Maugars is called in the “Historiettes de Tellemant des Réaux,” as Fétis informs us, the “greatest fool that had ever lived.” His “Réponse faite à un curieux” (completely unprejudiced, although somewhat conceited) in no way agrees with this. It is easy to discover that Maugars was not liked by his countrymen, because he openly declared that French music was far behind the Italian. On that account he had incurred the displeasure of French artists. The Parisian musician, Corrette, in the eighteenth century, was guilty of the same offence. He had been candid enough to say to the French that the standard of French violin playing of the eighteenth century was, compared to the Italian, in a disorganised condition. In retaliation they called his pupils scornfully “les anachorètes” (“les ânes à Corette”).