his offer was accepted.  On the day appointed I was introduced and presented by M. de Reaumur, and on the same day, August 22d, 1742, I had the honor to read to the academy the memoir I had prepared for that purpose.  Although this illustrious assembly might certainly well be expected to inspire me with awe, I was less intimidated on this occasion than I had been in the presence of Madam de Boze, and I got tolerably well through my reading and the answers I was obliged to give.  The memoir was well received, and acquired me some compliments by which I was equally surprised and flattered, imagining that before such an assembly, whoever was not a member of it could not have commonsense.  The persons appointed to examine my system were M. Mairan, M. Hellot, and M. de Fouchy, all three men of merit, but not one of them understood music, at least not enough of composition to enable them to judge of my project.

During my conference with these gentlemen, I was convinced with no less certainty than surprise, that if men of learning have sometimes fewer prejudices than others, they more tenaciously retain those they have.  However weak or false most of their objections were, and although I answered them with great timidity, and I confess, in bad terms, yet with decisive reasons, I never once made myself understood, or gave them any explanation in the least satisfactory.  I was constantly surprised at the facility with which, by the aid of a few sonorous phrases, they refuted, without having comprehended me.  They had learned, I know not where, that a monk of the name of Souhaitti had formerly invented a mode of noting the gamut by ciphers:  a sufficient proof that my system was not new.  This might, perhaps, be the case; for although I had never heard of Father Souhaitti, and notwithstanding his manner of writing the seven notes without attending to the octaves was not, under any point of view, worthy of entering into competition with my simple and commodious invention for easily noting by ciphers every possible kind of music, keys, rests, octaves, measure, time, and length of note; things on which Souhaitti had never thought it was nevertheless true, that with respect to the elementary expression of the seven notes, he was the first inventor.

But besides their giving to this primitive invention more importance than was due to it, they went still further, and, whenever they spoke of the fundamental principles of the system, talked nonsense.  The greatest advantage of my scheme was to supersede transpositions and keys, so that the same piece of music was noted and transposed at will by means of the change of a single initial letter at the head of the air.  These gentlemen had heard from the music—­masters of Paris that the method of executing by transposition was a bad one; and on this authority converted the most evident advantage of my system into an invincible objection against it, and affirmed that my mode of notation was good for vocal music, but bad for instrumental;