[Footnote 21: Raguenet (Parallèle des Italiens et des François, 1702, § 26, in Mattheson's Musik. Kritik, I., p. 141).]
[Footnote 22: Metastasio, Opp. post., II., p. 145.]
[Footnote 23: Metastasio, Opp. post., I., p. 282.]
[Footnote 24: Arteaga, Rivol., 13 t., II., p. 172 (II., p. 239, trans.), contradicted by Manfredini (Dif. d. Mus. Med., p. 128. Cf. Rousseau, Dictionn. de Mus., Ouverture. Weber, Hinterl. Schr., I., p. 68).]
[Footnote 25: Rousseau, Diet, de Mus., Orchestre. Kandler, Vita di Hasse, I. Furstenau, Zur Gesch. d. Mus. in Dresden, II., p. 290.]
[Footnote 26: Sacchi, Vita di C. Broschi (Ven., 1784), p. 8. Burney, Reise, I., p. 153.]
[Footnote 27: Ap. Zeno, Lettres, IV., p. 21.]
[Footnote 28: Arteaga, Rivol., 10, I., p. 67 (II., p. 56).]
[Footnote 29: Metastasio, Opp. post., II., p. 409.]
[Footnote 31: Cf. Arteaga, I., p. 69 (II., p. 58). Goldoni, Mém., I., p. 176.]
[Footnote 32: Arteaga's criticism (Le Riv., c. 11) is in the main correct. Hiller's (Ueber Metastasio u. seine Werke. Leipzig, 1786) is far more partial. See also Rousseau, Dictionn. de Mus., Génie; Jacobs Nachtr. zu Sulzer, III., p. 95; Herder, Briefe z. Bef. d. Hum., VII., p. 117; A W. Schlegel, Vorles, 16 W, V., p. 350.]
[Footnote 33: Karajan, Aus Metastasio's Hofleben (Vienna, 1861).]
[Footnote 34: Burney remarks how the character of Metastasio is 'displayed in all his works (Reise, II., p. 170).]
[Footnote 35: Metastasio, Opp. post., I., p. 384.]
[Footnote 36: He mentions trifling compositions (Opp. post., I., pp. 386, 402); some are printed--e.g., 36 Canoni (Vienna Artaria, 1782).]
[Footnote 37: Metastasio, Opp. post., I., p. 384.]
[Footnote 38: Metastasio, Opp. post., II., p. 47.]
[Footnote 39: Metastasio, Opp. post., II., p. 329. Cf. Mancini, Rifl. prat, sul canto fig., p. 234. Goldoni, Mém., I., 20, p. 110. Hagedom was of opinion that some of Metastasio's operas were perfect tragedies (Werke, V., p. 113), and Bodmer agreed with him (Ibid., p. 184).]
[Footnote 40: Metastasio, Opp. post., II., p. 355. In an interesting letter to Hasse (Opp. post., I., p. 344), he dissects his Attilio Regolo, which Hasse was about to compose, so that he may grasp the musical characteristics; he enters into detail so minutely as to leave no doubt of his familiarity with musical technicalities.]