Like every other constituent of opera in the middle of the eighteenth century, the overture was subjected to theoretical scrutiny. Rousseau's article in the Encyclopédie was the starting point for critical discussion. An attack on the traditional French overture was part of his general campaign against French tragédie lyrique, and with characteristic polemical skill he gives an illusion of objectivity by attributing his views to unspecified third parties. He begins with an impeccable definition: ‘The overture is a symphonic piece which the composer aims to render brilliant, imposing, harmonious, and which introduces operas and other lyric dramas of substantial proportions’. He goes on to point out that 40 years earlier the French type of overture was exported to Italy. But music has progressed since then, so the Italians now use the quick-slow-quick sequence. By so doing they silence the audience and command attention with the lively opening; induce receptivity to emotions with the softer slow section; and arouse a sense of expectancy with the conclusion. They (the Italian musicians) assert that the French overture does not fulfil the essential function of engaging the attention of the audience, because the slow introduction is indistinguishable from the preliminary tuning-up, and because what follows is conducive of boredom, not concentration. Rousseau goes on to deal with the relationship of the overture to the following opera. A connection between the two is desirable. But it is wrong to include in the overture all the features of the drama. This has the consequence that the action and the development of the opera is presented twice. The best kind of overture, says Rousseau, is one which predisposes the audience to be receptive to the mood of the opening scene of the opera.