Modern writing on the troupe of Eustachio Bambini has encouraged different thinking about the ‘querelle’ and the ‘bouffons’. Andrea Fabiano, in particular, has intimated a fresh view of Bambini's Parisian repertory that aims to understand the various tactics of pamphleteers and free itself from received opinion. Recent writers have taken a harder look at the evidential assumptions that led to a long-held weighting of the bouffon narrative towards Pergolesi's La serva padrona on one hand and the departure of the Italian troupe on the other, politicized as this was by outraged reactions to Rousseau's Lettre sur la musique françoise. In the present account, the emphasis is on new evidence, both primary and secondary. It fills in new details concerning the institutional relationship between Bambini and the Paris Opéra, alerts us to hitherto unreported performances by the bouffons between Easter 1753 and February 1754 and tells us that a rearguard action for compensation was fought by Jean-Baptiste-Claude Rousselet of Rouen, whose original contract with Bambini had been severed in November 1752. The concluding picture is one of constructive support for Bambini by the Opéra; indeed, a creative collaboration between these two had been arranged before the querelle began. Mandated by the king in 1749 to recognize a public-interest function in running the Opéra, its directeur (Bernage de Saint-Maurice) may well have wanted to continue some form of binary programming between the two traditions, French and Italian, at the point when Rousseau's Lettre made it impossible. Box-office takings rose during the early success of his initiatives, especially before Easter 1753; after this juncture the extant financial records are not adequate to judge such profitability.