A B C D E F G H I J K L M N O P R S T U V W X Z

Paris As It Was and As It Is

F >> Francis W. Blagdon >> Paris As It Was and As It Is




DORSAN is naturally cold and stiff, and when he endeavours to repair
the former of these defects, the weakness of his powers betrays him.
If he speaks correctly, it is without _finesse_, and he never adds by
expression to the thought of the author.

CLOZEL is a very handsome young man. He performs the characters of
_petits-maîtres_ and those of valets, which he confounds incessantly.
The other actors of the _Théâtre Louvois_ exempt me from naming them.

As for the actresses at this theatre, those only worthy to be
mentioned are, Mademoiselle ADELINE, who has a rather pretty face,
and plays not ill innocent parts; Mademoiselle BEFFROI, who is
handsome, especially in male attire; and Mademoiselle MOLIÈRE, who is
a very good _soubrette_. Mademoiselle LESCOT, tired of obtaining
applause at the _Théâtre du Vaudeville_, wished to do the same on a
larger theatre. Here, she has not even the consolation of saying

"_Tel brille au second rang, qui s'éclipse au premier._"

Madame MOLÉ, who is enormous in bulk, is a coarse caricature, whether
she performs the parts of noble mothers, or what the French call
_caractères_, that is, singular characters.

* * * * *

The _ci-devant Comédie Italienne_ in Paris partly owed its prosperity
to the _Vaudeville_, which might be considered as the parent of the
_Opéra-Comique_. They were united, when the _drame_ being introduced
with songs, had like to have annihilated them both. The _Vaudeville_
was sacrificed and banished. Several years elapsed before it
reappeared. This offspring of French gaiety was thought to be lost
for ever; but a few authors had prepared for it an asylum under the
name of

THÉÂTRE DU VAUDEVILLE.

This little theatre is situated in the _Rue de Chartres_, which faces
the principal entrance of the _Palais du Tribunat_. The interior is
of a circular form, and divided into four tiers of boxes. In general,
the decorations are not of the first class, but in the dresses the
strictest propriety is observed.

The pieces performed at the _Vaudeville_ are little comedies of the
sentimental cast, a very extensive collection of portraits of French
authors and of a few foreigners,[2] some pastoral pieces, parodies
closely bordering on the last new piece represented at one of the
principal theatres, charming _harlequinades_, together with a few
pieces, in some of which parade and show are introduced; in others,
scenes of low life and vulgarity; but the latter species is now
almost abandoned.

These pieces are almost always composed in conjunction. It is by no
means uncommon to see in the play-bills the names of five or six
authors to a piece, in which the public applaud, perhaps, no more
than three verses of a song. This association of names, however, has
the advantage of saving many of them from ridicule.

The authors who chiefly devote themselves to the species of
composition from which this theatre derives its name, are BARRÉ,
RADET, and DESFONTAINES, who may be considered as its founders.
BOURGEUIL, DESCHAMPS, DESPREZ, and the two SÉGURS, also contribute to
the success of the _Vaudeville_, together with CHAZET, JOUY,
LONGCHAMPS, and some others.

In the exercise of their talents, these writers suffer no striking
adventure, no interesting anecdote to escape their satirical humour;
but aim the shafts of ridicule at every subject likely to afford
amusement. It may therefore be conceived that this house is much
frequented. No people on earth can be more fickle than the French in
general, and the Parisians in particular, in the choice of their
diversions. Like children, they are soon tired of the same toy, and
novelty is for them the greatest attraction. Hence, the _Vaudeville_,
as has been seen, presents a great variety of pieces. In general,
these are by no means remarkable for the just conception of their
plan. The circumstance of the moment adroitly seized, and related in
some well-turned stanzas, interspersed with dialogue, is sufficient
to insure the success of a new piece, especially if adapted to the
abilities of the respective performers.

Among them, HENRY would shine in the parts of lovers, were he less of
a _mannerist_.

JULIEN may be quoted as an excellent imitator of the beaux of the
day.

VERTPRÉ excels in personating a striking character.

CARPENTIER is no bad representative of a simpleton.

CHAPELLE displays much comic talent and warmth in the character of
dotards, who talk themselves out of their reason.

LAPORTE, as a speaking Harlequin, has no equal in Paris.

So much for the men: I shall now speak of the women deserving of
notice.

Madame HENRY, in the parts of lovers, is to be preferred for her fine
eyes, engaging countenance, elegant shape, and clear voice.

Mesdemoiselles COLOMBE and LAPORTE, who follow her in the same line
of acting, are both young, and capable of improvement.

Mademoiselle DESMARES is far from being pretty; neither is she much
of an actress, but she treads the stage well, and sings not amiss.

Mademoiselle BLOSSEVILLE plays chambermaids and characters of parody
with tolerable success.

Mademoiselle DELILLE, however, who performs caricatures and
characters where frequent disguises are assumed, is a still greater
favourite with the public. So much has been said of the glibness of a
female tongue that many of the comparisons made on the subject are
become proverbial; but nothing that I ever heard in that way can be
compared to the volubility of utterance of Mademoiselle DELILLE,
except the clearness of her articulation. A quick and attentive ear
may catch every syllable as distinctly as if she spoke with the
utmost gravity and slowness. The piece in which she exhibits this
talent to great advantage, and under a rapid succession of disguises,
is called _Frosine ou la dernière venue_.

Mademoiselle FLEURY makes an intelligent Columbine, not unworthy of
LAPORTE.

Madame DUCHAUME represents not ill characters of duennas,
country-women, &c.

Nothing can be said of the voice of the different performers of this
theatre, on which acccount, perhaps, the orchestra is rather feeble;
but still it might be better composed.

During my present visit to Paris, the _Vaudeville_, as it is commonly
called, has, I think, insensibly declined. It has, however, been said
that its destiny seems insured by the character of the French, and
that being the first theatre to bend to the caprices of the day, it
can never be out of fashion. Certainly, if satire be a good
foundation, it ought to be the most substantial dramatic
establishment in Paris. It rests on public malignity, which is its
main support. Hence, one might conclude that it will last as long as
there is evil doing or evil saying, an absurdity to catch at, an
author to parody, a tale of scandal to relate, a rogue to abuse, and,
in short, as long as the chapter of accidents shall endure. At this
rate, the _Vaudeville_ must stand to all eternity.

Whatever may be its defects, it unquestionably exemplifies the
character of the nation, so faithfully pourtrayed by Beaumarchais, in
the following lines of the _vaudeville_ which concludes the _Mariage
de Figaro_:

_"Si l'on opprime, il peste, il crie,
Il s'agite en cent façons,
Tout finit par des chansons." bis._

[Footnote 1: The _Théâtre Louvois_ is rapidly on the decline.]

[Footnote 2: These are pieces the hero of which is a celebrated
personage, such as RABELAIS, SCARRON, VOLTAIRE, ROUSSEAU,
MALESHERBES, FREDERIC, king of Prussia, &c. &c.]



LETTER LXIX.

_Paris, February 17, 1802._

After having traversed the _Pont Neuf_, from the north side of the
Seine, you cannot avoid noticing a handsome building to the right,
situated on the _Quai de Conti_, facing the river. This is the Mint,
or

HÔTEL DE LA MONNAIE.

The construction of this edifice was suggested by M. LAVERDY,
Minister of State, and executed under the direction of M. ANTOINE,
architect. I do not recollect any building of the kind in Europe that
can be compared to it, since it far surpasses the _Zecca_ at Venice.

The Abbé Terray (whose name will not be readily forgotten by the
State-annuitants of his time, and for whom Voltaire, as one, said
that he preserved his only tooth) when Comptroller-general of the
Finances, laid the first stone of the _Hôtél de la Monnaie_, in April
1771.

An avant-corps, decorated with six Ionic pillars, and supported by
two wings, from the division of the façade, which is three hundred
and thirty-six feet in breadth by eighty-four in elevation. It is
distributed into two stories above the ground-floor. Perpendicularly
to the six pillars, rise six statues, representing Peace, Commerce,
Prudence, Law, Strength, and Plenty.

In this avant-corps are three arches, the centre one of which is the
principal entrance of the building. The vestibule is decorated with
twenty-four fluted Doric pillars, and on the right hand, is a
stair-case, leading to the apartments intended for the use of the
officers belonging to the Mint, and in which they hold their
meetings. This stair-case is lighted by a dome supported by sixteen
fluted pillars of the Ionic order.

The whole building contains six courts: the principal court is one
hundred and ten feet in depth by ninety-two in breadth. All round it
are covered galleries, terminated by a circular wall alternately
pierced with arches and gates.

The entrance of the hall for the money-presses is ornamented by four
Doric pillars. This hall is sixty-two feet long by about forty broad,
and contains nine money-presses. Above it is the hall of the sizers
or persons who prepare the blank pieces for stamping. Next come the
flatting-mills. Here, in a word, are all the apartments necessary for
the different operations, and aptly arranged for the labours of
coinage.

In the principal apartment of the avant-corps of the _Hôtel de la
Monnaie_, towards the _Quai de Conti_, is the cabinet known in Paris
by the name of the

MUSÉE DES MINES.

This cabinet or Museum was formed in 1778 by M. SAGE, who had then
spent eighteen years in collecting minerals. When he began to employ
himself on that science forty-five years ago, there existed in this
country no collection which could facilitate the study of mineralogy.
Docimacy vas scarcely known here by name. France was tributary to
foreign countries thirty-seven millions of livres (_circa_ £1,541,666
sterling) a year for the mineral and metallic substances which she
drew from them, although she possesses them within herself. M. SAGE
directed his studies and labours to the research and analysis of
minerals. For twenty years he has delivered _gratis_ public courses
of chymistry and mineralogy. For the advancement of those sciences,
he also availed himself of the favour he enjoyed with some persons at
court and in the ministry, and this was certainly making a very
meritorious use of it. To his care and interest is wholly due the
collection of minerals placed in this building. The apartment
containing it has, by some, been thought to deviate from the simple
and severe style suitable to its destination, and to resemble too
much the drawing-room of a fine lady. But those who have hazarded
such a reproach do not consider that, at the period when this cabinet
was formed, it was not useless, in order to bring the sciences into
fashion, to surround them with the show of luxury and the elegance of
accessory decoration. Who knows even whether that very circumstance,
trifling as it may appear, has not somewhat contributed to spread a
taste for the two sciences in question among the great, and in the
fashionable world?

However this may be, the arrangement of this cabinet is excellent,
and, in that respect, it is worthy to serve as a model. The
productions of nature are so disposed that the glazed closets and
cases containing them present, as it were, an open book in which the
curious and attentive observer instructs himself with the greater
facility and expedition, as he can without effort examine and study
perfectly every individual specimen.

The inside of the Museum is about forty-five feet in length,
thirty-eight in breadth, and forty in elevation. In the middle is an
amphitheatre capable of holding two hundred persons. In the
circumference are glazed cabinets or closets, in which are arranged
methodically and analytically almost all the substances known in
mineralogy. The octagonal gallery, above the elliptical amphitheatre,
contains large specimens of different minerals. To each specimen is
annexed an explanatory ticket. One of the large lateral galleries
presents part of the productions of the mines of France, classed
according to the order of the departments where they are found. The
new transversal gallery contains models of furnaces and machines
employed in the working of mines. The third gallery is also destined
to contain the minerals of France, the essays and results of which
are deposited in a private cabinet. The galleries are decorated with
tables and vases of different species of marble, porphyry, and
granite, also from the mines of France, collected by SAGE. The cupola
which rises above, is elegantly ornamented from the designs of
ANTOINE, the architect of the building.

This Museum is open to the public every day from nine o'clock in the
morning till two, and, though it has been so many years an object of
curiosity, such is the care exerted in superintending it, that it has
all the freshness of novelty.

In a niche, on the first landing-place of the stair-case, is the bust
of M. SAGE, a tribute of gratitude paid to him by his pupils. SAGE'S
principal object being to naturalize in France mineralogy, docimacy,
and metallurgy, he first obtained the establishment of a _Special
School of Mines_, in which pupils were maintained by the State. Here,
he directed their studies, and enjoyed the happiness of forming
intelligent men, capable of improving the science of metallurgy, and
promoting the search of ores, &c.

For a number of years past, as I have already observed, SAGE has
delivered _gratis_, in this Museum; public courses of chymistry and
mineralogy. He attracts hither many auditors by the ease of his
elocution, and the address, the grace even which he displays in his
experiments. If all those who have attended his lectures are to be
reckoned his pupils, there will be found in the number names
illustrious among the _savans_ of France. Unfortunately, this veteran
of science has created for himself a particular system in chymistry,
and this system differs from that of LAVOISIER, FOURCROY,
GUYTON-MORVEAU, BERTHOLLET, CHAPTAL, &c. The sciences have also their
schisms; but the real _savans_ are not persecutors. Although SAGE was
not of their opinion on many essential points, his adversaries always
respected him as the man who had first drawn the attention of the
government towards the art of mines, instigated the establishment of
the first school which had existed for this important object, and
been the author of several good analyses. On coming out of prison,
into which he had been thrown during the reign of terror, he found
this cabinet of mineralogy untouched. It would then have been easy,
from motives of public utility, to unite it to the new School of
Mines. But the heads of this new school had, for the most part,
issued from the old one, and SAGE was dear to them from every
consideration. It was from a consequence of this sentiment that SAGE,
who had been a member of the _Academy of Sciences_, not having been
comprised in the list of the members of the National Institute at the
time of its formation, has since been admitted into that learned
body, not as a chymist indeed, but as a professor of mineralogy, a
science which owes to him much of its improvement.

The new School of Mines is now abolished, and practical ones are
established in the mountains, as I have before mentioned. While I am
speaking of mineralogy, I shall take you to view the

CABINET DU CONSEIL DES MINES.

This cabinet of mineralogy, formed at the _Hôtel des Mines_, _Rue de
l'Université_, _No. 293_, is principally intended to present a
complete collection of all the riches of the soil of the French
Republic, arranged in local order. A succession of glazed closets,
contiguous and similar to each other, that is about six feet and a
half in height by sixteen inches in depth, affords every facility of
observing them with ease and convenience. On these cases the names of
the departments are inscribed in alphabetical order, and the
vacancies which still exist in this geographical collection, are
daily filled up by specimens sent by the engineers of mines, who,
being spread over the different districts they are charged to visit,
employ themselves in recognizing carefully the mineral substances
peculiar to each country, in order to submit their views to the
government respecting the means of rendering them useful to commerce
and to the arts.

The departmental collection, being thus arranged on the sides of the
gallery, leaves vacant the middle of the apartments, which is
furnished with tables covered with large glazed cases, intended for
receiving systematic collections, and the most remarkable mineral
substances from foreign countries, distributed in geographical order.

An apartment is specially appropriated to the systematic order
adopted by HAÜY in his new treatise on mineralogy; another is
reserved for the method of WERNER.

In both these oryctognostic collections, minerals of all countries
are indiscriminately admitted. They are arranged by _classes_,
_orders_, _genera_, _species_, and _varieties_, with the
denominations adopted by the author of the method, and consequently
designated by specific names in French for HAÜY'S method, and in
German for that of WERNER. The proximity of the two apartments where
they are exhibited, affords every advantage for comparing both
methods, and acquiring an exact knowledge of mineralogical synonymy.
Each of the two methods contains also a geological collection of
rocks and various aggregates, classed and named after the principles
which their respective authors have thought fit to adopt.

The other apartments are likewise furnished with tables covered with
glazed cases, where are exhibited, in a manner very advantageous for
study, the most remarkable minerals of every description from foreign
countries, among which are:

1. A numerous series of minerals from Russia, such as red chromate of
lead, white carbonate of lead, green phosphate of lead; native
copper, green and blue carbonate of copper; gold ore from Berezof;
iron ore, granitical rocks, fossil shells, in good preservation, from
the banks of the Moscorika, and others in the siliceous state,
jaspers, crystals of quartz, beril, &c.

2. A collection from the iron and copper mines of Sweden, as well as
various crystals and rocks from the same country.

3. A very complete and diversified collection of minerals from the
country of Saltzburg.

4. Another of substances procured in England, such as fluates and
carbonates of lime from Derbyshire; pyrites, copper and lead ore,
zinc, and tin from Cornwall.

5. A collection of tin ore, cobalt, uranite, &c. from Saxony.

6. A series of minerals from Simplon, St. Gothard, the Tyrol,
Transylvania, as well as from Egypt and America. All these articles,
without being striking from their size, and other accessory qualities
to be remarked in costly specimens, incontestably present a rich fund
of instruction to persons delirous of fathoming science, by
multiplying the points of view under which mineral productions may be
observed.

Such is the present state of the mineralogical collection of the
_Conseil des Mines_, which the superintendants will, no doubt, with
time and attention, bring to the highest degree of perfection. It is
open to the public every Monday and Thursday: but, on the other days
of the week, amateurs and students have access to it.

A few years before the revolution, France was still considered as
destitute of an infinite number of mineral riches, which were thought
to belong exclusively to several of the surrounding countries.
Germany was quoted as a country particularly favoured, in this
respect, by Nature. Yet France is crossed by mountains similar to
those met with in Germany, and these mountains contain rocks of the
same species as those of that country which is so rich in minerals.
What has happened might therefore have been foreseen; namely, that,
when intelligent men, with an experienced eye, should examine the
soil of the various departments of the Republic, they would find in
it not only substances hitherto considered as scarce, but even
several of those whose existence there had not yet been suspected.
Since the revolution, the following are the

_Principal Mineral Substances discovered in France._

_Dolomite_ in the mountains of Vosges and in the Pyrenees.

_Carburet of iron_ or _plumbago_, in the south peak of Bigorre. The
same variety has been been found near Argentière, and the valley of
Chamouny, department of Mont-Blanc.

A rock of the appearance of _porphyry_, with a _calcareous_ base, in
the same valley of Chamouny.

_Tremolite_ or _grammatite_ of HAÜY, in the same place. These two
last-mentioned substances were in terminated crystals.

_Red oxyd of titanium_, in the same place.

_New violet schorl_, or _sphene_ of HAÜY, (_rayonnante en goutière_
of SAUSSURE) in the same place.

_Crystallized sulphate of strontia_, in the mines of Villefort in La
Lozère, in the environs of Paris, at Bartelemont, near the _Salterns_
in the department of La Meurthe.

_Fibrous and crystallized sulphate of strontia_, at Bouvron, near
Toul.

_Earthy sulphate of strontia_, in the vicinity of Paris, near the
forest of Montmorency, and to the north-east of it.

_Onyx-agate-quartz_, at Champigny, in the department of La Seine.

_Avanturine-quartz_, in the Deux-Sevres.

_Marine bodies_, imbedded in the soil, a little above the _Oule de
Gavernie_.

_Anthracite_, and its direction determined in several departments.

_Other marine bodies_, at the height of upwards of 3400 _mètres_ or
3683 yards, on the summit of Mont-Perdu, in the Upper Pyrenées.

_Wolfram_, near St. Yriex, in Upper Vienne.

_Oxyd of antimony_, at Allemont, in the department of L'Isère.

_Chromate of iron_, near Gassin, in the department of _Le Var_, at
the _bastide_ of the cascade.

_Oxyd of uranite_, at St. Simphorien de Marmagne, in the department
of La Côte d'Or.

_Acicular arsenical lead ore_, at St. Prix, in the department of
Saone and Loire. This substance was found among some piles of
rubbish, near old works made for exploring a vein of lead ore, which
lies at the foot of a mountain to the north-east, and at three
quarters of a league from the _commune_ of St. Prix.

In this country have likewise been found several varieties of new
interesting forms relative to substances already known; several
important geological facts have been ascertained; and, lastly, the
emerald has here been recently discovered. France already possesses
eighteen of the twenty-one metallic substances known. Few countries
inherit from Nature the like advantages.

With respect to the administration of the mines of France, the
under-mentioned are the regulations now in force.

A council composed of three members, is charged to give to the
Minister of the Interior ideas, together with their motives,
respecting every thing that relates to mines. It corresponds, in the
terms of the law, with all the grantees and with all persons who
explore mines, salterns, and quarries. It superintends the research
and extraction of all substances drawn from the bosom of the earth,
and their various management. It proposes the grants, permissions,
and advances to be made, and the encouragements to be given. Under
its direction are the two practical schools, and twenty-five
engineers of mines, nine of whom are spread over different parts of
the French territory. General information relative to statistics,
every thing that can concur in the formation of the mineralogical map
of France and complete the collection of her minerals, and all
observations and memoirs relative to the art of mines or of the
different branches of metallurgy, are addressed by the engineers to
the _Conseil des Mines_ at Paris.



LETTER LXX.

_Paris, February 20, 1802_.

Having fully described to you all the theatres here of the first and
second rank, I shall confine myself to a rapid sketch of those which
may be classed in the third order.[1]

THÉÂTRE MONTANSIER.

This house stands at the north-west angle of the _Palais du
Tribunat_. It is of an oval form, and contains three tiers of boxes,
exclusively of a large amphitheatre. Before the revolution, it bore
the name of _Théâtre des Petits Comédiens du Comte de Beaujolais_,
and was famous for the novelty of the spectacle here given. Young
girls and boys represented little comedies and comic operas in the
following manner. Some gesticulated on the stage; while others,
placed in the side-scenes, spoke or sang their parts without being
seen. It was impossible to withhold one's admiration from the perfect
harmony between the motions of the one and the speaking and singing
of the other. In short, this double acting was executed with such
precision that few strangers detected the deception.

Copyright (c) 2007. famouswriterz.com. All rights reserved.