Part 63 (1/2)
Mademoiselle BLOSSEVILLE plays chambermaids and characters of parody with tolerable success.
Mademoiselle DELILLE, however, who performs caricatures and characters where frequent disguises are a.s.sumed, 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 derniere 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 fas.h.i.+on. 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 facons, Tout finit par des chansons.” bis._
[Footnote 1: The _Theatre 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
HoTEL 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 surpa.s.ses the _Zecca_ at Venice.
The Abbe 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 _Hotel de la Monnaie_, in April 1771.
An avant-corps, decorated with six Ionic pillars, and supported by two wings, from the division of the facade, 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 princ.i.p.al 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 princ.i.p.al 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 princ.i.p.al apartment of the avant-corps of the _Hotel de la Monnaie_, towards the _Quai de Conti_, is the cabinet known in Paris by the name of the
MUSeE 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 a.n.a.lysis 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 fas.h.i.+on, to surround them with the show of luxury and the elegance of accessory decoration. Who knows even whether that very circ.u.mstance, 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 fas.h.i.+onable 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 circ.u.mference are glazed cabinets or closets, in which are arranged methodically and a.n.a.lytically 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, cla.s.sed 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.