Part 30

more sincerely their old friends than their young lovers. They may perchance deceive the lover, but never the friend; the latter they consider as a sacred being. Whence, no doubt, Rousseau (who has not spared the Parisian ladies) has been led to say: "I would never have sought in Paris a wife, still less a mistress; but I would willingly have made there a female friend; and this treasure would, perhaps, have consoled me for not finding the other two."

LETTER XL.

_Paris, December 27, 1801._

About thirty years ago, a public insult offered to human nature, in the person of some unfortunate blind men belonging to the Hospital of the _Quinze-vingts_, and repeated daily for the space of two months, suggested to a spectator the idea of avenging it in a manner worthy of a true philanthropist.

In a coffeehouse of the _Foire St. Ovide_, in Paris, were placed ten blind beggars, muffled up in grotesque dresses and long pointed caps, with large paste-board spectacles on their nose, without glass: music and lights were set before them; and one of them was characterized as Midas, with the ears of an ass, and the addition of a peacock's tail, spread behind him. He sang, while all the others played the same parts of a monotonous tune, without either taste or measure; and the unfeeling public turned into derision the unfortunate actors in this infamous scene. This happened in September 1771.

From that moment, M. VALENTIN HAÜY, brother to the celebrated mineralogist of that name, animated by a noble enthusiasm, conceived the project of teaching the blind to write and read, and of placing in their hands books and music, printed by themselves. After employing twelve years in maturing it, at length, in 1784, he ventured to carry it into execution. To so laudable and benevolent a purpose, he devoted all his fortune; and hence originated the establishment known in Paris, since the year 1791, by the title of

NATIONAL INSTITUTION OF THE INDUSTRIOUS BLIND.

Presently M. HAÜY found his plan seconded by the Philanthropic Society, and the benefactions and advice of several persons, no less distinguished for understanding than benevolence, contributed not a little to encourage his zeal in its prosecution. The following were the primary objects of the establishment.

1. To withdraw the blind from the dangerous paths of idleness.

2. To procure them certain means of subsistence by the execution of pleasant and easy labours.

3. To restore them to society.

4. To console them for their misfortune.

To rescue the blind from idleness is, unquestionably, of itself a great blessing, as it preserves them from an infinite number of vices, and consequently must be approved by the moralist. But another advantage, equally deserving of approbation, is to cause them to find, in their labour, an infallible resource against indigence. Previously to the execution of this beneficent plan, a young blind child, born of poor parents, was reduced to the melancholy and humiliating necessity of standing in a public thoroughfare, exposed to all the inclemency of the weather, to beg its bread, and, at present, it has no occasion to owe its livelihood but to its own labour.

The children that M. HAÜY had to educate were, in general, of the class of artisans, though a few belonged to that of artists and men of science. Some were born with a little aptitude for mechanical labours, others with a great disposition for the arts and sciences. These considerations naturally pointed out to him his plan of instruction, which is divided into four branches.

I. Handicraft work, viz. Spinning, knitting, making of cord, fringe, trimming, ribband, pasteboard, &c.

Task-masters direct the execution of these works, which are as easy to the blind as to the clear-sighted.

II. Education, viz. Reading, writing, arithmetic, geography, literature, history, foreign languages, arts and sciences.

This education of blind children is carried on by means of raised-work or relief, and is intrusted to other blind people whose education is completed. The latter not only instruct their unfortunate fellow-sufferers, but also the clear-sighted.

The sense of feeling is so refined in blind children, that a pupil, a little informed, becomes perfectly acquainted with maps by handling them: he points out with his finger countries and towns; if a map is presented to him upside down, he places it in a proper manner, and if one map is substituted to another, he instantly discovers the deception.

III. Printing, viz. In black characters, for the public. In relief, for themselves.

In black, they have printed no inconsiderable number of voluminous works, for the use of the public. In relief, they have printed for themselves a catechism, a grammar, and a great quantity of music. No where but at this institution, and at the MUSEUM OF THE BLIND, of which I shall presently speak, is there to be found an office for printing in relief.

IV. Music, viz. Vocal and instrumental, and composition.

The music of the blind pupils has always been employed with the greatest success in public festivals, playhouses, balls, coffeehouses, and many public and private assemblies. It is impossible to form an adequate idea of the decided taste of the blind for music, and of the consolation which it affords them. Deprived of their eyes, they seem to become all ears.

No sooner had M. HAÜY rendered public his first essays, than the learned, and especially the members of the _ci-devant_ Academy of Sciences, stamped them with their approbation, as appears by a Report signed by some of the most distinguished of that body, such as DESMARETS, LA ROCHEFOUCAULT, CONDORCET, &c. Professors of the arts, cultivated by his pupils, such as printing, music, &c. were equally eager to acknowledge to what an astonishing degree the blind had succeeded in appropriating to themselves the enjoyment of those arts. Three of the first master-printers in Paris certified the intelligence and skill of the blind pupils; and a concert was executed by them to the no small satisfaction of the _ci-devant_ Academy of Music.

Persons of every degree now wished to be spectators of the result of these essays. Lewis XVI sent for the Industrious Blind, their machinery, &c. to Versailles; he visited them when at work, and inspected their several performances, attended by all the royal family, princes of the blood, ministers, ambassadors, &c. After having procured the inhabitants of that town this interesting sight for several successive days, he rewarded the blind with marks of his favour and encouragement.

The government, which succeeded to the monarchy, shewed no less interest in the progress of M. HAÜY'S undertaking. The different legislatures, which have successively governed France, promoted it by various decrees. In proportion as the number of the pupils increased, so did the resources of their industrious activity. By a law which was solicited by M. HAÜY, and which excited and kept up a singular emulation among his pupils, the blind, in preference to the clear-sighted of equal merit, were admitted to the various secondary employments of the establishment. From that period, the first blind pupils, formed by M. HAÜY, being promoted to the functions of teachers, transmitted with success to young blind children, sent for instruction, from different parts of the Republic, the first elements of education given them by himself and assistants. By virtue of this law, the office of house-steward was intrusted to LESUEUR, a blind pupil who had already discharged it with credit at a banker's. It will scarcely be believed, no doubt, that a blind man can be a cashier, receive money coming in, either from the public treasury, or from the industry of his brothers in misfortune; make of it a suitable division; buy commodities necessary for life and clothing; introduce the strictest economy into his disbursements; by means of his savings, procure the establishment the implements and machinery of the Industrious Blind; in times of real scarcity, make use of the productions of the labour of the grown blind, to maintain the young blind pupils, and that, with all these concerns on his hands, his accounts should always be ready for inspection.

M. HAÜY informs me that out of fifteen or twenty of his old pupils, whom he has connected by the ties of marriage, ten or twelve are fathers; and that they have children more fortunate than the authors of their days, since the enjoy the benefit of sight. But the most interesting part of these connexions is, that the blind father (on the principle of the plan before-stated) teaches his clear-sighted son reading, arithmetic, music, and every thing that it is possible to teach without the help of the eyes.

Raised work, or relief, is the simple and general process by means of which M. HAÜY forms his pupils, and there are a great number of them whose abilities would excite the pride of many a clear-sighted person. For instance, in addition to the before-mentioned LESUEUR, who is an excellent geographer and a good mathematician, might be quoted HUARD, a man of erudition and a correct printer; likewise CAILLAT, a capital performer on the violin, and a celebrated composer. For vocal and instrumental music, printing, and handicraft work, there might be noticed thirty or forty, as well as ten or twelve for knowledge relating to the sciences.

It may not be improper to observe, that M. HAÜY always first puts a frame into the hands of his pupils, and that he has made a law, to which he scrupulously adheres, not to lean too much towards the _agreeable_ arts, unless the pupil manifest for them a peculiar disposition.

Hence you may form an idea of the proficiency which these unfortunates attain under the auspices of the benevolent M. HAÜY. In the compass of a letter, or even of several letters, it is impossible to develope proceedings which it is more easy to put into execution than to describe. The process alone of printing in relief would require a vast number of pages, and some plates, in order to make it perfectly intelligible; but the greater part of what composes these branches of instruction is amply detailed in a work, which I shall communicate to you, entitled "_Essai sur l'Éducation des Aveugles_, _par_ Valentin Haüy, _auteur de la manière de les instruire_," printed under the sanction of the _ci-devant_ Academy of Sciences.

By a law on public education, passed in July 1796, several establishments were to be founded in favour of blind children, in the principal towns of the Republic; but, in consequence of the political changes which have since occurred in the government, it has never been carried into execution.

In October, 1800, the Consuls decreed that the _National Institution of the Industrious Blind_ should be united to the Hospital of the _Quinze-vingts_, together with the soldiers who had lost their sight in Egypt. M. HAÜY is shortly to be honoured by a pension, as a reward for the services which he has bestowed on those afflicted with blindness. At the present moment, he is engaged in founding a second establishment, of a similar nature, which is to take the name of

MUSEUM OF THE BLIND.

On my asking M. HAÜY, whether he would not retire, as it was intended he should, on his pension? "This favour of the government," replied he, "I consider as a fresh obligation, silently imposed on me, to continue to be of service to the blind. The first establishment, supported and paid by the nation, belonged to the poor. In forming the second," added he, "I have yielded to the wishes of parents in easy circumstances, who were desirous of giving to their blind children a liberal education."

I have already mentioned, that, agreeably to M. HAÜY'S plan, the blind instruct the clear-sighted; and in this Museum, which is situated _Rue Sainte Avoie, Hôtel de Mêsme, No. 19_, the former are to be seen directing a class of fifty youths, whom they instruct in every branch before-mentioned, writing excepted. It is also in contemplation to teach a blind pupil _pasigraphy_, or universal language, invented by DEMAIMIEUX.

M. HAÜY details to strangers every part of his plan with the most patient and obliging attention. When he had concluded, I could not avoid expressing a wish that the art of instructing the blind in the fullest extent might be speedily introduced among all nations. "After having paid to my country," rejoined M. HAÜY, "the merited homage of my invention, my anxiety to contribute to the relief of the afflicted, wherever they may be found, gives birth to the desire of propagating, as much as possible, an institution which enlightened men and philanthropists have been pleased to recommend to the attention of foreigners and to the esteem of my countrymen, as may be seen by consulting different literary publications from the year 1785 down to the present time, particularly the new French Encyclopædia, at the article _Aveugle_."

"I should," added he, "perform a task very agreeable to my feelings in concurring, by my advice and knowledge, to lay in England the foundation of an establishment of a description similar to either of those which I have founded in Paris. One of my pupils in the art of instructing the blind, M. GRANCHER, a member of several learned societies in France, and possessed of my means and method, would voluntarily devote his talents and experience to the success of such an undertaking, to which he is himself strongly attached through philanthropy and zeal for my reputation."--"I am persuaded," interrupted I, "that were the advantages of such an establishment made public in England, it would receive the countenance and support of every friend of human nature."--"It is an unquestionable fact," concluded M. Haüy, "that an institution of fifty blind, well conducted, ought, by their labour, to produce more than would defray its expenses. I have already even tried with success to apply to the English tongue my method of reading, which is so contrived for the French language, that I need not give more than two or three lessons to a blind child, in order to enable him to teach himself to read, without the further help of any master."

LETTER XLI.

_Paris, December 29, 1801._

Such a crowd of different objects present themselves to my mind, whenever I sit down to write to you, that, frequently as I have visited the Grand French Opera since my arrival here, I have been hesitating whether I should make it the subject of this letter. However, as it is one of the first objects of attraction to a stranger, and the first in a theatrical point of view, I think you cannot be too soon introduced to a knowledge of its allurements. Let us then pass in review the

THÉÂTRE DES ARTS ET DE LA REPUBLIQUE.[1]

Previously to the revolution, the French opera-house, under the name of _Académie Royale de Musique_, was situated on the Boulevard, near the _Porte St. Martin_. Except the façade, which has been admired, there was nothing very remarkable in the construction of this theatre, but the dispatch with which it was executed.

The old opera-house in the _Palais Royal_ having been burnt down on the 8th of June 1781, M. LENOIR, the architect, built a new one in the short space of sixty days, and, within a fortnight after, it was decorated and opened. Had an hospital been reduced to ashes, observes an able writer, it would have required four years at least to determine on the eligibility of new plans.--But a theatre, constructed with such expedition, excited apprehensions respecting its stability: it was necessary to remove them, and, by way of _trying the house_, the first representation was given _gratis_. This had the desired effect: after having sustained the weight of between two and three thousand market-women, oyster-wenches, shoe-blacks, chimney-sweepers, porters, &c, it was deemed sufficiently solid to receive a more refined audience.

At the beginning of the year 1793, the interior of this quickly-built theatre was also destroyed by fire. But the opera experienced no interruption: such an event would be regarded as a public calamity in the capital. In fact, this expensive establishment affords employ to a vast number of persons. The singers, dancers, musicians, machinists, painters, tailors, dress-makers, scene-shifters, &c. attached to it, would constitute a little nation. The richness and variety of the dresses give activity to several branches of trade, and its representations involve all the agreeable arts. These united attractions captivate foreigners, and induce them to squander considerable sums of money in the country. Hence, were the opera-house shut up, commerce would suffer; there would be an absolute void in the pleasures of the Parisians; and, as experience proves, these volatile people would sooner resign every thing most valuable than any portion of their amusements. Besides, without such an establishment, the talents of singers and dancers could not be maintained in their present perfection. It holds out to them constant encouragement and remuneration; while, compared to any other theatre, it excites in the spectators a greater number of pleasing sensations. How then could it be dispensed with?

Accordingly, when the disaster befell the theatre of the _Porte St. Martin_, it was considered as a fortunate circumstance that the present opera-house was just finished. The performers of the _ci-devant Académie de Musique_ immediately established themselves in this new asylum, which is situated in the _Rue de la Loi_, facing the National Library, and opened it to the public under the name of _Théâtre des Arts_. I must observe, by the way, that, in France, all players, dancers, musicians, and every one who exercises an art, are now styled _artistes_.

The form of this house is nearly a parallelogram: one of the shorter sides is occupied by the stage, and the other three are slightly curved. In general, one is ill placed here, except in the boxes in front of the stage, and in the pit, the seats of which rise abruptly, in the manner of an amphitheatre, from the orchestra to the first tier of boxes. The Chief Consul has chosen for himself the stage-box, as I believe we term it in England, on the right hand of the actors. It is elegantly decorated with scarlet velvet, embroidered in gold. The ornaments (I am not speaking of the scenery) are neither of superlative elegance, nor do they display extraordinary taste. The curtain, however, is majestic and beautiful, as well as the ceiling.

"Here," says a French author, "arts, graces, genius, and taste conspire to produce a most magnificent, a most brilliant, and most enchanting spectacle. Here heroes come to life again to sing their love and their despair; here many a goddess is seen to mix with mortals, many a Venus to descend from the radiant Olympus in order to throw herself into the arms of more than one Anchises."--Certainly, if splendid decorations, rich and appropriate dresses, the most skilful machinists, the most distinguished composers, a numerous and most select orchestra, some excellent actors, together with the most celebrated dancers in Europe, of both sexes, constitute a brilliant spectacle, this justly deserves that title. In these magnificent arrangements, we see again the Grand French Opera, as it appeared in the most splendid days of the monarchy. With the exception of the singing, every other department at this theatre is much improved; the only drawback that I can discover at the representation of the same pieces, which I have often seen here before the revolution, consists in the exterior of the spectators. Between the acts, when I transport myself in idea to the former period, and, looking round the house, form a comparison, I find the republican audience far less brilliant, owing, no doubt, to the absence of that glare of diamonds, embroidery, lace, and other finery, which distinguished the frequenters of the opera under the old government.

The performances at the opera being, in general, more calculated for charming the eyes and ears, than gratifying the understanding, it is, consequently, the most frequented of any of the capital.

"-------- With the many

## Action is eloquence, and th' eyes of th' ignorant

More learned than their ears."

There is, however, no piece represented at this theatre that a stranger ought not to see, either on account of the music, or of the spectacle and its decorations. The operas, or lyric tragedies, which, from the number of times they have been performed, appear to have obtained the greatest success, are those of GLUCK. The originality, the energy, the force and truth of declamation of this great musician were likely to render him successful, especially among the French, who applauded the two last-mentioned qualities on their other national theatre.

With the exception of one only, all the works of GLUCK have remained as stock-pieces, and are played from time to time. They are five in number; namely, _Iphigénie en Aulide_, _Iphigénie en Tauride_, _Orphée et Euridice_, _Armide_, and _Alceste_. That which could not maintain its ground, and consequently fell, was _Narcisse_. The flimsiness of the poem was the cause; for the music, I am assured, is the finest that GLUCK ever composed, and several pieces of it have been repeatedly performed in the Parisian concerts.

The _Didon_ of PICCINI and the _OEdipe à Colonne_ of SACCHINI have had no less success than the operas of GLUCK. They are very frequently represented.

It may not, perhaps, be unseasonable to remind you that, from twenty to twenty-five years ago, when the old operas of LULLI and RAMEAU were laid aside, and replaced by modern works, two parties were formed, which, from the name of the musician that each adopted, were called, the one, _Gluckists_; and the other, _Piccinists_. Their inveteracy was great, somewhat like that which, forty years before, existed between the _Molinists_ and _Jansenists_: and few persons, if any, I believe, remained neuter. Victory seems to have crowned the former party. Indeed the music of GLUCK possesses a melody which is wonderfully energetic and striking. PICCINI is skilful and brilliant in his harmony, as well as sweet and varied in his composition; but this style of beauty has been thought to be deficient in expression. Truth obliges me to say, that, of PICCINI'S works, no opera is now played but his _Didon_, and that his other productions, which, to the best of my recollection, are _Alys_, an opera called _Iphigénie en Tauride_, and _Pénélope_, have fallen. This was ascribed to the mediocrity of the language; a part of an opera somewhat essential, though no great attention seems to be bestowed on it. But if people here are not very difficult as to the style of the language, they require at least an action well conducted and interesting. When the piece is of itself cold, it is not in the power of the finest music to give it warmth. The _OEdipe à Colonne_ of SACCHINI is reckoned by many persons the _chef-d'oeuvre_ of operas. That able musician has there excelled in all that is graceful, noble, and pathetic; but it exhibits not the tragic fire that is to be found in the works of GLUCK. SACCHINI has left behind him another composition, called _Arvire et Evéline_, which, though a cold subject, taken from the history of England, is held in estimation.