success in the "Huguenots," used, we are told, to refresh herself in the entr'acte with "côtelettes saignantes," a steak or chop cooked English fashion being always so designated by the French, and, as for that, by many other nations too. The red serum of partially cooked meat is, however, not blood.

A M. Larenaudés de Raffin has made a collection of shoes-a museum of chaussons de danse—which have belonged to all the celebrities of the Opera. In this museum are the chaussons of Pauline Léroux, Taglioni, Fitzjames, Elssler, Dumilâtre, Guy Stéphan, Carlotta Grisi, Maria Plunkett, Fuoco, Cerito, Bagdanoff, Rosati, Ferraris, Beretta, Couqui, Zina Mérante, Livry, Marie Petipa, as well as those of many less distinguished dancers.

Of all the characters most impudently assumed at the Opera are those of journalists. The Fiorentinos, Gautiers, Jules Janins, Roqueplans, Saint-Victors, Saint-Valrys, Alberic seconds, Chadeuils, and Bertrands, are all well known in the green-room of the Opera, and are friendly with all parties the administration and the artists. "But how many sham directors, editors, and contributors," says M. Nérée-Desarbres, "have presented themselves in my study? Nay, it may," he says, "be pronounced as an aphorism that any man who declares himself to be a journalist, tells a story;' so also of the man who has engraved on his card Piquoiseau, homme de lettres,' or Beaufour, dramatic author.'"

6

M. Nérée-Desarbres argues that the prices of places are not dearer at the Opera than elsewhere, considering the expenses and the price of things generally, or the comparative value of money. The greatest receipts ever made at the Opera were on the 18th Prarial, in the year IV., when they attained the enormous sum of 1,071,350 francs. A single box let for nine thousand francs. The performances included "Iphigenie en Tauride," the ballet of "Psyche," and a Hymn to Victory. But the currency was in the green-backs of the day, and as, very shortly afterwards, one hundred livres in assignats only fetched three sous seven deniers, the actual amount taken was only about eighteen hundred francs. The Opera was opened gratuitously on 6th Pluviôse, An XI., " de par et pour le peuple en réjouissance de la mort des tyrans." On the 14th of July, 1815, when Louis XVIII, the King of Prussia, and the Emperor of Russia were present, the receipts amounted to 11,000 francs.

The production of a new opera, in five acts, entails an average expense of 100,000 francs. "Pierre de Médicis" cost 130,000; " Armide," 140,000. The expenses of every Monday, Wednesday, and Friday amount to 11,500 francs. In the latter years of the Restoration, a sentinel, a kind of garde du corps of the ballet, was placed in a sentrybox, which is still in existence, to prevent the dancers mistaking their way to the rooms of the ballet-girls. There is still an inspector, whose duty it is to see that decency is not outraged by any extremes in dress, or rather want of dress. The days are, however, gone by when Mademoiselle Souris used to call the Regent "Philippe" in the presence of the whole green-room.

"What becomes of the old moons ?" was once asked by a wiseacre. M. Nérée-Desarbres undertakes, however, to tell us what becomes of the old stars. Some pass into that happy condition which is uniformly comprised by French writers under the general head of millionnaires. Such

was the case with Mesdemoiselles Cupis de Camargo, Sallé, Mariette, surnamed the Princess, Petitpas, Pelissier, Michelot, Dorival, Guimard, Laguerre, Bigottini, and others. Some contract brilliant marriages, and attain a high position. In 1684 (our author, at all events, goes back far enough), Mademoiselle Roland married the Marquis of Saint Géniès. In 1708, Mademoiselle Fanchon Moreau married the Marquis de Villiers. Mademoiselle Quinault-Dufresne has legitimate claims to the title of Duchess of Nevers (1709). Mademoiselle Rosalie Levasseur, Baronne du Saint-Empire, became Countess of Mercy-Argenteau in 1790. Mademoiselle Cléron is, or was, Princess of Anspach; Mademoiselle Candeille, Madame Simons; Mademoiselle Clairval, surnamed Guignon, Presidente de Campistron Manibau; Mademoiselle Saint-Huberti, commonly called Cécile Clavel, Countess d'Antraigues; Mademoiselle Clotilde Augustine Mafleuroy, Madame Boïeldieu; Mademoiselle Maria Mercandotti, Madame Husboll; Mademoiselle Duvernay, Madame Lyne-Ptepsens (Stephens); Mademoiselle Lola Montès, Countess of Landsfeld; Mademoiselle Maria, Baronne d'Henneville; Mademoiselle Forster, Madame Robin, Châtelaine d'Enghien; Mademoiselle Marie Taglioni, Countess Gilbert des Voisins; Mademoiselle Alboni, Countess Pepoli; Mademoiselle Dumilâtre ainée, Countess Clarke del Castillo; Mademoiselle Cruvelli, Baronne Vigier; Mademoiselle Dussy, alias Marie Cotteret, Madame Harranger.

If we descend from the firmament of stars to the more humble world of figurantes and choristers, we shall still find many that have made, or are supposed to have made, their fortunes. Mesdemoiselles Deschamps, Poulette, Saint-Germain, Carton, Grandi, La Prairie, Beaupré, and Renard, have the reputation of being millionnaires. Mademoiselle Rosaly, alias Rotisset de Romainville, is now Madame Masson de Maisonrouge; Mademoiselle Defresne is Marquise de Fleury; Mademoiselle le Duc, in secret, Countess de Clermont, princess of the blood; Mademoiselle Grandpré is Marquise de Senneville; Mademoiselle Liancourt is Baronne d'Augny; Mademoiselle Chouchou is Presidente de Meinières; Mademoiselle Rem, Madame le Normant d'Etioles; Mademoiselle Mazarelly, Marquise de Saint-Chamont; Mademoiselle Lolotte, Countess d'Heronville; Mademoiselle Marquise, Marquise de Villemonble; Mademoiselle Simon, Madame Riboutet; Mademoiselle Lange, Madame Simon; besides many others. The men are, generally speaking, less fortunate than the ladies, and if some of them have obtained rich or titled wives, very few are known to have become millionnaires.

The dealer in orders is brother or cousin of the "claquer," if he does not himself belong to that honourable craft. His business consists, like most others, in buying cheap and selling dear. He obtains his supplies from dramatic authors, from subscribers, and from managers themselves, who, unable to fill the theatre at legitimate prices, have recourse to the dealer in orders. A certain Porcher has raised the business of dealer in orders almost to the dignity of a banking operation. He undertakes the sub-letting of a box or a stall, just as librarians do with us. Porcher has the names of the most distinguished French dramatic authors on his books, and he employs subaltern agents for the sale of the orders. It is a legitimate transaction, since the orders are given as part remuneration for a work produced. The trafficker in seats is sometimes, however, led

into great mistakes. An order worth three hundred francs in the morning has been known to be not worth twenty in the evening, by reason of a change in the performance, or the indisposition of an actor. In Italy, the trade is in keys. At the Carignan, La Scala, La Fénice, and San Carlo, every box has a key duly numbered, and it is parted with for the evening at a certain price.

Leading actors, singers, and dancers have their own boxes wherein to dress. They have one or two chairs, a table, a mirror, and two lamps. Second-rate performers dress two or three in one box; the figurantes are packed to the number of ten or twelve in what are called "les bains à quatre sous." It is a mistake to suppose that the ladies receive visitors at their toilettes; such a proceeding is strictly forbidden, and, were it not, the natural coquetry of the sex would oppose itself to it. The hairdresser alone is not looked upon as of the masculine gender. "Heavens! how you frightened me!" exclaimed one evening Mademoiselle Boisgonthier, on suddenly perceiving her hairdresser in her box. "I thought it was some one."

There is not a more ungrateful profession than that of a male dancer. All his talent consists in showing off the female dancers to advantage, in upholding them and supporting them, or in dancing whilst they repose themselves. 66 Why not have all female dancers ?" has been asked. "Because one female cannot be expected to sacrifice herself to another,” is the reply. It is not every day that we meet with two sisters like the Elsslers, the Dumilâtres, and the Fitzjameses, the mission of one of whom was simply to bring out the talent of the other.

M. Perrin succeeded to M. A. Royer in the administration of the Opera in 1862, and signalised his succession by the revival of "Guillaume Tell" and "La Muette." Under M. Royer's administration "La Muette" was withdrawn, upon the fatal accident that befel Mdlle. Emma Livry. Since that epoch, Count Baccocchi has been appointed to the general superintendence of theatres, and the appointment has been hailed as full of promise to the future by those even who were in despair at the progress of real art and of "modest merit."

There is a library attached to the Opera. It is contained in a provisional depository, which served formerly as kitchens to the Hôtel Choiseul. "Partitions" on "partitions," dating back from the epoch of Lully, are now heaped up where formerly copper stewpans shone lustrous, or viands were deposited in their service of silver. Some are greasy, worn, in tatters, having been manipulated by hundreds of singers and instrumentalists; others are copiously illustrated by all kinds of fanciful sketches and devices; others, on the contrary, are still clean and legible; but these, like "Pantagruel," have been failures, or, at the best, performed two or three times. This collection has survived two fires at the Opera, for the best of all reasons-it has been hitherto dispersed among librarians and music-dealers. The title of librarian and chief copyist has been handed down ever since 1774 from father to son, or from fathers-in-law to sons-in-law. The present office-bearer is M. Leborne. What was formerly the oven for pastry, and the pantry for sweets and confectionery in the same Hôtel Choiseul, is now devoted to the preservation of the archives of the Opera. For a long time without any one to look after them, and little cared for, many of the autographs have passed from these

documents into the albums of collectors. M. N. Roqueplan was the first to put them under lock and key for better safety. M. Charles Nuitter was the first, however, to undertake the laborious task of arranging and classifying them, which he did under the heads of Registers of Receipts at the Door, Registers of Expenditure, Correspondence, Advertisements, Plans, Livrets, Political Songs, and Photographs. A little book of excerpts from these archives might almost be as amusing as extracts from those of Simancas. M. Nérée-Desarbres has availed himself of the said resources for the account of the more remarkable receipts at the door, as before given. The correspondence comprises ministerial letters, authors' letters, those of composers and artists, as well as offers, solicitations, and complaints, which would assuredly supply some curious reading. Up to 1790, the style of advertising was excessively simple-merely the name of the pieces to be played. The public do not appear to have cared at that epoch who were the actors or actresses, singers or dancers. The names of the latter were first introduced in small letters, and no distinction was allowed. Lays, Mdlle. Branchu, and Nourrit, appear in precisely the same sized type as the subordinates. Gradually the advertisements assumed larger dimensions, certain names appeared in larger type, then in gigantic characters-the videttes, or sentinels on horseback, of the modern Opera. Then came the sensation announcements of débuts, rentrées, and last representations. Some of the placards are crossed with bands, announcing a change of arrangements on account of change of government. Nothing could more curiously indicate the rapidity with which such changes have come about in Paris, and how little they have sometimes been anticipated! On the 1st of April, 1814, the Opera bills announced the "Triomphe de Trajan," but at the demand of the foreign potentates this was changed for "La Vestale," which had, however, to be performed with the Trajan scenery and decorations. • "Vive Henri IV." was twice sung the same night by Lays, amidst thunders of applause. This might be attributed to the frivolity or to the dormant love of legitimacy of the Parisians, according to the turn of men's minds. It is quite true that a year later (April 18, 1815) " Vive Henri IV." was not sung, but the same thunders of applause welcomed the presence of Napoleon I. The same curious modifications, necessitated by incessant political changes in the metropolis of France, are to be met with in the "livrets." The words "king" and "law are constantly made to take the place one of the other. The rhymes of "trône" and "couronne" were suppressed by the republic. The songs in honour of each successive government, and form of government, are collected together in one interesting group. "Vive Henri IV." now quietly reposes between the "Marseillaise" and "Ça Ira." Will it ever be drawn out again? The "Chant du Départ," the "Réveil du Peuple," the "Veillons au Salut de l'Empire," and Hortense's "Partant pour la Syrie," fraternise in the same portfolio, side by side. The collection of photographs of artists, in the costumes of their different characters, inaugurated by his excellency M. Fould, at that epoch minister of the Emperor's household, will in a few years be the most interesting of all these collections, and the gem of the operatic library.

VOL. LVI.

b

284

SIDE-WIND SALLIES OF SPLEEN.

A CUE FROM SHAKSPEARE.

BY FRANCIS JACOX.

INFINITELY reluctant is the gentle Lady married to the Moor to believe his love departing from her, his wrath kindled against her. Fondly ingenious is she in devising excuses and suggesting palliations for his angry outburst.

-Something, sure, of state,

Either from Venice; or some unhatch'd practice
Made demonstrable here in Cyprus to him

Hath puddled his clear spirit: and, in such cases,
Men's natures wrangle with inferior things,
Though great ones are their object.*

Iago, in a subsequent scene, suggests the like consolatory explanation, to one of his victims, Desdemona, of the resentment of the other, Othello.

I pray you, be content: 'tis but his humour ;

The business of the state does him offence,
And he does chide with you.†

The same tendency in exasperated human nature is glanced at by Benedick when he finds Claudio out of humour at supposing Hero wooed by the Prince :

Claud. I wish him joy of her.

Bened. Why, that's spoken like an honest drover; so they sell bullocks. But did you think the Prince would have served you thus ?

Claud. I pray you, leave me.

Bened. Ho! now you strike like the blind man; 'twas the boy that stole your meat, and you'll beat the post.‡

Molière illustrates this vicarious sort of vindictiveness again and again. In one comedy, it is proposed by Lélie that angry old Anselme, enraged by the étourderies of that Marplot, Mascarille, should be put in the way of expending his fury on pots and pans :

Il nous le faut mener en quelque hôtellerie,

Et faire sur les pots décharger sa furie.§

In another, Arnolphe, wroth at the too successful schemings of Horace and Agnes, fires away at the furniture and a puppy dog:

Poussant de temps en temps des soupirs pitoyables,

Et donnant quelquefois de grands coups sur les tables,
Frappant un petit chien qui pour lui s'émouvait,
Et jetant brusquement les hardes qu'il trouvait.

* Othello, Act III. Sc. 4.

Much Ado About Nothing, Act II. Sc. 1.

† Act IV. Sc. 2. § L'Etourdi, Acte I. Sc. 11