Part 18

"I have already mentioned that Marie Antoinette had no decided taste for literature. Her mind rather sought its amusements in the ball-room, the promenade, the theatre, especially when she herself was a performer, and the concert-room, than in her library and among her books. Her coldness towards literary men may in, some degree be accounted for by the disgust which she took at the calumnies and caricatures resulting from her mother's partiality for her own revered teacher, the great Metastasio. The resemblance of most of Maria Theresa's children to that poet was coupled with the great patronage he received from the Empress; and much less than these circumstances would have been quite enough to furnish a tale for the slanderer, injurious to the reputation of any exalted personage.

"The taste of Marie Antoinette for private theatricals was kept up till the clouds of the Revolution darkened over all her enjoyments.

"These innocent amusements were made subjects of censure against her by the many courtiers who were denied access to them; while some, who were permitted to be present, were too well pleased with the opportunity of sneering at her mediocrity in the art, which those, who could not see her, were ready to criticise with the utmost severity. It is believed that Madame de Genlis found this too favourable an opportunity to be slighted. Anonymous satires upon the Queen's performances, which were attributed to the malice of that authoress, were frequently shown to Her Majesty by good-natured friends. The Duc de Fronsac also, from some situation he held at Court, though not included in the private household of Her Majesty at Trianon, conceiving himself highly injured by not being suffered to interfere, was much exasperated, and took no pains to prevent others from receiving the infection of his resentment.

"Of all the arts, music was the only one which Her Majesty ever warmly patronised. For music she was an enthusiast. Had her talents in this art been cultivated, it is certain from her judgment in it that she would have made very considerable progress. She sang little French airs with great taste and feeling. She improved much under the tuition of the great composer, her master, the celebrated Sacchini. After his death, Sapio was named his successor; but, between the death of one master and the appointment of another, the revolutionary horrors so increased that her mind was no longer in a state to listen to anything but the howlings of the tempest.

"In her happier days of power, the great Gluck was brought at her request from Germany to Paris. He cost nothing to the public Treasury, for Her Majesty paid all his expenses out of her own purse, leaving him the profits of his operas, which attracted immense sums to the theatre.

"Marie Antoinette paid for the musical education of the French singer, Garat, and pensioned him for her private concerts.

"Her Majesty was the great patroness of the celebrated Viotti, who was also attached to her private musical parties. Before Viotti began to perform his concertos, Her Majesty, with the most amiable condescension, would go round the music saloon, and say, 'Ladies and gentlemen, I request you will be silent, and very attentive, and not enter into conversation, while Mr. Viotti is playing, for it interrupts him in the execution of his fine performance.

"Gluck composed his Armida in compliment to the personal charms of Marie Antoinette. I never saw Her Majesty more interested about anything than she was for its success. She became a perfect slave to it. She had the gracious condescension to hear all the pieces through, at Gluck's request, before they were submitted to the stage for rehearsal. Gluck said he always improved his music after he saw the effect it had upon Her Majesty.

"He was coming out of the Queen's apartment one day, after he had been performing one of these pieces for Her Majesty's approbation, when I followed and congratulated him on the increased success he had met with from the whole band of the opera at every rehearsal. 'O my dear Princess!' cried he, 'it wants nothing to make it be applauded up to the seven skies but two such delightful heads as Her Majesty's and your own.'--'Oh, if that be all,' answered I, 'we'll have them painted for you, Mr. Gluck!'--'No, no, no! you do not understand me,' replied Gluck, 'I mean real, real heads. My actresses are very ugly, and Armida and her confidential lady ought to be very handsome:

"However great the success of the opera of Armida, and certainly it was one of the best productions ever exhibited on the French stage, no one had a better opinion of its composition than Gluck himself. He was quite mad about it. He told the Queen that the air of France had invigorated his musical genius, and that, after having had the honour of seeing Her Majesty, his ideas were so much inspired that his compositions resembled her, and became alike angelic and sublime!

"The first artist who undertook the part of Armida was Madame Saint Huberti. The Queen was very partial to her. She was principal female singer at the French opera, was a German by birth, and strongly recommended by Gluck for her good natural voice. At Her Majesty's request, Gluck himself taught Madame Saint Huberti the part of Armida. Sacchini, also, at the command of Marie Antoinette, instructed her in the style and sublimity of the Italian school, and Mdlle. Benin, the Queen's dressmaker and milliner, was ordered to furnish the complete dress for the character.

"The Queen, perhaps, was more liberal to this lady than to any other actress upon the stage. She had frequently paid her debts, which were very considerable, for she dressed like a Queen whenever she represented one.

"Gluck's consciousness of the merit of his own works, and of their dignity, excited no small jealousy, during the getting up of Armida, in his rival with the public, the great Vestris, to whom he scarcely left space to exhibit the graces of his art; and many severe disputes took place between the two rival sharers of the Parisian enthusiasm. Indeed, it was at one time feared that the success of Armida would be endangered, unless an equal share of the performance were conceded to the dancers. But Gluck, whose German obstinacy would not give up a note, told Vestris he might compose a ballet in which he would leave him his own way entirely; but that an artist whose profession only taught him to reason with his heels should not kick about works like Armida at his pleasure. 'My subject,' added Gluck, 'is taken from the immortal Tasso. My music has been logically composed, and with the ideas of my head; and, of course, there is very little room left for capering. If Tasso had thought proper to make Rinaldo a dancer he never would have designated him a warrior.'

"Rinaldo was the part Vestris wished to be allotted to his son. However, through the interference of the Queen, Vestris prudently took the part as it had been originally finished by Gluck.

"The Queen was a great admirer and patroness of Augustus Vestris, the god of dance, as he was styled. Augustus Vestris never lost Her Majesty's favour, though he very often lost his sense of the respect he owed to the public, and showed airs and refused to dance. Once he did so when Her Majesty was at the opera. Upon some frivolous pretext he refused to appear. He was, in consequence, immediately arrested. His father, alarmed at his son's temerity, flew to me, and with the most earnest supplications implored I would condescend to endeavour to obtain the pardon of Her Majesty. 'My son,' cried he, 'did not know that Her Majesty had honoured the theatre with her presence. Had he been aware of it, could he have refused to dance for his most bounteous benefactress? I, too, am grieved beyond the power of language to describe, by this mal apropos contretemps between the two houses of Vestris and Bourbon, as we have always lived in the greatest harmony ever since we came from Florence to Paris. My son is very sorry and will dance most bewitchingly if Her Majesty will graciously condescend to order his release!'

"I repeated the conversation verbatim, to Her Majesty, who enjoyed the arrogance of the Florentine, and sent her page to order young Vestris to be set immediately at liberty.

"Having exerted all the wonderful powers of his art, the Queen applauded him very much. When Her Majesty was about leaving her box, old Vestris appeared at the entrance, leading his son to thank the Queen.

"'Ah, Monsieur Vestris,' said the Queen to the father, you never danced as your son has done this evening.'

"'That's very natural, Madame,' answered old Vestris, 'I never had a Vestris, please Your Majesty, for a master.'

"'Then you have the greater merit,' replied the Queen, turning round to old Vestris--'Ah, I shall never forget you and Mademoiselle Guimard dancing the minuet de la cour.'

"On this old Vestris held up his head with that peculiar grace for which he was so much distinguished. The old man, though ridiculously vain, was very much of a gentleman in his manners. The father of Vestris was a painter of some celebrity at Florence, and originally from Tuscany."

SECTION IX.

"The visit of the favourite brother of Marie Antoinette, the Emperor Joseph the Second, to France, had been long and anxiously expected, and was welcomed by her with delight. The pleasure Her Majesty discovered at having him with her is scarcely credible; and the affectionate tenderness with which the Emperor frequently expressed himself on seeing his favourite sister evinced that their joys were mutual.

"Like everything else, however, which gratified and obliged the Queen, her evil star converted even this into a misfortune. It was said that the French Treasury, which was not overflowing, was still more reduced by the Queen's partiality for her brother. She was accused of having given him immense sums of money; which was utterly false.

"The finances of Joseph were at that time in a situation too superior to those of France to admit of such extravagance, or even to render it desirable. The circumstance which gave a colour to the charge was this:

"The Emperor, in order to facilitate the trade of his Brabant subjects, had it in contemplation to open the navigation of the Scheldt. This measure would have been ruinous to many of the skippers, as well as to the internal commerce of France. It was considered equally dangerous to the trade and navigation of the North Hollanders. To prevent it, negotiations were carried on by the French Minister, though professedly for the mutual interest of both countries, yet entirely at the instigation and on account of the Dutch. The weighty argument of the Dutch to prevent the Emperor from accomplishing a purpose they so much dreaded was a sum of many millions, which passed by means of some monied speculation in the Exchange through France to its destination at Vienna. It was to see this affair settled that the Emperor declared in Vienna his intention of taking France in his way from Italy, before he should go back to Austria.

"The certainty of a transmission of money from France to Austria was quite enough to awaken the malevolent, who would have taken care, even had they inquired into the source whence the money came, never to have made it public. The opportunity was too favourable not to be made the pretext to raise a clamour against the Queen for robbing France to favour and enrich Austria.

"The Emperor, who had never seen me, though he had often heard me spoken of at the Court of Turin, expressed a wish, soon after his arrival, that I should be presented to him. The immediate cause of this let me explain.

"I was very much attached to the Princesse Clotilde, whom I had caused to be united to Prince Charles Emanuel of Piedmont. Our family had, indeed, been principally instrumental in the alliances of the two brothers of the King of France with the two Piedmontese Princesses, as I had been in the marriage of the Piedmontese Prince with the Princess of France. When the Emperor Joseph visited the Court of Turin he was requested when he saw me in Paris to signify the King of Sardinia's satisfaction at my good offices. Consequently, the Emperor lost no time in delivering his message.

"When I was just entering the Queen's apartment to be presented, 'Here,' said Her Majesty, leading me to the Emperor, 'is the Princess,' and, then turning to me, exclaimed, 'Mercy, how cold you are!' The Emperor answered Her Majesty in German, 'What heat can you expect from the hand of one whose heart resides with the dead?' and subjoined, in the same language, 'What a pity that so charming a head should be fixed on a dead body.'

"I affected to understand the Emperor literally, and set him and the Queen laughing by thanking His Imperial Majesty for the compliment.

"The Emperor was exceedingly affable and full of anecdote. Marie Antoinette resembled him in her general manners. The similitude in their easy openness of address towards persons of merit was very striking. Both always endeavoured to encourage persons of every class to speak their minds freely, with this difference, that Her Majesty in so doing never forgot her dignity or her rank at Court. Sometimes, however, I have seen her, though so perfect in her deportment with inferiors, much intimidated and sometimes embarrassed in the presence of the Princes and Princesses, her equals, who for the first time visited Versailles: indeed, so much as to give them a very incorrect idea of her capacity. It was by no means an easy matter to cause Her Majesty to unfold her real sentiments or character on a first acquaintance.

"I remember the Emperor one evening at supper when he was exceedingly good-humoured, talkative, and amusing. He had visited all his Italian relations, and had a word for each, man, woman, or child--not a soul was spared. The King scarcely once opened his mouth, except to laugh at some of the Emperor's jokes upon his Italian relations.

"He began by asking the Queen if she punished her husband by making him keep as many Lents in the same year as her sister did the King of Naples. The Queen not knowing what the Emperor meant, he explained himself, and said, 'When the King of Naples offends his Queen she keeps him on short commons and 'soupe maigre' till he has expiated the offence by the penance of humbling himself; and then, and not till then, permits him to return and share the nuptial rights of her bed.'

"'This sister of mine,' said the Emperor, 'is a proficient Queen in the art of man training. My other sister, the Duchess of Parma, is equally scientific in breaking-in horses; for she is constantly in the stables with her grooms, by which she 'grooms' a pretty sum yearly in buying, selling, and breaking-in; while the simpleton, her husband, is ringing the bells with the Friars of Colorno to call his good subjects to Mass.

"'My brother Leopold, Grand Duke of Tuscany, feeds his subjects with plans of economy, a dish that costs nothing, and not only saves him a multitude of troubles in public buildings and public institutions, but keeps the public money in his private coffers; which is one of the greatest and most classical discoveries a Sovereign can possibly accomplish, and I give Leopold much credit for his ingenuity.

"'My dear brother Ferdinand, Archduke of Milan, considering he is only Governor of Lombardy, is not without industry; and I am told, when out of the glimpse of his dragon the holy Beatrice, his Archduchess, sells his corn in the time of war to my enemies, as he does to my friends in the time of peace. So he loses nothing by his speculations!'

"The Queen checked the Emperor repeatedly, though she could not help smiling at his caricatures.

"'As to you, my dear Marie Antoinette,' continued the Emperor, not heeding her, 'I see you have made great progress in the art of painting. You have lavished more colour on one cheek than Rubens would have required for all the figures in his cartoons.' Observing one of the Ladies of Honour still more highly rouged than the Queen, he said, 'I suppose I look like a death's head upon a tombstone, among all these high-coloured furies.'

"The Queen again tried to interrupt the Emperor, but he was not to be put out of countenance.

"He said he had no doubt, when he arrived at Brussels, that he should hear of the progress of his sister, the Archduchess Maria Christina, in her money negotiations with the banker Valkeers, who made a good stock for her husband's jobs.

"'If Maria Christina's gardens and palace at Lakin could speak,' observed he, 'what a spectacle of events would they not produce! What a number of fine sights my own family would afford!

"'When I get to Cologne,' pursued the Emperor, there I shall see my great fat brother Maximilian, in his little electorate, spending his yearly revenue upon an ecclesiastical procession; for priests, like opposition, never bark but to get into the manger; never walk empty-handed; rosaries and good cheer always wind up their holy work; and my good Maximilian, as head of his Church, has scarcely feet to waddle into it. Feasting and fasting produce the same effect. In wind and food he is quite an adept--puffing, from one cause or the other, like a smith's bellows!'

"Indeed, the Elector of Cologne was really grown so very fat, that, like his Imperial mother, he could scarcely walk. He would so over-eat himself at these ecclesiastical dinners, to make his guests welcome, that, from indigestion, he would be puffing and blowing, an hour afterwards, for breath.

"'As I have begun the family visits,' continued the Emperor, 'I must not pass by the Archduchess Mariana and the Lady Abbess at Clagenfurt; or, the Lord knows, I shall never hear the end of their klagens.--[A German word which signifies complaining.]--The first, I am told, is grown so ugly, and, of course, so neglected by mankind, that she is become an utter stranger to any attachment, excepting the fleshy embraces of the disgusting wen that encircles her neck and bosom, and makes her head appear like a black spot upon a large sheet of white paper. Therefore klagen is all I can expect from that quarter of female flesh, and I dare say it will be levelled against the whole race of mankind for their want of taste in not admiring her exuberance of human craw!

"'As to the Lady Abbess, she is one of my best recruiting sergeants. She is so fond of training cadets for the benefit of the army that they learn more from her system in one month than at the military academy at Neustadt in a whole year. She is her mother's own daughter. She understands military tactics thoroughly. She and I never quarrel, except when I garrison her citadel with invalids. She and the canoness, Mariana, would rather see a few young ensigns than all the staffs of the oldest Field-marshals!'

"The Queen often made signs to the Emperor to desist from thus exposing every member of his family, and seemed to feel mortified; but the more Her Majesty endeavoured to check his freedom, and make him silent, the more he enlarged upon the subject. He did not even omit Maria Theresa, who, he said, in consequence of some papers found on persons arrested as spies from the Prussian camp, during the seven years' war, was reported to have been greatly surprised to have discovered that her husband, the Emperor Francis I., supplied the enemy's army with all kinds of provision from her stores.

"The King scarcely ever answered excepting when the Emperor told the Queen that her staircase and antechamber at Versailles resembled more the Turkish bazars of Constantinople than a royal palace. 'But,' added he, laughing, 'I suppose you would not allow the nuisance of hawkers and pedlars almost under your nose, if the sweet perfumes of a handsome present did not compensate for the disagreeable effluvia exhaling from their filthy traffic.'

[It was an old custom, in the passages and staircase of all the royal palaces, for tradespeople to sell their merchandise for the accommodation of the Court.]

"On this, Louis XVI., in a tone of voice somewhat varying from his usual mildness, assured the Emperor that neither himself nor the Queen derived any advantage from the custom, beyond the convenience of purchasing articles inside the palace at any moment they were wanted, without being forced to send for them elsewhere.

"'That is the very reason, my dear brother,' replied Joseph, 'why I would not allow these shops to be where they are. The temptation to lavish money to little purpose is too strong; and women have not philosophy enough to resist having things they like, when they can be obtained easily, though they may not be wanted.'

"'Custom,' answered the King--

"'True,' exclaimed the Queen, interrupting him; custom, my dear brother, obliges us to tolerate in France many things which you, in Austria, have. long since abolished; but the French are not to be: treated like the Germans. A Frenchman is a slave to habit. His very caprice in the change of fashion proceeds more from habit than genius or invention. His very restlessness of character is systematic; and old customs and national habits in a nation virtually spirituelle must not be trifled with. The tree torn up by the roots dies for want of nourishment; but, on the contrary, when lopped carefully only of its branches the pruning makes it more valuable to the cultivator and more pleasing to the beholder. So it is with national prejudices, which are often but the excrescences of national virtues. Root them out and you root out virtue and all. They must only be: pruned and turned to profit. A Frenchman is more easily killed than subdued. Even his follies generally spring from a high sense of national dignity and honour, which foreigners cannot but respect.'

"The Emperor Joseph while in France mixed in all sorts of society, to gain information with respect, to the popular feeling towards his sister, and instruction as to the manners and modes of life and thinking of the French. To this end he would often associate with the lowest of the common people, and generally gave them a louis for their loss of time in attending to him.

"One day, when he was walking with the young Princesse Elizabeth and myself in the public gardens at Versailles and in deep conversation with us, two or three of these louis ladies came up to my side and, not knowing who I was, whispered, 'There's no use in paying such attention to the stranger: after all, when he has got what he wants, he'll only give you a louis apiece and then send you about your business.'"

SECTION X.

"I remember an old lady who could not bear to be told of deaths. 'Psha! Pshaw!' she would exclaim. 'Bring me no tales of funerals! Talk of births and of those who are likely to be blest with them! These are the joys which gladden old hearts and fill youthful ones with ecstasy! It is our own reproduction in children which makes us quit the world happy and contented; because then we only retire to make room for another race, bringing with them all those faculties which are in us decayed; and capable, which we ourselves have ceased to be, of taking our parts and figuring on the stage of life so long as it may please the Supreme Manager to busy them in earthly scenes! Then talk no more to me of weeds and mourning, but show me christenings and all those who give employ to the baptismal font!'