Solemn capitulation, by which it had been stipulated that they should be
considered as prisoners of war and sent to France? Then again the wanton
destruction of the Capitol and other public buildings at Washington not
devoted to military purposes, which it is not usual to destroy or deface;
and the valuable public library too which was burned? What excuse can be
offered for this? Were the times of Omar returned? It is fair and allowed
by the laws of war to blow up and destroy arsenals, magazines, containing
warlike stores and engines of destruction, but to destroy with Gothic
barbarity buildings of great symmetry and beauty, and a library too - O fie!
Why I will defy any man to point out a single instance where the French
republican armies or Napoleon ever injured or wantonly destroyed a single
national edifice, a single work of art, a single book belonging to any
other country! On the contrary, they invariably extended their protection
to the Arts and Sciences. Why at Vienna, where there is, I understand, a
most splendid museum, and many most valuable works of art and antiquity,
tho' this city fell twice into their possession, they never destroyed or
took away a single article; but, on the contrary, there, as well as in
Berlin, they invited the inhabitants to form a civic guard for the
protection of their property. As to the Vandalism shewn during the reign of
Terror, and I by no means seek to palliate it, that was of short duration,
it was madness, if you will, but it was disinterested - and other nations
who talk a great deal about their superior morality would do well to look
at home. They would there observe, in their own historic page, that the
atrocities of the French Revolution have not only been equalled but
surpassed perhaps by more dreadful scenes committed at Wexford in 1798,
under the auspices of the Government then ruling Ireland and which the
noble and virtuous - - [35] disdained to serve.
Excuse this long digression, but I feel it my duty to open the eyes of my
countrymen and prevent them from supporting on all occasions the unjust
acts of their Government, which reflect dishonour on a great and
enlightened nation; which can boast, among its annals, of some of the most
heroic, splendid, and disinterested characters that ever the world
produced.
All that I need add on the subject of the statues and pictures is, that
putting out of the question the justice or injustice of the restitution, it
will be a great loss to England and to English artists in particular,
should they be removed: many an artist can afford to make a trip to Paris,
who would find it beyond his means to make a journey to Florence or Rome.
If these objects of art are to be taken away, it should be stipulated so in
the treaty of peace; and then everybody would understand it. This would be
putting it on the fairest footing. You then say to France: "You gained
these things by conquest; you lose them by defeat"; but for God's sake let
us have no more of that cant about revolutionary robberies!
PARIS, - -
I went for the first time to the Grand Opera, or, as it is here called, the
Academie Royale de Musique, which is in the Rue de Richelieu. Armida was
the piece performed, the music by Glueck. The decorations were splendid and
the dancing beyond all praise. The scenes representing the garden of Armida
and the nymphs dancing fully expressed in the mimic art those beautiful
lines of Tasso:
Cogliam d'amor la rosa! amiamo or, quando
Esser si puote riamato amando![36]
The effect of the dissolution of the palace and gardens by the waving of
Armida's wand is astonishing; it appears completely to be the work of
inchantment, from the rapidity of execution which follows the potentissime
parole. The French recitative however does not please me. The serious
opera is an exotic and does not seem to thrive on the soil of France. The
language does not possess sufficient intonation to give effect to the
recitative.
On the contrary, the comic operas are excellent; and here the national
music and singing appear to great advantage. It never degenerates to the
grotesque or absurd buffo of the Italians, but is always exquisitely
graceful, simple, touching and natural.
Among the ballets, I have seen perhaps three of the best, viz., Achille a
Scyros, Flore et Zephire and La folle par amour. In the ballet of Flore
and Zephire, the dancers who did these two parts appeared more aerian than
earthly. To use a phrase of Burke's, I never beheld so beautiful a vision.
Nina, or la folle par amour, is a ballet from private life. The title
sufficiently explains its purport; it is exquisitely touching and pathetic.
O what a divine creature is Bigottini! what symmetry of form! what innate
grace, what a captivating expression of countenance; and then the manner in
which she did the mad scenes and her return to reason! Oh! I was moved even
to tears. Never had any performance such an effect upon me. What a
magnificent tout ensemble is the Grand Opera at Paris! Whenever I feel
chagrined or melancholy I shall come here; I feel as if I were in a new
world; the fiction appears reality; my senses are ravished, and I forget
all my cares.
I have very little pleasure in visiting royal Palaces, unless they have
been the residence of some transcendent, person like Napoleon or Frederick
II of Prussia, as the sight of splendid furniture and royal pomp affords me
no gratification; and I would rather visit Washington's or Lafayette's
farms in company with these distinguished men than dine with all the
monarchs of Europe.
