Paris as It Was and as It Is Part 62

After speaking of the _Board of Longitude_ and the _National Observatory_, I must not omit to say a few words of an establishment much wanted in England. I mean the

DePoT DE LA MARINE.

This general repository of maps, charts, plans, journals, and archives of the Navy and the Colonies, is under the direction of a flag-officer. It is situated in the _Rue de la Place Vendome_; but the archives are still kept in an office at Versailles. To this _Depot_ are attached the Hydrographer and Astronomer of the Navy, both members of the National Inst.i.tute and of the Board of Longitude, and also a number of engineers and draughtsmen proportioned to the works which the government orders to be executed.

The t.i.tle of this _Depot_ sufficiently indicates what it contains. To it has been lately added a library, composed of all the works relative to navigation, hydrography, naval architecture, and to the navy in general, as well as of all the voyages published in the different dead or living languages. The collection of maps, charts, plans, &c. belonging to it, is composed of originals in ma.n.u.script, ancient and modern, of French or foreign sea-charts, published at different times, and of maps of the possessions beyond the seas belonging to the maritime states of Europe and to the United-States of America.

All the commanders of vessels belonging to the State are bound, on their return to port, to address to the Minister of the Naval Department, in order to be deposited in the archives, the journals of their voyage, and the astronomical or other observations which they have been enabled to make, and the charts and plans which they have had an opportunity of constructing.

One of the apartments of the _Depot_ contains models of s.h.i.+ps of war and other vessels, the series of which shews the progress of naval architecture for two centuries past, and the models of the different machines employed in the ports for the various operations relative to building, equipping, repairing, and keeping in order s.h.i.+ps and vessels of war.

The _Depot de la Marine_ publishes new sea-charts in proportion as new observations or discoveries indicate the necessity of suppressing or rectifying the old ones.

When the service requires it, the engineers belonging to the _Depot_ are detached to verify parts of the coasts of the French territory in Europe, or in any other part of the world, where experience has proved that time has introduced changes with which it is important to be acquainted, or to rectify the charts of other parts that had not yet been surveyed with the degree of exactness of which the methods now known and practised have rendered such works susceptible.

In the French navy, commanders of s.h.i.+ps and vessels are supplied with useful charts and atlases of every description, at the expense of the nation. These are delivered into their care previously to the s.h.i.+p leaving port. When a captain is superseded in his command, he transfers them to his successor; and when the s.h.i.+p is put out of commission, they are returned to the proper office. Why does not the British government follow an example so justly deserving of imitation?

LETTER LXVIII.

_Paris, February 15, 1802._

After the beautiful theatre of the old _Comedie Francaise_, under its new t.i.tle of _l'Odeon_, became a prey to flames, as I have before mentioned, the comedians belonging it were dispersed on all sides. At length, PICARD a.s.sembled a part of them in a house, built at the beginning of the revolution, which, from the name of the street where it is situated, is called the

THeaTRE LOUVOIS.

No colonnade, no exterior decoration announces it as a place of public amus.e.m.e.nt, and any one might pa.s.s it at noon-day without suspecting the circ.u.mstance, but for the prices of admission being painted in large characters over the apertures in the wall, where the public deposit their money.

This house, which is of a circular form, is divided, into four tiers of boxes. The ornaments in front of them, not being in glaring colours, give, by their pale tint, a striking brilliancy to the dress of the women.

PICARD, the manager of this theatre, is the MOLIeRE of his company; that is, he is at once author and actor, and, in both lines, indefatigable. Undoubtedly, the most striking, and, some say, the only resemblance he bears to the mirror of French comedy, is to be compelled to bring on the stage pieces in so unfinished a state as to be little more than sketches, or, in other words, he is forced to write in order to subsist his company. Thus then, the stock-pieces of this theatre are all of them of his own composition. The greater part are _imbroglios_ bordering on farce. The _vis comica_ to be found in them is not easily understood by foreigners, since it chiefly consists in allusions to local circ.u.mstances and sayings of the day.

However, they sometimes produce laughter in a surprising degree, but more frequently make those laugh who never blush to laugh at any thing.

The most lively of his pieces are _Le Collateral_ and _la Pet.i.te Ville_. In the course of last month, he produced one under the name of _La Grande Ville, ou les Provinciaux a Paris_, which occasioned a violent uproar. The characters of this pseudo-comedy are swindlers or fools; and the spectators insisted that the portraits were either too exact a copy of the originals, or not at all like them. By means of much insolence, by means of the guard which was incautiously introduced into the pit, and which put to flight the majority of the audience, and, lastly, by means of several alterations, PICARD contrived to get his piece endured. But this triumph may probably be the signal of his ruin,[1] as the favour of the Parisian public, once lost, is never to be regained.

This histrionic author and manager has written some pieces of a serious cast. The princ.i.p.al are, _Mediocre et Rampant_, and _L'Entree dans le Monde_. As in _La Grande Ville_, the characters in these are also cheats or fools. Consequently, it was not difficult to conduct the plot, it would have been much more so to render it interesting.

These two comedies are written in verse which might almost pa.s.s for prose.

The _Theatre Louvois_ is open to all young authors who have the ambition to write for the stage, before they have well stored their mind with the requisites. Novelties here succeed each other with astonis.h.i.+ng rapidity. Hence, whatever success PICARD may have met with as an author, he has not been without compet.i.tors for his laurels. Out of no less than one hundred and sixty-seven pieces presented for rehearsal and read at this house, one hundred and sixty-five are said to have been refused. Of the two accepted, the one, though written forty years ago, was brought out as a new piece, and d.a.m.ned. However, the ill success of a piece represented here is not remarked; the fall not being great.

The friends of this theatre call it _La pet.i.te Maison de Thalie_.

They take the part for the whole. It is, in fact, no more than her anti-chamber. As for the drawing-room of the G.o.ddess, it is no longer to be found any where in Paris.

The performers who compose PICARD'S company do no injustice to his pieces. It is affirmed that this company has what is called, on the French stage, _de l'ensemble_. With few exceptions, there is an _ensemble_, as it is very indifferent. For such an interpretation to be correct, it would be necessary for all the comedians of the _Theatre Louvois_ to have great talents, and none can be quoted.

PICARD, though not unfrequently applauded, is but a sorry actor. His cast of parts is that of valets and comic characters.

DEVIGNY performs the parts of n.o.ble fathers and foolish ones, here termed _dindons_, and grooms, called by the French _jockeis_. The remark, that he who plays every thing plays nothing, has not been unaptly applied to him. He has a defect of p.r.o.nunciation which shocks even the ear of a foreigner.

DORSAN is naturally cold and stiff, and when he endeavours to repair the former of these defects, the weakness of his powers betrays him.

If he speaks correctly, it is without _finesse_, and he never adds by expression to the thought of the author.

CLOZEL is a very handsome young man. He performs the characters of _pet.i.ts-maitres_ and those of valets, which he confounds incessantly.

The other actors of the _Theatre Louvois_ exempt me from naming them.

As for the actresses at this theatre, those only worthy to be mentioned are, Mademoiselle ADELINE, who has a rather pretty face, and plays not ill innocent parts; Mademoiselle BEFFROI, who is handsome, especially in male attire; and Mademoiselle MOLIeRE, who is a very good _soubrette_. Mademoiselle LESCOT, tired of obtaining applause at the _Theatre du Vaudeville_, wished to do the same on a larger theatre. Here, she has not even the consolation of saying

"_Tel brille au second rang, qui s'eclipse au premier._"

Madame MOLe, who is enormous in bulk, is a coa.r.s.e caricature, whether she performs the parts of n.o.ble mothers, or what the French call _caracteres_, that is, singular characters.

The _ci-devant Comedie Italienne_ in Paris partly owed its prosperity to the _Vaudeville_, which might be considered as the parent of the _Opera-Comique_. They were united, when the _drame_ being introduced with songs, had like to have annihilated them both. The _Vaudeville_ was sacrificed and banished. Several years elapsed before it reappeared. This offspring of French gaiety was thought to be lost for ever; but a few authors had prepared for it an asylum under the name of

THeaTRE DU VAUDEVILLE.

This little theatre is situated in the _Rue de Chartres_, which faces the princ.i.p.al entrance of the _Palais du Tribunat_. The interior is of a circular form, and divided into four tiers of boxes. In general, the decorations are not of the first cla.s.s, but in the dresses the strictest propriety is observed.

The pieces performed at the _Vaudeville_ are little comedies of the sentimental cast, a very extensive collection of portraits of French authors and of a few foreigners,[2] some pastoral pieces, parodies closely bordering on the last new piece represented at one of the princ.i.p.al theatres, charming _harlequinades_, together with a few pieces, in some of which parade and show are introduced; in others, scenes of low life and vulgarity; but the latter species is now almost abandoned.

These pieces are almost always composed in conjunction. It is by no means uncommon to see in the play-bills the names of five or six authors to a piece, in which the public applaud, perhaps, no more than three verses of a song. This a.s.sociation of names, however, has the advantage of saving many of them from ridicule.

The authors who chiefly devote themselves to the species of composition from which this theatre derives its name, are BARRe, RADET, and DESFONTAINES, who may be considered as its founders.

BOURGEUIL, DESCHAMPS, DESPREZ, and the two SeGURS, also contribute to the success of the _Vaudeville_, together with CHAZET, JOUY, LONGCHAMPS, and some others.

In the exercise of their talents, these writers suffer no striking adventure, no interesting anecdote to escape their satirical humour; but aim the shafts of ridicule at every subject likely to afford amus.e.m.e.nt. It may therefore be conceived that this house is much frequented. No people on earth can be more fickle than the French in general, and the Parisians in particular, in the choice of their diversions. Like children, they are soon tired of the same toy, and novelty is for them the greatest attraction. Hence, the _Vaudeville_, as has been seen, presents a great variety of pieces. In general, these are by no means remarkable for the just conception of their plan. The circ.u.mstance of the moment adroitly seized, and related in some well-turned stanzas, interspersed with dialogue, is sufficient to insure the success of a new piece, especially if adapted to the abilities of the respective performers.

Among them, HENRY would s.h.i.+ne in the parts of lovers, were he less of a _mannerist_.

JULIEN may be quoted as an excellent imitator of the beaux of the day.

VERTPRe excels in personating a striking character.

CARPENTIER is no bad representative of a simpleton.

CHAPELLE displays much comic talent and warmth in the character of dotards, who talk themselves out of their reason.

LAPORTE, as a speaking Harlequin, has no equal in Paris.

So much for the men: I shall now speak of the women deserving of notice.

Madame HENRY, in the parts of lovers, is to be preferred for her fine eyes, engaging countenance, elegant shape, and clear voice.

Mesdemoiselles COLOMBE and LAPORTE, who follow her in the same line of acting, are both young, and capable of improvement.

Mademoiselle DESMARES is far from being pretty; neither is she much of an actress, but she treads the stage well, and sings not amiss.