Paris as It Was and as It Is Part 64

_Tremolite_ or _grammat.i.te_ of HAuY, in the same place. These two last-mentioned substances were in terminated crystals.

_Red oxyd of t.i.tanium_, in the same place.

_New violet schorl_, or _sphene_ of HAuY, (_rayonnante en goutiere_ of SAUSSURE) in the same place.

_Crystallized sulphate of strontia_, in the mines of Villefort in La Lozere, in the environs of Paris, at Bartelemont, near the _Salterns_ in the department of La Meurthe.

_Fibrous and crystallized sulphate of strontia_, at Bouvron, near Toul.

_Earthy sulphate of strontia_, in the vicinity of Paris, near the forest of Montmorency, and to the north-east of it.

_Onyx-agate-quartz_, at Champigny, in the department of La Seine.

_Avanturine-quartz_, in the Deux-Sevres.

_Marine bodies_, imbedded in the soil, a little above the _Oule de Gavernie_.

_Anthracite_, and its direction determined in several departments.

_Other marine bodies_, at the height of upwards of 3400 _metres_ or 3683 yards, on the summit of Mont-Perdu, in the Upper Pyrenees.

_Wolfram_, near St. Yriex, in Upper Vienne.

_Oxyd of antimony_, at Allemont, in the department of L'Isere.

_Chromate of iron_, near Ga.s.sin, in the department of _Le Var_, at the _bastide_ of the cascade.

_Oxyd of uranite_, at St. Simphorien de Marmagne, in the department of La Cote d'Or.

_Acicular a.r.s.enical lead ore_, at St. Prix, in the department of Saone and Loire. This substance was found among some piles of rubbish, near old works made for exploring a vein of lead ore, which lies at the foot of a mountain to the north-east, and at three quarters of a league from the _commune_ of St. Prix.

In this country have likewise been found several varieties of new interesting forms relative to substances already known; several important geological facts have been ascertained; and, lastly, the emerald has here been recently discovered. France already possesses eighteen of the twenty-one metallic substances known. Few countries inherit from Nature the like advantages.

With respect to the administration of the mines of France, the under-mentioned are the regulations now in force.

A council composed of three members, is charged to give to the Minister of the Interior ideas, together with their motives, respecting every thing that relates to mines. It corresponds, in the terms of the law, with all the grantees and with all persons who explore mines, salterns, and quarries. It superintends the research and extraction of all substances drawn from the bosom of the earth, and their various management. It proposes the grants, permissions, and advances to be made, and the encouragements to be given. Under its direction are the two practical schools, and twenty-five engineers of mines, nine of whom are spread over different parts of the French territory. General information relative to statistics, every thing that can concur in the formation of the mineralogical map of France and complete the collection of her minerals, and all observations and memoirs relative to the art of mines or of the different branches of metallurgy, are addressed by the engineers to the _Conseil des Mines_ at Paris.

LETTER LXX.

_Paris, February 20, 1802_.

Having fully described to you all the theatres here of the first and second rank, I shall confine myself to a rapid sketch of those which may be cla.s.sed in the third order.[1]

THeaTRE MONTANSIER.

This house stands at the north-west angle of the _Palais du Tribunat_. It is of an oval form, and contains three tiers of boxes, exclusively of a large amphitheatre. Before the revolution, it bore the name of _Theatre des Pet.i.ts Comediens du Comte de Beaujolais_, and was famous for the novelty of the spectacle here given. Young girls and boys represented little comedies and comic operas in the following manner. Some gesticulated on the stage; while others, placed in the side-scenes, spoke or sang their parts without being seen. It was impossible to withhold one's admiration from the perfect harmony between the motions of the one and the speaking and singing of the other. In short, this double acting was executed with such precision that few strangers detected the deception.

To these actors succeeded full-grown performers, who have since continued to play interludes of almost every description. Indeed, this theatre is the receptacle of all the nonsense imaginable; nothing is too absurd or too low for its stage. Here are collected all the trivial expressions to be met with in this great city, whether made use of in the markets, gaming-houses, taverns, or dancing-rooms.

CAROLINE and BRUNET, or BRUNET and CAROLINE. They are like two planets, round which move a great number of satellites, some more imperceptible than others. If to these we add TIERCELIN, an actor of the grotesque species, little more is to be said. Were it not for BRUNET, who makes the most of his comic humour, in playing all sorts of low characters, and sometimes in a manner truly original, and Mademoiselle CAROLINE, whose clear, flexible, and sonorous voice insures the success of several little operas, the _Theatre Montansier_ would not be able to maintain its ground, notwithstanding the advantages of its centrical situation, and the attractions of its lobby, where the impures of the environs exhibit themselves to no small advantage, and literally carry all before them.

We now come to the theatres on the _Boulevard_, at the head of which is to be placed

L'AMBIGU COMIQUE.

This little theatre is situated on the _Boulevard du Temple_, and, of all those of the third order, has most constantly enjoyed the favour of the public. Previously to the revolution, AUDINOT drew hither crowded houses by the representation of comic operas and bad _drames_ of a gigantic nature, called here _pantomimes dialoguees_. The effects of decoration and show were carried farther at this little theatre than at any other. Ghosts, hobgoblins, and devils were, in the sequel, introduced. All Paris ran to see them, till the women were terrified, and the men disgusted.

CORSE, the present manager, has of late added considerably to the attraction of the _Ambigu Comique_, by not only restoring it to what it was in the most brilliant days of AUDINOT, but by collecting all the best actors and dancers of the _Boulevard_, and improving on the plan adopted by his predecessor. He has neglected nothing necessary for the advantageous execution of the new pieces which he has produced. The most attractive of these are _Victor_, _le Pelerin blanc_, _L'Homme a trois visages_, _Le Jugement de Salomon_, &c.

The best performers at this theatre are CORSE, the manager, TAUTIN, and Mademoiselle LEVESQUE.

In regard to all the other minor theatres, the enumeration of which I have detailed to you in a preceding letter,[2] I shall briefly, observe that the curiosity of a stranger may be satisfied in paying each of them a single visit. Some of these _pet.i.ts spectacles_ are open one day, shut the next, and soon after reopened with performances of a different species. Therefore, to attempt a description of their attractions would probably be superfluous; and, indeed, the style of the pieces produced is varied according to the ideas of the speculators, the taste of the managers, or the abilities of the performers, who, if not "the best actors in the world," are ready to play either "tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, scene individable, or poem unlimited."

[Footnote 1: The Theatre of the _Porte St. Martin_ not having been open, when this letter was written, it is not here noticed. It may be considered as of the second rank. Its representations include almost every line of acting; but those for which the greatest expense is incurred are melo-drames and pieces connected with pantomime and parade. The house is the same in which the grand French opera was performed before the revolution.]

[Footnote 2: See Vol. i. Letter XXI.]

LETTER LXXI.

_Paris, February 22, 1802._

The variety of matter which crowds itself on the mind of a man who attempts to describe this immense capital, forms such a chaos, that you will, I trust, give me credit for the a.s.sertion, when I a.s.sure you that it is not from neglect or inattention I sometimes take more time than may appear strictly necessary to comply with your wishes.

Considering how deeply it involves the peace and comfort of strangers, as well as inhabitants, I am not at all surprised at the anxiety which you express to acquire some knowledge of the

POLICE OF PARIS.

In the present existing circ.u.mstances, it might be imprudent, if not dangerous, to discuss, freely openly, so delicate a question. I shall take a middle course. Silence would imply fear; while boldness of expression might give offence; and though I certainly am not afraid to mention the subject, yet to offend, is by no means my wish or intention. In this country, the Post-Office has often been the channel through which the opinion of individuals has been collected.

What has been, may again occur; and in such critical times, who knows, but the government may conceive itself justified in not considering as absolutely sacred the letters intrusted to that mode of conveyance? Under these considerations, I shall beg leave to refer you to a work which has gone through the hands of every inquisitive reader; that is the _Tableau de Paris_, published in 1788: but, on recollection, as this letter will, probably, find you in the country, where you may not have an immediate opportunity of gratifying your curiosity, and as the book is become scarce, I shall select from it for your satisfaction a few extracts concerning the Police.

This establishment is necessary and useful for maintaining order and tranquillity in a city like Paris, where the very extremes of luxury and wretchedness are continually in collision. I mean _useful_, when no abuse is made of its power; and it is to be hoped that the present government of France is too wise and too just to convert an inst.i.tution of public utility into an instrument of private oppression.

Since the machinery of the police was first put in order by M.

D'ARGENSON, in 1697, its wheels and springs have been continually multiplied by the thirteen ministers who succeeded him in that department. The last of these was the celebrated M. LENOIR.

The present Minister of the Police, M. FOUCHe, has, it seems, adopted, in a great measure, the means put in practice before the revolution. His administration, according to general report, bears most resemblance to that of M. LENOIR: he is said, however, to have improved on that vigilant magistrate: but he surpa.s.ses him, I am told, more in augmentation of expenses and agents, than in real changes.[1]

In selecting from the before-mentioned work the following _widely scattered_ pa.s.sages, and a.s.sembling them as a _piece of Mosaic_, it has been my endeavour to enable you to form an impartial judgment of the police of Paris, by exhibiting it with all its perfections and imperfections. Borrowing the language of MERCIER, I shall trace the inst.i.tution through all its ramifications, and, in pointing out its effects, I shall "nothing extenuate, nor set down aught in malice."

If we take it for granted, that the police of Paris is now exercised on the same plan as that pursued towards the close of the old _regime_, this sketch will be the more interesting, as its resemblance to the original will exempt me from adding a single stroke from my own pencil.

"D'ARGENSON was severe," says MERCIER, "perhaps because he felt, in first setting the machine in motion, a resistance which his successors have less experienced. For a long time it was imagined that a Minister of Police ought to be harsh; he ought to be firm only. Several of these magistrates have laid on too heavy a hand, because they were not acquainted with the people of Paris; a people of quick feeling, but not ferocious[2], whose motions are to be divined, and consequently easy to be led. Whoever should be void of pity in that post, would be a monster."