hat
no remuneration should be offered to him for the exercise of his
talents.

Malibran, whose kind word in the courtyard of the Conservatoire had
revived Delsarte's fainting hopes, attended his early course of
lectures. I have already mentioned Rachel and Macready as his pupils. I
now recall the names of Sontag, of the gifted Madeleine Brohan, of
Carvalho, Barbot, Pasca (who owed everything to Delsarte), and Pajol. He
was the instructor in pulpit oratory of Pere Lacordaire, Pere
Hyacinthe, and the present abbe of Notre Dame.

Notwithstanding the labor exacted by his great specialty, he has done
much good work in various other directions. Among his mechanical
inventions are a sonotype, a tuning instrument by means of which any one
can tune a piano accurately, an improved level, theodolite and sextant,
a scale for measuring the differences in the solidity of fluids, etc.

Of the conscientiousness with which he works, it may be mentioned that
he devoted five years to the study of anatomy and physiology, to obtain
a perfect knowledge of all the muscles, their uses and capabilities,--a
knowledge of which he has utilized with remarkable success.

It is now time to give some idea of his system, which can be done most
satisfactorily, perhaps, through the medium of an article which appeared
in the _Gazette Musicale_, from the authoritative pen of A. Gueroult.
After having analyzed the maestro's theory of vocal art, he says:

"The study of gesture and its agents has been subjected by M. Delsarte
to an analysis no less profound. Thus he recognizes in the human body
three principal agents of expression, the head, the torso and the limbs,
which perform each a distinct part in the economy of a character.
Gesture, sometimes expressive, sometimes excentric, and sometimes
compressive, assumes in each case special forms, which have been
classified and described by M. Delsarte with a care and perspicuity
which make his labors on this subject entirely new, and for which I know
no equivalent anywhere. Permit me to explain more fully the utility of
this study, to cite an application, for examples are always more
eloquent than generalities. In the play of the physiognomy every portion
of the face performs a separate part. Thus, for instance, it is not
useless to know what function nature has assigned to the eye, the nose,
the mouth, in the expression of certain emotions of the soul. True
passion, which never errs, has no need of recurri