de La Rochefoucauld
exercised a salutary influence. He loved artists, and wishing to raise
their situation, moral and social, he deplored the excommunication that
had been laid on the players.

Speaking of the stage, he wrote in a report addressed to Charles X.,
June 20,1825: "I perceive that I have forgotten the most essential
side,--the moral, I will even say the religious side. What glory it
would be for a king to raise this considerable class of society from
the abject situation in which it is compelled to live! Sacrificed to
our pleasures, it has been condemned to eternal death, and a king
believes his conscience quiet! For a long time I have cherished this
thought; we must begin by elevating these people, as regards their art,
by reforming, little by little, the swarming abuses that awaken horror,
and end by treating with Rome in order to obtain some just concessions
that would have important results."

In another report to the King, dated October 21, 1826, M. de La
Rochefoucauld wrote, apropos of the obsequies of Talma:--

"A profound regret for me is the manner of the great tragedian's death.
Sire, would it not be worthy of the reign, the breast, the conscience
of Charles X., to draw this class of artists from the cruel position in
which they are left by that excommunication that weighs upon them
without distinction? Whether they conduct themselves well or ill, the
Church repels them; this reprobation holds them perforce in the sphere
of evil and disorder, since they have no interest in rising above it.
Honor them, and they will honor themselves. It is time to undertake the
reform of what I call a pernicious prejudice. The clergy itself is not
far from agreeing on these ideas."

In his relations with authors, artists, directors of theatres, the
Viscount was courtesy itself. We read in one of his reports (June 17,
1825):--

"Rossini is the first composer of Europe; I have succeeded in
attracting him to the service of France; he had before been tempted in
vain. Jealous of his success, people have cried out that he was an
idler, that he would do nothing. I secured him by the methods and in
the interest of the King; I can do with him as I will, as with all the
artists, though they are most difficult people. They must be taken
through the heart. Rossini has just composed a really ravishing piece;
and, touched by the manner in which he is treated, he wishes to present
it to the King in token of his gratitude, an