concerts of the conservatory with Habeneck, and a
little against the wishes of Cherubini. The chefs-d'oeuvre of German
music were brought out as well as those of Italian music. The Viscount
performed his task con amore, as they say on the other side of the
Alps. He wrote to Charles X. January 12, 1830:--

"How many reflections must have come to the King on regarding the
picture of the Coronation! I divined the thought that he did not
complete, and my eyes filled with tears. Oh, how much I feel and
imagine all the ennui given to the King by these barren and unfortunate
politics! I detest them more even than the King detests them.
Ungrateful offspring of the times, they fly away, rarely leaving even a
memory. How much I prefer the arts!"

This was also the feeling of the Duchess of Berry, who, during all the
Restoration, fled from surly politics to live in the region, radiant
and sacred, of art and charity. The taste of this Italian lady for
painting and music was a veritable passion. She was forever to be found
in the museums, the expositions, the theatres. She caught the melodies
by heart and was always interested in new works. An expert, a
dilletante, was no better judge of pictures and operas; the great
artists who shone in the reign of Charles X. received from the amiable
Princess the most precious encouragements. Nor did she forget to
encourage the efforts of beginners. "Who, then," she said, "would buy
the works of these poor young people, if I did not?"

XXVI

THE THEATRE OF MADAME

One of the most agreeable theatres of Paris, the Gymnase, owed its
prosperity, not to say its existence, to the high protection of Madame
the Duchess of Berry. Our old men recall its vogue, at the time when
they used to applaud Ferville, Gontier, Numa, Leontine Fay, Jenny
Verspre, and when they used to gaze at the greatest ladies of the
court, the most fashionable beauties; and they remember that on its
facade, from the month of September, 1824, to the Revolution of 1830,
there was this inscription in letters of gold: "Theatre de Madame."
Placed under the patronage of the Princess, this fortunate theatre was
a meeting-place of the most elegant society of Paris. It had the same
audiences as the Opera and the Italiens, and they enjoyed themselves as
much in the entr'actes as during the acts. The spectacle was in the
hall as well as on the stage.

The origin of the Gymnase goes back to 1820. According to the privilege
acc