Prince Cantimer’s Account of the Transactions
of the Ottomans.
PHILIP V. KING OF SPAIN.
Philip V. King of Spain, being seized with a total dejection of spirits, which made him refuse to be shaved, and rendered him incapable of attending council, or transacting affairs of state, the queen, who had, in vain, tried every common expedient, that was likely to contribute to his recovery, determined that an experiment should be made of the effects of music, upon the king, her husband, who was extremely sensible to its charms. The celebrated Farinelli being then at Madrid, of whose extraordinary performance, an account had been transmitted from several parts of Europe, but, particularly from Paris, her majesty contrived that there should be a concert in a room adjoining to the king’s apartment, in which this singer performed one of his most captivating songs. Philip appeared, at first, surprised, then moved; and, at the end of the second air, made the virtuoso enter the royal apartment, loading him with compliments and caresses; asked him how he could sufficiently reward such talents; assuring him, that he could refuse him nothing. Farinelli, previously instructed, only begged that his majesty would permit his attendants to shave and dress him, and that he would endeavour to appear in council as usual. From this time, the king’s disease gave way to medicine; and the singer had all the honour of the cure, and, by singing to his majesty every evening, his favour increased to such a degree, that he was regarded as first minister.
Burney’s History of Music.
THE MUSICAL PIGEON.
Mrs. Piozzy, in her Observations in a Journey through Italy, relates the following singular anecdote.
“An odd thing,” says she, “of which I was this morning a witness, has called my thoughts away to a curious train of reflections upon the animal race, and how far they may be made companionable and intelligent. The famous Bertoni, so well known in London, by his long residence among us, and, from the undisputed merit of his compositions, now inhabits this, his native city; and, being fond of dumb creatures, as we call them, took for his companion, a pigeon; one of the few animals which can live at Venice, where scarcely any quadrupeds can be admitted, or would exist with any degree of comfort to themselves.
“This creature has, however, by keeping his master company, obtained so perfect an ear and taste for music, that no one, who sees his behaviour, can doubt for a moment of the pleasure he takes in hearing Mr. Bertoni play and sing: for, as soon as he sits down to the instrument, Columbo begins shaking his wings, perches on the piano forte, and expresses the most indubitable motions of delight. If, however, he, or any one else, strikes a note false, or makes any kind of discord upon the keys, the pigeon never fails to show evident tokens of anger and distress; and, if teased too long, grows quite enraged; pecking the offender’s legs and fingers, in such a manner, as to leave no doubt of the sincerity of his resentment.”
Signora Cecilia Guiliani, a scholar of Bertoni’s, who has received some overtures from the London Theatres lately, will, if ever she arrives there, bear testimony to the truth of an assertion very difficult to believe, and to which I should hardly myself give credit, were I not a witness to it every morning that I choose to call and confirm my own belief. A friend, present, protested he should be afraid to touch the harpsichord before so nice a critic; and, though we all laughed at the assertion, Bertoni declared he never knew the bird’s judgment fail; and that he often kept him out of the room, for fear of affronting or tormenting those who came to take musical instructions.
“With regard to other actions of life, I saw nothing particular in the pigeon, but his tameness and strong attachment to his master: for, though not unwinged, and only clipped a little, he never seeks to range way from the house, or quit his master’s service, any more than the Dove of Anacreon.