"With the confidence to which I recently referred, Delsarte has undertaken the reform. Sure of the success which shall crown his bold undertaking, he began almost unaided, a movement which was no less than a revolution. Between two snatches from Romagnesi or Blangini, the majestic pages of Gluck appeared to the surprise of the auditor. The heroes of the great master took the place of Thyrcis and Colin, the songs of Pergolese and Handel, coming from the inspired mouth of the virtuoso, at once aroused unknown sensations. Lully and Rameau, rejuvenated in their turn, surprised by beauties hitherto unsuspected."
Earlier still (in the Presse for December 6, 1840) in an article signed Viscount Charles Delaunay are these lines:
"We are, to-night, to hear an admirable singer (Delsarte). He is said to be the Talma of music; he makes the most of Gluck's songs, as Talma made the most of Racine's verses. We must hasten, for his enthusiastic admirers would never pardon us if we arrived in the middle of the air from 'Alcestis;' and if all we hear be true, we could never be consoled ourselves, for having missed half of it."
March 14, 1860, we read in the L'Independance Beige:
"Among the many concerts announced there is one which is privileged to attract the notice of the dilettanti. We refer to that announced, almost naively, by the two lines: Concert by François Delsarte, Tuesday, April 4.--Nothing more! These two lines tell everything! Why give a program? Who is there in the enlightened world who would not be anxious to be present at a concert given by Delsarte? For, at his concert, he will sing--he who never sings anywhere, at any price. Observe what I say: never anywhere, at any price, and I do not exaggerate."
This assertion, which shows the indifference of Delsarte to the speculative side of art, is not without a certain analogy to the fact which follows. At one of his concerts he was to be aided by one of the great celebrities of the time; Rachel was to recite a scene from some play.
The actress failed to appear. Some few outcries were heard. Delsarte considered this a protest: "I beg those who are only here to hear Mademoiselle Rachel," said he, "to step to the box-office. The price of their tickets will be returned." Applause followed these words, and the artist sang in a way to leave no room for regret.
I quote the following lines from an article published by the "Journal des Villes et des Campagnes" in reference to a lecture given in the great amphitheatre of the Medical School, March 11, 1867:
"Should I say lecture? It was rather a chat--simple, and wholly free from academic forms. In somewhat odd, perhaps, but picturesque and original form, M. Delsarte told us healthy and strengthening truths:--'The misery of luxury devours us, but the truth makes no display; it is modestly bare.'.... 'Art may convince by deceit; then it blinds. When it carries conviction by contemplating truth, it enlightens. Art may persuade by evil; then it hardens. When it persuades by goodness, it perfects.' These are noble words. Orator, poet, metaphysician, artist, M. Delsarte offers new horizons to the soul."
The sources whence I draw are not exhausted, but I must pause.