It would be easy to cite many illustrations of the goodness and tenderness of this man. Religious fervor has largely influenced his life and is the key-note of his character; but his faith is not hampered by bigotry. Like all minds of high rank, he holds that science and art are the handmaids of religion.
I have said that this remarkable man did not seek fame; it has come to him unsought. Pages might be filled with voluntary tributes to his genius from the foremost minds of France,--Jules Janin, Théophile Gautier, Mme. Emile de Girardin. Lamartine pronounced him "a sublime orator." Fiorentino, the keen, delicate, and calm critic, spoke of him as "this master, whose feeling is so true, whose style is so elevated, whose passion is so profound, that there is nothing in art so beautiful and so perfect."
If we hazarded an intrusion into the domestic circle of Delsarte, we should find one of those pure and happy family groups, fortunately for France by no means rare even in her capital; one of those French homes the existence of which nearly all Englishmen and many Americans deny. We should find a bond of sympathy and a community of talent uniting father and mother, two fair daughters, and three brave sons. Or, rather, we should have found this happy gathering, for the iron hand of war has broken the charmed ring. The dear old home on the Boulevard de Courcelles is deserted. Father, mother, and daughters were compelled to seek refuge in the North of France, the sons to march against the Prussians. Let us trust that long ere this they have reached home unwounded, and that the grand old maestro has no further ills in store for his declining years.
Delsarte's Method for Tuning Stringed Instruments Without the Aid of The Ear.[11]
By Hector Berlioz.
Do you hear, you pianists, guitarists, violinists, violoncellists, contra-bassists, harpists, tuners, and you, too, conductors of orchestras--without the aid of the ear! What a vast, incomparable, nay, priceless discovery, especially for the rest of us wretched listeners to pianos out of tune, to violins and 'cellos out of tune, to harps out of tune, to whole orchestras out of tune! Delsarte's invention will now make it your positive duty to cease torturing us, to cease making us sweat with agony, to cease driving us to suicide.
Not only is the ear of no use in tuning instruments, but it is even dangerous to consult it; it must by no possible chance be consulted. What an advantage for those who have no ear! Hitherto, it has been just the opposite, and we forgave you the torments that you inflicted on us. But in future, if your instruments be out of tune, you will have no excuse, and we shall hand you over to public vengeance. Without the aid of the ear, mark you--aid so often useless and deceptive.
Delsarte's discovery holds good only for stringed instruments, but this is much; this is an enormous gain. Hence, it follows that in orchestras directed and tuned without the aid of the ear, there will be no more discords, save between the flutes, hautboys, clarionets, bassoons, horns, cornets, trumpets, trombones, kettle-drums and bass drums. The triangle might, at a pinch, be tuned by the new method; but it is generally acknowledged that this is not necessary, just as with bells, a discord between the triangle and the other instruments is a good thing; it is popular in all lyric theatres.
And the singers, whom you do not mention, someone may ask, will it be possible to make them sing true, to put them in tune? Two or three of them are naturally in tune. Some few, by great care and exactness, may be brought very nearly into tune. But all the others were not, are not, and will not be in tune, either individually, or with each other, or with the instruments, or with the leader of the orchestra, or with the rhythm, or with the harmony, or with the accent, or with the expression, or with the pitch, or with the language, or with anything resembling precision and good sense.
Delsarte has made it especially easy to tune the piano, by means of an instrument that he calls the phonopticon, which it would take too long to describe here. Suffice it to say, that it contains an index-hand that marks the exact instant when two or more strings are in perfect unison. It may be added that the invariable result is so absolutely correct, no matter who may try it or under what conditions, that the most practiced ear could not possibly attain to similar perfection. Acousticians should not fail to examine this invention at once, the use of which cannot be long in becoming universal.