[Footnote 1]: The Opéra Buffa, the constant object of the jealousy of the other lyric theatres, because it constitutes the delight of real amateurs of music, has, during the year 1802, acquired several new performers. Two of these only, Madame BOLLA and MARTINELLI, deserve particular mention. Madame BOLLA is a good figure on the stage, and though her features are not regular, yet they are susceptible of the most varied expression. Her voice, which is a species of feminine tenore, astonishes by the purity and firmness of its grave tones; while her brilliant and sure method easily conceals its small extent in the higher notes. MARTINELLI is a species of counter-tenor. His voice has already lost much of its strength, and has not that clearness which serves as an excuse for every thing; but connoisseurs find that he takes care to calculate its effects so as to make amends, by the art of transitions, for that firmness in which it is deficient. He is much applauded in the cantabile, which he sings with uncommon precision, and he particularly shines in the counter-parts which charm in the Italian finales. As an actor, MARTINELLI, though inferior to RAFFANELLI, is also remarkable. His manner is easy and natural, and his countenance capable of assuming the most comic expression. [Return to text]
[LETTER XLVII.]
Paris, January 9, 1802.
The exaggerated accounts of the interior state of France which have reached us, through various channels, during the late obstinate struggle, have diffused so many contradictions, that it is by no means surprising we still continue so ill-informed in England on many points most intimately connected with the morals of the French nation. Respecting none of these, have we been more essentially mistaken than the
PRESENT STATE OF PUBLIC WORSHIP.
I am given to understand, from unquestionable authority, that there are at this moment, and have been for the last four years, no less than from thirty-five to forty thousand churches where divine service has been regularly performed throughout the different departments of the Republic. It is therefore a gross error to suppose that the christian religion was extinguished in France. The recent arrangements made between the French government and the See of Rome will consolidate that religion, which was, in a great measure, re-established long before his Holiness occupied the papal chair. I shall illustrate this truth by a summary of the proceedings of the constitutional clergy.
The last general assembly of the clergy of France, held in 1789, the account of which has never been printed, already presented facts which announced that the necessity of reforming abuses was felt, and the epoch when that reform would take place was foreseen. In this assembly several bishops spoke with much force on the subject.
The disastrous state of the finances, brought about by the shameful dilapidations of the court, occasioned a deficit which it was necessary to make good. This consideration, joined to the spirit of cupidity, jealous of the estates of the clergy, immediately caused every eye to turn towards that mortmain property, in order to employ it in the liquidation of the national debt.
In the Moniteur, and other journals of the time, may be seen what successive steps gradually led to the abolition of tythes, and the decision which placed the estates of the clergy at the disposal of the nation.
The civil constitution of the clergy was a severe check given to the many existing abuses. It really brought back the Gallican church to the discipline of the first ages. It snatched from the Pope the power of giving the canonical institution to bishops. Those who have thought proper to tax with novelty this constitution, have only to look into history. They will see that, during twelve hundred years, bishops received the canonical institution from the metropolitans, and not from the Pope. Thus to tax with intrusion the constitutional bishops, and condemn them because they have received that institution from the metropolitans, is to condemn the first twelve centuries of christianity.