[88] "Lutèce" par Henri Heine (a French version, by Heine himself, of his letters from Paris to the Allgemeine Zeitung).
[89] He persisted in this declaration, in spite of his judges, who were not ashamed to resort to torture, in the hope of extracting a full confession from him. The thumb-screw and the rack were not, it is true, employed; but sentinels were stationed in the wretched man's cell, with orders not to allow him a moment's sleep, until he confessed.
[90] The Académie Royale became the Opéra National; the Opéra National, after its establishment in the abode of the former Théâtre National, became the Théâtre des Arts; and the Théâtre des Arts, the Théâtre de la République et des Arts. Napoleon's Théâtre des Arts became soon afterwards the Académie Impériale, the Académie Impériale the Académie Royale, the Académie Royale the Académie Nationale, the Académie Nationale once more the Académie Impériale, and the Académie Impériale simply the Théâtre de l'Opera, by far the best title that could be given to it.
[91] I was in Paris at the time, but, I forget the specific objections urged by the doctor against the Freischütz set before him at the "Académie Nationale," as the theatre was then called. Doubtless, however, he did not, among other changes, approve of added recitatives.
[92] No. 1.—Vive Henri IV. No. 2.—La Marseillaise. No. 3.—Partant pour la Syrie. No. 4.—La Parisienne. No. 5.—Partant pour la Syrie (encored). No. 6.—?
[93] Mozart, Cimarosa, Weber, Hérold, Bellini, and Mendelssohn.
[94] In the case of Il Crociato, however, the model was an Italian one.
[95] Rossini's natural inability to sympathize with sopranists is one more great point in his favour.
[96] For instance: Fra Diavolo and Les Diamans la Couronne.
[97] The second, Le Duc d'Albe, was entrusted to Donizetti, who died without completing the score.