"I have already mentioned that Marie Antoinette had no decided taste for
literature. Her mind rather sought its amusements in the ball-room, the
promenade, the theatre, especially when she herself was a performer, and
the concert-room, than in her library and among her books. Her coldness
towards literary men may in, some degree be accounted for by the disgust
which she took at the calumnies and caricatures resulting from her
mother's partiality for her own revered teacher, the great Metastasio.
The resemblance of most of Maria Theresa's children to that poet was
coupled with the great patronage he received from the Empress; and much
less than these circumstances would have been quite enough to furnish a
tale for the slanderer, injurious to the reputation of any exalted
personage.
"The taste of Marie Antoinette for private theatricals was kept up till
the clouds of the Revolution darkened over all her enjoyments.
"These innocent amusements were made subjects of censure against her by
the many courtiers who were denied access to them; while some, who were
permitted to be present, were too well pleased with the opportunity of
sneering at her mediocrity in the art, which those, who could not see
her, were ready to criticise with the utmost severity. It is believed
that Madame de Genlis found this too favourable an opportunity to be
slighted. Anonymous satires upon the Queen's performances, which were
attributed to the malice of that authoress, were frequently shown to Her
Majesty by good-natured friends. The Duc de Fronsac also, from some
situation he held at Court, though not included in the private household
of Her Majesty at Trianon, conceiving himself highly injured by not being
suffered to interfere, was much exasperated, and took no pains to prevent
others from receiving the infection of his resentment.
"Of all the arts, music was the only one which Her Majesty ever warmly
patronised. For music she was an enthusiast. Had her talents in this
art been cultivated, it is certain from her judgment in it that she would
have made very considerable progress. She sang little French airs with
great taste and feeling. She improved much under the tuition of the
great composer, her master, the celebrated Sacchini. After his death,
Sapio was named his successor; but, between the death of one master and
the appointment of another, the revolutionary horrors so increased that
her mind was no longer in a state to listen to anything but the howlings
of the tempest.
"In her happier days of power, the great Gluck was brought at her request
from Germany to Paris. He cost nothing to the public Treasury, for Her
Majesty paid all his expenses out of her own purse, leaving him the
profits of his operas, which attracted immense sums to the theatre.
"Marie Antoinette paid for the musical education of the French singer,
Garat, and pensioned him for her private concerts.
"Her Majesty was the great patroness of the celebrated Viotti, who was
also attached to her private musical parties. Before Viotti began to
perform his concertos, Her Majesty, with the most amiable condescension,
would go round the music saloon, and say, 'Ladies and gentlemen, I
request you will be silent, and very attentive, and not enter into
conversation, while Mr. Viotti is playing, for it interrupts him in the
execution of his fine performance.
"Gluck composed his Armida in compliment to the personal charms of Marie
Antoinette. I never saw Her Majesty more interested about anything than
she was for its success. She became a perfect slave to it. She had the
gracious condescension to hear all the pieces through, at Gluck's
request, before they were submitted to the stage for rehearsal. Gluck
said he always improved his music after he saw the effect it had upon Her
Majesty.
"He was coming out of the Queen's apartment one day, after he had been
performing one of these pieces for Her Majesty's approbation, when I
followed and congratulated him on the increased success he had met with
from the whole band of the opera at every rehearsal. 'O my dear
Princess!' cried he, 'it wants nothing to make it be applauded up to the
seven skies but two such delightful heads as Her Majesty's and your
own.'--'Oh, if that be all,' answered I, 'we'll have them painted for
you, Mr. Gluck!'--'No, no, no! you do not understand me,' replied Gluck,
'I mean real, real heads. My actresses are very ugly, and Armida and her
confidential lady ought to be very handsome:
"However great the success of the opera of Armida, and certainly it was
one of the best productions ever exhibited on the French stage, no one
had a better opinion of its composition than Gluck himself. He was quite
mad about it. He told the Queen that the air of France had invigorated
his musical genius, and that, after having had the honour of seeing Her
Majesty, his ideas were so much inspired that his compositions resembled
her, and became alike angelic and sublime!
"The first artist who undertook the part of Armida was Madame Saint
Huberti. The Queen was very partial to her. She was principal female
singer at the French opera, was a German by birth, and strongly
recommended by Gluck for her good natural voice. At Her Majesty's
request, Gluck himself taught Madame Saint Huberti the part of Armida.
Sacchini, also, at the command of Marie Antoinette, instructed her in the
style and sublimity of the Italian school, and Mdlle. Benin, the Queen's
dressmaker and milliner, was ordered to furnish the complete dress for
the character.
"The Queen, perhaps, was more liberal to this lady than to any other
actress upon the stage. She had frequently paid her debts, which were
very considerable, for she dressed like a Queen whenever she represented
one.
"Gluck's consciousness of the merit of his own works, and of their
dignity, excited no small jealousy, during the getting up of Armida, in
his rival with the public, the great Vestris, to whom he scarcely left
space to exhibit the graces of his art; and many severe disputes took
place between the two rival sharers of the Parisian enthusiasm. Indeed,
it was at one time feared that the success of Armida would be endangered,
unless an equal share of the performance were conceded to the dancers.
But Gluck, whose German obstinacy would not give up a note, told Vestris
he might compose a ballet in which he would leave him his own way
entirely; but that an artist whose profession only taught him to reason
with his heels should not kick about works like Armida at his pleasure.
'My subject,' added Gluck, 'is taken from the immortal Tasso. My music
has been logically composed, and with the ideas of my head; and, of
course, there is very little room left for capering. If Tasso had
thought proper to make Rinaldo a dancer he never would have designated
him a warrior.'
"Rinaldo was the part Vestris wished to be allotted to his son. However,
through the interference of the Queen, Vestris prudently took the part as
it had been originally finished by Gluck.
"The Queen was a great admirer and patroness of Augustus Vestris, the god
of dance, as he was styled. Augustus Vestris never lost Her Majesty's
favour, though he very often lost his sense of the respect he owed to the
public, and showed airs and refused to dance. Once he did so when Her
Majesty was at the opera. Upon some frivolous pretext he refused to
appear. He was, in consequence, immediately arrested. His father,
alarmed at his son's temerity, flew to me, and with the most earnest
supplications implored I would condescend to endeavour to obtain the
pardon of Her Majesty. 'My son,' cried he, 'did not know that Her
Majesty had honoured the theatre with her presence. Had he been aware of
it, could he have refused to dance for his most bounteous benefactress?
I, too, am grieved beyond the power of language to describe, by this mal
apropos contretemps between the two houses of Vestris and Bourbon, as we
have always lived in the greatest harmony ever since we came from
Florence to Paris. My son is very sorry and will dance most bewitchingly
if Her Majesty will graciously condescend to order his release!'
"I repeated the conversation verbatim, to Her Majesty, who enjoyed the
arrogance of the Florentine, and sent her page to order young Vestris to
be set immediately at liberty.
"Having exerted all the wonderful powers of his art, the Queen applauded
him very much. When Her Majesty was about leaving her box, old Vestris
appeared at the entrance, leading his son to thank the Queen.
"'Ah, Monsieur Vestris,' said the Queen to the father, you never danced
as your son has done this evening.'
"'That's very natural, Madame,' answered old Vestris, 'I never had a
Vestris, please Your Majesty, for a master.'
"'Then you have the greater merit,' replied the Queen, turning round to
old Vestris--'Ah, I shall never forget you and Mademoiselle Guimard
dancing the minuet de la cour.'
"On this old Vestris held up his head with that peculiar grace for which
he was so much distinguished. The old man, though ridiculously vain, was
very much of a gentleman in his manners. The father of Vestris was a
painter of some celebrity at Florence, and originally from Tuscany."