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A law suit had previously been decided somewhat in the same manner, but much more logically, in favour of Joseph Campra, brother of the composer of that name, who was the conductor of the orchestra at the Opera of Marseilles. The manager refused to pay the musicians on the ground that they did not play well enough. In consequence, he was summoned by the entire band, who, when they appeared in court, begged through Campra that they might be allowed to plead their own cause. The judges granted the desired permission, upon which the instrumentalists drew themselves up in orchestral order and under the direction of Campra commenced an overture of Lulli's. The execution of this piece so delighted the tribunal that with one voice it condemned the director to pay the sum demanded of him.

A still more curious dispute between a violinist and a dancer was settled in a satisfactory way for both parties. The dancer was on the stage rehearsing a new step. The violinist was in the orchestra performing the necessary musical accompaniment.

"Your scraping is enough to drive a man mad," said the dancer.

"Very likely," said the musician, "and your jumping is only worthy of a clown. Perhaps as you have such a very delicate ear," he added, "and nature has refused you the slightest grace, you would like to take my place in the orchestra?"

LA CAMARGO

"Your awkwardness with the bow makes me doubt whether your most useful limbs may not be your legs," replied the dancer. "You will never do any good where you are. Why do you not try your fortune in the ballet? Give me your violin," he continued, "and come up on to the stage. I know the scale already. You can teach me to play minuets, and I will show you how to dance them."

The proposed interchange of good offices took place, and with the happiest results. The unmusical fiddler, whose name was Dupré, acquired great celebrity in the ballet, and Léclair, the awkward dancer, became the chief of the French school of violin playing.

Marie-Anne Cupis de Camargo did not lose so much time in discovering her true vocation. She gave evidence of her genius for the ballet while she was still in the cradle, and was scarcely six months old when the variety of her gestures, the grace of her movements, and the precision with which she marked the rhythm of the tunes her father played on the violin led all who saw her to believe that she would one day be a great dancer. The young Camargo, who belonged to a noble family of Spanish origin, made her début at the Académie in 1726, and at once achieved a decided success. People used to fight at the doors to obtain admittance the nights she performed; all the new fashions were introduced under her name, and in a very short space of time her shoemaker made his fortune. All the ladies of the court insisted on wearing shoes à la Camargo. But the triumph of one dancer is the despair of another. Mademoiselle Prévost, who was the queen of the ballet until Mademoiselle de Camargo appeared was not prepared to be dethroned by a débutante. She was so alarmed by the young girl's success that she did her utmost to keep her in the background, and contrived before long to get her placed among the figurantes. But in spite of this loss of rank, Mademoiselle de Camargo soon found an opportunity of distinguishing herself. In a certain ballet, she formed one of a group of demons, and was standing on the stage waiting for Dumoulin, who had to dance a pas seul, when the orchestra began the soloist's air and continued to play it, though still no Dumoulin appeared. Mademoiselle de Camargo was seized with a sudden inspiration. She left the demoniac ranks, improvised a step in the place of the one that should have been danced by Dumoulin and executed it with so much grace and spirit that the audience were in raptures. Mademoiselle Prévost, who had previously given lessons to young Camargo, now refused to have anything to do with her, and the two danseuses were understood to be rivals both by the public and by one another. The chief characteristics of Camargo's dancing were grace, gaiety, and above all prodigious lightness, which was the more remarkable at this period from the fact that the mode chiefly cultivated at the Opera was one of solemn dignity. However, she had not been long on the stage before she learned to adopt from her masters and from the other dancers whatever good points their particular styles presented, and thus formed a style of her own which was pronounced perfection.

STAGE COSTUME

Mademoiselle de Camargo, in spite of her charming vivacity when dancing, was of a melancholy mood off the stage. She was not remarkably pretty, but her face was highly expressive, her figure exquisite, her hands and feet of the most delicate proportions, and she possessed considerable wit. Dupré, the ex-violinist, who had leaped at a bound from the orchestra to the stage, was in the habit of dancing with Camargo, and also with Mademoiselle Sallé, another celebrity of this epoch, who afterwards visited London, where she produced the first complete ballet d'action ever represented, and at the same time introduced an important reform in theatrical costume.

The art of stage decoration had made considerable progress, even before the Opera was founded, but it was not until long after Mademoiselle Sallé had given the example in London that any reasonable principles were observed in the selection and design of theatrical dresses. In 1730, warriors of all kinds, Greek, Roman, and Assyrian, used to appear on the French stage in tunics belaced and beribboned, in cuirasses, and in powdered wigs bearing tails a yard long, surmounted by helmets with plumes of prodigious height. The tails, of which there were four, two in front and two behind, were neatly plaited and richly pomatumed, and when the warrior became animated, and waved his arm or shook his head, a cloud of hair powder escaped from his wig. It appeared to Mademoiselle Sallé, who, besides being an admirable dancer, was a woman of taste in all matters of art, that this sort of thing was absurd; but the reforms she suggested were looked upon as ridiculous innovations, and nearly half a century elapsed before they were adopted in France.

This ingenious ballerina enjoyed the friendship and regard of many of the most distinguished writers of her time. Voltaire celebrated her in verse, and when she went to London she took with her a letter of introduction from Fontenelle to Montesquieu, who was then ambassador at the English Court. Another danseuse, Mademoiselle Subligny came to England with letters of introduction from Thiriot and the Abbé Dubois to Locke. The illustrious metaphysician had no great appreciation of Mademoiselle de Subligny's talent, but he was civil and attentive to her out of regard to his friends, who were also hers, and, in the words of Fontenelle, constituted himself her "homme d'affaires."

PHILOSOPHERS AND ACTRESSES

Mademoiselle Sallé was not only esteemed by literature, she was adored by finance, and Samuel Bernard, the Court banker and money lender, gave her a hundred golden louis for dancing before the guests at the marriage of his daughter with the President Molé. The same opulent amateur sent a thousand francs to Mademoiselle Lemaure, by way of thanking her for resuming the part of "Délie," in the "Les Fêtes Grecques et Romaines," on the occasion of the Duchess de Mirepoix's marriage. I must mention that at this period it was not the custom in good society for young ladies to appear at the Opera before their marriage. Their mothers were determined either to keep their daughters out of harm's way, or to escape a dangerous rivalry as long as possible; but once attached to a husband the newly-married girl could show herself at the Opera as often as she pleased, and it was a point of etiquette that through the Opera she should make her entrance into fashionable life. These débutantes of the audience department presented themselves to the public in their richest attire, in their most brilliant diamonds; and if the effect was good the gentlemen in the pit testified their approbation by clapping their hands.

But to return to Mademoiselle Sallé. What she proposed to introduce then, and did introduce into London, in addition to her own admirable dancing, were complete dramatic ballets, with the personages attired in the costumes of the country and time to which the subject belonged. To give some notion of the absurdity of stage costumes at this period we may mention that forty-two years afterwards, when Mademoiselle Sallé's reform had still had no effect in France, the "Galathea," in Rousseau's Pygmalion, wore a damask dress, made in the Polish style, over a basket hoop, and on her head on enormous pouf, surmounted by three ostrich feathers!

In her own Pygmalion, Mademoiselle Sallé carried out her new principle by appearing, not in a Polish costume, nor in a Louis Quinze dress, but in drapery imitated as closely as possible from the statues of antiquity. Of her performance, and of Pygmalion generally, a good account is given in the following letter, written by a correspondent in London, under the date of March 15th, 1734, to the "Mercure de France." In the style we do not recognise the author of the "Essay on the Decadence of the Romans," and of the "Spirit of Laws," but it is just possible that M. de Montesquieu may have responded to M. de Fontenelle's letter of introduction, by writing a favourable criticism of the bearer's performance, for the "influential journal" in which the notice actually appeared.

"Mdlle. Sallé," says the London correspondent, "without considering the embarrassing position in which she places me, desires me to give you an account of her success. I have to tell you in what manner she has rendered the fable of Pygmalion, and that of Ariadne and Bacchus; and of the applause with which these two ballets of her composition have been received by the Court of England.

"Pygmalion has now been represented for nearly two months, and the public is never tired of it. The subject is developed in the following manner.

MADEMOISELLE SALLE

"Pygmalion comes into his studio with his pupils, who perform a characteristic dance, chisel and mallet in hand. Pygmalion tells them to draw aside a curtain at the back of the studio, which, like the front is adorned with statues. The one in the middle above all the others attracts the looks and admiration of every one. Pygmalion gazes at it and sighs; he touches its feet, presses its waist, adorns its arms with precious bracelets, and covers its neck with diamonds, and, kissing the hands of his dear statue, shows that he is passionately in love with it. The amorous sculptor expresses his distress in pantomime, falls into a state of reverie, and then throwing himself at the feet of a statue of Venus, prays to the goddess to animate his beloved figure.

"The goddess answers his prayer. Three flashes of light are seen, and to an appropriate symphony the marble beauty emerges by degrees from her state of insensibility. To the surprise of Pygmalion and his pupils she becomes animated, and evinces her astonishment at her new existence, and at the objects by which she is surrounded. The delighted Pygmalion extends his hand to her; she feels, so to speak, the ground beneath her with her feet, and takes some timid steps in the most elegant attitudes that sculpture could suggest. Pygmalion dances before her, as if to instruct her; she repeats her master's steps, from the easiest to the most difficult. He endeavours to inspire her with the tenderness he feels himself, and succeeds in making her share that sentiment. You can understand, sir, what all the passages of this action become, executed and danced with the fine and delicate grace of Mdlle. Sallé. She ventured to appear without basket, without skirt, without a dress, in her natural hair, and with no ornament on her head. She wore nothing, in addition to her boddice and under-petticoat, but a simple robe of muslin, arranged in drapery after the model of a Greek statue.

"You cannot doubt, sir, of the prodigious success this ingenious ballet, so well executed, obtained. At the request of the king, the queen, the royal family, and all the court, it will be performed on the occasion of Mademoiselle Sallé's benefit, for which all the boxes and places in the theatre and amphitheatre have been taken for a month past. The benefit takes place on the first of April.

"Do not expect that I can describe to you Ariadne like Pygmalion: its beauties are more noble and more difficult to relate; the expressions and sentiments are those of the profoundest grief, despair, rage and utter dejection; in a word all the great passions perfectly declaimed by means of dances, attitudes and gestures suggested by the position of a woman who is abandoned by the man she loves. You may announce, sir, that Mademoiselle Sallé becomes in this piece the rival of the Journets, the Duclos, and the Lecouvreurs. The English, who preserve so tender a recollection of their famous Oldfield, whom they have just laid in Westminster Abbey among their great statesmen (!) look upon her as resuscitated in Mademoiselle Sallé when she represents Ariadne.

"P. S. The first of this month the Prince of Orange, accompanied by the Prince of Wales, the Duke of Cumberland and the Princesses, went to Covent Garden Theatre [Théâtre du Commun Jardin the French newspaper has it] to see the tragedy of King Henry IV., when there was a numerous assembly; and all the receipts of the representation were for the benefit of Mademoiselle Sallé."

MADEMOISELLE SALLE

A PROFITABLE PERFORMANCE

M. Castil Blaze, who publishes the whole of the above letter, with the exception of the postscript, in his history of the Académie Royale, is wrong in concluding from Mademoiselle Sallé having appeared at Covent Garden, that she was engaged to dance there by Handel, who was at that time director of the Queen's Theatre (reign of Anne) in the Haymarket. M. Victor Schœlcher may also be in error when, in speaking of the absurd fable that Handel being in Paris heard a canticle by Lulli,¹⁰ and coming back to England gave it to the English, as God Save the King, he assures us that Handel never set foot in Paris at all. It is certain that Handel went to Italy to engage new singers in 1733, and it is by no means improbable that he passed through Paris on his way. At all events, M. Castil Blaze assures us that in that year he visited the Académie Royale de Musique, and that "while lavishing sarcasms and raillery on our French Opera," he appreciated the talent of Mademoiselle Sallé. "A thousand crowns (three thousand francs) was the sum," he continues, "that the virtuose asked for composing two ballets and dancing in them at London during the carnival of 1734. The director of a rival enterprise watched for her arrival in that city, and offered her three thousand guineas instead of the three thousand crowns which she had agreed to accept from Handel; adding that nothing prevented her from making this change, inasmuch as she had signed no engagement. 'And my word,' answered the amiable dancer; 'is my word to count for nothing?' This reply, applauded and circulated from mouth to mouth, prepared Mademoiselle Sallé's success, and had the most fortunate influence on the representation given for her benefit. All the London journals gave magnificent accounts of the triumphs of Marie Taglioni, and of the marks of admiration and gratitude that she received. Equally flattering descriptions reached us from the icy banks of the Neva. Mere trifles, niaiseries, debolleze! This furore, this enthusiasm, this fanaticism, this royal, imperial liberality was very little, or rather was nothing, in comparison with the homage which the sons of Albion offered to and lavished upon the divine Sallé. History tells us that at the representation given for her benefit people fought at the doors of the theatre; that an infinity of amateurs were obliged to conquer at the point of the sword, or at least with their fists, the places which had been sold to them by auction, and at exorbitant prices. As Mademoiselle Sallé made her last curtsey and smiled upon the pit with the most charming grace, furious applause burst forth from all parts and seemed to shake the theatre to its foundation. While the whirlwind howled, while the thunder roared, a hailstorm of purses, full of gold, fell upon the stage, and a shower of bonbons followed in the same direction. These bonbons, manufactured at London, were of a singular kind; guineas – not like the doubloons, the louis d'or in paste, that are exhibited in the shop-windows of our confectioners, but good, genuine guineas in metal of Peru, well and solidly bound together – formed the sweetmeat; the papillote was a bank-note. Projectiles a thousand times, and again a thousand times precious. Arguments which sounded still when the fugitive tempest of applause was at an end. Our favourite virtuoses place now on their heads, after pressing them for a moment to their hearts, the wreaths thrown to them by an electrified public. Mademoiselle Sallé put the proofs of gratitude offered by her host of admirers into her pockets or rather into bags. The light and playful troop of little Loves who hovered around the new dancer, picked up the precious sugar-plums as they fell, and eight dancing satyrs carried away in cadence the improvised treasures. This performance brought Mademoiselle Sallé more than two hundred thousand francs."

What M. Castil Blaze tells us about the bonbons of guineas and bank-notes may or may not be true – I have no means of judging – but it is not very likely that eight dancing satyrs appeared on the stage at Mademoiselle Sallé's benefit, inasmuch as the ballet given on that occasion was not Bacchus and Ariadne, as M. Castil Blaze evidently supposes, but Pygmalion. The London correspondent of the Mercure de France has mentioned that Pygmalion was to be performed by desire of "the king and the queen, the royal family, and all the court," and naturally that was the piece selected. According to the letter in the Mercure the benefit was fixed for the first of April; indeed, the writer in his postscript speaks of it as having taken place on that day, but he says nothing about purses of gold, nor does he speak of guineas wrapped up in bank-notes.

It appears from the Daily Journal that Mademoiselle Sallé took her benefit on the 21st of March (which would be April 1, New Style), when the first piece was Henry IV., with the humours of Sir John Falstaff, and the second Pigmalion (with a Pig). It was announced that on this occasion "servants would be permitted to keep places on the stage," whereas in most of the Covent Garden play bills of the period the following paragraph appears: – "It is desired that no person will take it ill their not being admitted behind the scenes, it being impossible to perform the entertainment unless these passages are kept clear."

MADEMOISELLE SALLE AND HANDEL

At this time Handel was at the Queen's Theatre, and it was not until the next year, long after Mademoiselle Sallé had left England, that he moved to Covent Garden. The rival who is represented as having offered such magnificent terms to Mademoiselle Sallé with the view of tempting her from her allegiance to Handel, must have been, if any one, Porpora; though if M. Castil Blaze could have identified him as that celebrated composer he would certainly have mentioned the name. Porpora, who arrived in England in 1733, was in 1734 director of the "Nobility's Theatre" in Lincoln's-Inn Fields.

The following is the announcement of Mademoiselle Sallé's first appearance in England: —

"At the THEATRE ROYAL COVENT GARDEN, On Monday, 11th March, will be performed a Comedy, called "The WAY of the WORLD, by the late Mr. Congreve, with entertainments of dancing, particularly the Scottish dance by Mr. Glover and Mrs. Laguerre, Mr. le Sac, and Miss Boston, M. de la Garde and Mrs. Ogden.

"The French Sailor and his Lass, by Mademoiselle Sallé and Mr. Malter.

"The Nassau, by Mr. Glover and Miss Rogers, Mr. Pelling and Miss Nona, Mr. Le Sac and Mrs. Ogden, Mr. de la Garde and Miss Batson.

"With a new dance, called Pigmalion, performed by Mr. Malter and Mademoiselle Sallé, M. Dupré, Mr. Pelling, Mr. Duke, Mr. le Sac, Mr. Newhouse, and M. de la Garde.

"No servants will be permitted to keep places on the stage."

It appears that at the King's Theatre on the night of Mademoiselle Sallé's benefit, at Covent Garden, there was "an assembly." "Two tickets," says the advertisement, "will be delivered to every subscriber, this day, at White's Chocholate House, in St. James's Street, paying the subscription-money; and if any tickets remain more than are subscribed for, they will be delivered the same day at the Opera office in the Haymarket, at six and twenty shillings each.

"Every ticket will admit either one gentleman or two ladies.

"N. B. – Five different doors will be opened at twelve for the company to go out, where chairs will easily be had.

N. B. – To prevent a crowd there will be but 700 tickets printed."

I find from the collection of old newspapers before me, that Handel, whose Ariadne was first produced and whose Pastor Fido was revived in 1734, is called in the playbills of the King's Theatre "Mr. Handell." The following is the announcement of the performance given at that establishment on the 4th June, 1734, "being the last time of performing till after the holidays."

MR. HANDELL

"AT the KING'S THEATRE in the HAYMARKET, on Tuesday next, being the 4th day of June will be performed an Opera called

PASTOR FIDO,

Composed by Mr. Handell, intermixed with Choruses.

The Scenery after a particular manner.

Pit and Boxes will be put together, and no persons to be admitted without tickets, which will be delivered that day at the Office of the Haymarket, at half a guinea each.

GALLERY FIVE SHILLINGS

By His Majesty's COMMAND

No persons whatever to be admitted behind the scenes.

To begin at half an hour after six o'clock."

Handel had now been twenty-four years in London where he had raised the Italian Opera to a pitch of excellence unequalled elsewhere in Europe, except perhaps at Dresden, which during the first half of the 18th century was universally celebrated for the perfection of its operatic performances at the Court Theatre directed by Hasse. But of the introduction of Italian Opera into England, and especially of the arrival of Handel, his operatic enterprises, his successes and his failures, I must speak in another chapter.