It is to this latter period of his existence that many will doubtless try to fasten the synthesis of this great personality; but if any one wishes to gain an idea of Francois Delsarte, of his ability, the extent of his views, the power of his reason, the graces of his mind, his artistic perfection, it is in his law, in his science, in the memories which his lectures and his concerts left in the press of the time, that such an one must seek to understand him.

Chapter XIX.

Delsarte’s Last Years.

Before concluding these essays, my homage to the innovating spirit, the matchless art, the sympathetic and generous nature of Francois Delsarte, I make a final appeal to my memory, and, first, I invoke afresh the testimony of others.

La Patrie, June 18, 1857, says in an enthusiastic and lengthy article: 

“His deep knowledge, his incessant labors, his long and fatiguing studies, have not allowed his life to pass unnoted; but although great renown, attached in a short space to his name, has sufficed for the legitimate demands of his pride, it has done nothing, it must be owned, to provide for the wants which the negligences of genius do not always foresee.”

Then, apropos of Gluck and other unappreciated composers of genius, the author of the article, Franck Marie, goes on: 

“With the confidence to which I recently referred, Delsarte has undertaken the reform.  Sure of the success which shall crown his bold undertaking, he began almost unaided, a movement which was no less than a revolution.  Between two snatches from Romagnesi or Blangini, the majestic pages of Gluck appeared to the surprise of the auditor.  The heroes of the great master took the place of Thyrcis and Colin, the songs of Pergolese and Handel, coming from the inspired mouth of the virtuoso, at once aroused unknown sensations.  Lully and Rameau, rejuvenated in their turn, surprised by beauties hitherto unsuspected.”

Earlier still (in the Presse for December 6, 1840) in an article signed Viscount Charles Delaunay are these lines: 

“We are, to-night, to hear an admirable singer (Delsarte).  He is said to be the Talma of music; he makes the most of Gluck’s songs, as Talma made the most of Racine’s verses.  We must hasten, for his enthusiastic admirers would never pardon us if we arrived in the middle of the air from ‘Alcestis;’ and if all we hear be true, we could never be consoled ourselves, for having missed half of it.”

March 14, 1860, we read in the L’Independance Beige:

“Among the many concerts announced there is one which is privileged to attract the notice of the dilettanti.  We refer to that announced, almost naively, by the two lines:  Concert by Francois Delsarte, Tuesday, April 4.—­Nothing more!  These two lines tell everything!  Why give a program?  Who is there in the enlightened world who would not be anxious to be present at a concert given by Delsarte?  For, at his concert, he will sing—­he who never sings anywhere, at any price.  Observe what I say:  never anywhere, at any price, and I do not exaggerate.”