Blackwoods Edinburgh Magazine – Volume 55, No. 341, March, 1844

"WANTS A SITUATION—An able-bodied, middle-aged man, without encumbrance, who can have an undeniable character from his last situation, as headsman, hangman, and general executioner. He is accustomed to the use of thumbikins and the most approved and fashionable modes of torture; and officiated for many years as superintendent of the wheel of a foreign prince, renowned for the neatness of his rack. Drawing and quartering in all their branches. Pressing to death performed in the most economical style. Impalement in the Turkish manner; and the pile, as practised by the best Smithfield hands, &c. &c. &c."

Independent, indeed, of the high prosperity and vast perquisites of such posts as executioner of the Tower of London or the Grève of Paris, there was honour and satisfaction in the office. A royal master knew when he was well served. Henry III. stood by, in his chateau of Blois, to see, not only the heads severed from the dead bodies of the Duke and Cardinal de Guise, but their flesh cut into small pieces, preparatory to being burned, and the ashes scattered to the winds. "His majesty," says an eyewitness, "stood in a pool of blood to witness the hacking of the bodies."

This Italian gusto for the smell of blood, appears to have been introduced into the palaces of France from those of Italy by alliance with the Medici—those ennobled pawnbrokers of the middle ages, whose parvenu taste engendered the fantastic gilding of the renaissance, which they naturalized in the Tuileries and at Fontainbleau, in common with the stiletto and acqua tofana of their poisoners, and the fatalism of their judicial astrology.

But enough of Catharine de Medicis and her sanguinary son—enough of Henry Tudor and his savage daughters—enough of the monstrous professions flourishing in their age of monstrosities. And turn we for relief to the exquisite vocation completing the antithesis—the vocation whose execution is that of pas de zéphyrs, and the tortures of whose infliction are the tortures of the tender heart!

The calling of the danseuse, we repeat, is among the most lucrative of modern times, and nearly the most influential. The names of Taglioni and Elssler are as European, nay, as universal, as those of Wellington and Talleyrand-Metternich or Thiers; and modern statesmanship and modern diplomacy show pale beside the Machiavelism of the coulisses.

With what pomp of phraseology are the triumphs and movements of these danseuses announced, by the self-same journal which despatches, with a stroke of the pen, the submission of a province or revolution of a kingdom! One poor halfpenny-worth, or half a line, suffices for the death of a sultana; while fiery columns precede the departure and arrival of the steamer honoured by conveying across the Atlantic some ethereal being, whose light fantastic toe is to give the law to the United States. Her appearance in the Ecclesiastic States, on the other hand, is announced in Roman capitals; and her triumphal entry into St Petersburg received with regiments of notes of admiration!!!

Were Taglioni, by the malediction of Providence, to break her leg, what corner of the civilized earth but would sympathize in the casualty? Or were Elssler epidemically carried off, on the same day with the Pope, the Archbishop of Dublin, a chancellor of an university, an historiographer, or astronomer-royal—which would be most cared for by society at large, or to which would the public journals distribute the larger share of their dolefuls?

Nor is it alone the levities of Europe which have encompassed with a gaseous atmosphere of enthusiasm these idols of the day. We appeal to our sober, plodding, painstaking brother Jonathan. We move for returns of the sums he has expended on his beloved Fanny, and for notes of the honours conferred upon her, not only on the boards of his theatres and in the publicity of his causeways, but amid the august nationalities of his senate! "Fanny Elssler in Congress" has become as historical as the name of Washington! As if for the purpose of proving that extremes meet, the democrats of the New World were demonstrating the wildest infatuation in favour of one dancer, while the great autocrat of the Old was exhibiting a similar fervour in honour of another. La Gitana became all but presidentess of the Transatlantic republic; La Bayadère depolarized the tyrant of the Poles! But, above all, the Empress of Russia—albeit, the lightest of sovereigns and coldest of women—was carried so far by her enthusiasm as to fasten a bracelet of gems on the fair arm of Taglioni; while the Queen-Dowager of England conferred a similar honour on the Neapolitan dancer Cerito!

Now, what queen or princess, we should like to know, has lavished necklace, or bracelet, or one poor pitiful brooch, on Miss Edgeworth or Miss Aitkin, Mrs Somerville or Joanna Baillie, or any other of the female illustrations of the age, saving these aerial machines which have achieved such enviable supremacy? Mrs Marcet, who has taught the young idea of our three kingdoms how to shoot; Miss Martineau, who has engrafted new ones on our oldest crab-stocks, might travel from Dan to Beersheba without having a fatted calf or a fatted capon killed for them, at the public expense. But let Taglioni take the road, and what clapping of hands—what gratulation—what curiosity—what expansion of delight!

The only wonder of all this is, that we should wonder about the matter. Dancing constitutes that desideratum of the learned of all ages—an universal language. Music, which many esteem much, is nearly as nationalized in its rhythm as dialect in its words; whereas the organs of sight are cosmopolitan. The eye of man and the foot of the dancer include between them all nations and languages. The poetry of motion is interpreted by the lexicon of instinct; and the unimpregnable grace of a Taglioni becomes omnipotent and catholic as that of

"The statue that enchants the world!"

Who can doubt that the names of these sorceresses of our time will reach posterity, as those of the Aspasias and Lauras of antiquity have reached our own—as having held philosophers by the beard, and trampled on the necks of the conquerors of mankind—as being those for whom Solon legislated, and to whom Pericles succumbed?

Pausanius tells us of the stately tomb of the frail Pythonice in the Vica Sacra; and we know that Phryne offered to rebuild the walls of Thebes, by Alexander overthrown. And surely, if modern guide-books instruct us to weep in the cemetery of Père la Chaise over the grave of Fanny Bias, history will say a word or two in honour of Cerito, who proposed through the newspapers, last season, an alliance offensive and defensive with no less a man than Peter Borthwick, Esq. M.P., (Arcades ambo!) to relieve the distress of the manufacturing classes of Great Britain! It is true such heroines can afford to be generous; for what lord chancellor or archbishop of modern times commands a revenue half as considerable?

Why, therefore—O Public! why, we beseech thee, seeing that the influence of the operative class is fairly understood, and undeniably established among us—why not at once elevate choriography to the rank of one of the fine arts?—Why not concentrate, define, and qualify the calling, by a public academy?—since all hearts and eyes are amenable to the charm of exquisite dancing, why vex ourselves by the sight of what is bad, when better may be achieved? Be wise, O Pubic, and consider! Establish a professor's chair for the improvement of pirouetters. We have hundreds of professor's chairs, quite as unavailable to the advancement of the interests of humanity, and wholly unavailable to its pleasures. Neither painters nor musicians acquire as much popularity as dancers, or amass an equal fortune. Why should they be more highly protected by the state?

To disdain this exquisite art, is a proof of barbarism. The nations of the East may cause their dances to be performed by slaves; but two of the greatest kings of ancient and modern times, the kings after God's own heart and man's own heart—David and Louis le Grand—were excellent dancers, the one before the ark, the other before his subjects.

Never, perhaps, did the art of dancing attain such eminent honours in the eyes of mankind, as during the siècle doré of the latter monarch. At an epoch boasting of Molière and Racine, Bossuet and Fénélon, Boileau and La Fontaine, Colbert and Perrault, (the fairy talisman of politics and architecture,) the court of Versailles could imagine no manifestation of regality more august, or more exquisite, than that of getting up a royal ballet; and the father of his people, Louis XIV., was, in his youth, its coulon.

How amusing are the descriptions of these entrées de ballet, circumstantially bequeathed us by the memoirs of the regency of Anne of Austria! The cardinal himself took part in them; but the chief performers were the young King, his brother Gaston d'Orleans, and the maids of honour, figuring as Apollo and the Muses, or Hamadryads adoring some sylvan divinity. Who has not sympathized in the joy of Madame de Sevigné, at seeing her fair daughter exhibit among the coryphées! Who has not felt interested in the jetées and pas de bourrées of the ancien régime, when accomplished at court by Condés, Contis, Montpensiers, Montmorencys, Rohans, Guises! The Marquis de Dangeau first recommended himself to the favour of the royal master whose courts he was destined to journalize for posterity, by the skill of his pas de basques; and long before the all but conjugal influence of the lovely La Vallière commenced over the heart of the grand monarque, his early love, and more especially his passion for the beautiful niece of the Cardinal, may be traced to the rehearsals and rondes de jambes of Maitz and Fontainbleau.

The reign of Madame de Maintenon (la raison même) over his affections, declared itself by the sudden transfer of a ballet-opera, expressly composed by Rameau and Quinault for the beauties of the court, to the public theatre of the Palais Royal. No more noble figurantes at Versailles! Louis le Pirouettiste's occupation was gone; and the maître des ballets du roi arrayed himself in sackcloth and ashes. But, lo! the glories of his throne took wing with the loves and graces; ballets and victories being effaced on the same page from the annals of his reign.

During the minority of Louis XV., the same royal dansomania was renewed. The regent, Duke of Orleans, entertained the same notions of kingly education, on this head, as his predecessor the cardinal; and Louis le Bien-aimé, like his great-grandfather before him, was the best dancer of his realm. Such dancing as it was! such exquisite footing! In the upper story of the grand gallery at Versailles, hang several pictures representing these court ballets; Cupids in coatees of pink lustring, with silver lace and tinsel wings, wearing full-bottomed wigs and the riband of the St Esprit; or Venuses in hoops and powder, whose minauderies might afford a lesson to the divinities of our own day for the benefit of the omnibus box.

Some of these groups, by Mignard, Boucher, and their imitators, are charming studies as tableaux de genre. But in nothing, by the way, are they more remarkable than in their decency. The nudities of the present times appear to have been undreamed of in the philosophy of Versailles. That simple-hearted, though strong-minded American writer, Miss Sedgwick, who has published an account of her consternation as she sat with Mrs Jameson in the stalls of our Italian opera, might have witnessed the royal performance unabashed. On being told, as she gazed upon the intrepid self-exposure of Taglioni, "qu'il fallait être sage pour danser comme ça," Miss S. observes, that it requires to be more or less than woman, and proposes to divide the human species into men, women, and OPERA-DANCERS, little suspecting that half her readers translate such a classification into "men, women, and ANGELS;" or that they would see herself and her sister moralist go down in the President without a pang, provided Elssler and Taglioni were saved from the deep!

Natural enough! we repeat it—natural enough! To create a good dancer, requires the rarest combination of physical and mental endowments. Graceful as the forms transmitted to us by the pottery of Etruria and the frescoes of Herculaneum, she must unite with the strength of an athlete, the genius of a first-rate actress. That even moderate dancing demands immoderate abilities, is attested by the exhibition of human ungainliness disfiguring all the court balls of Europe. There may be seen the representatives of the highest nobility, tutored by the highest education, shuffling over the polished floor with stiffened arms and bewildered legs—often out of time—always out of place—as if acting under the influence of a galvanic battery. Not one in ten of them rises even to mediocrity as a dancer. A few degrees lower in the social scale, and it would be not one in twenty. Amid the shoving, shouldering, shuffling mob of dancers in an ordinary ball-room, the absence of all grace amounts even to the ludicrous. Forty years long have people been dancing the quadrilles now in vogue, which consist of six favourite country-dances, fashionable in Paris at the close of the last century, and then singly known by the names they still retain—"La Poule, L'Eté, Le Pantalon, Le Trenis," &c. &c. To avoid the monotony of dancing each in succession, for hours at a time, down a file of forty couple, it was arranged that every eight couple should form a square, and perform the favourite dances, in succession, with the same partner—a considerable relief to the monotony of the ball-room. Yet, after all this experience, if poor Monsieur le Trenis (after whom one of the figures was named, and who, during the consulate, died dancing-mad in a public lunatic asylum) could rise, sane, from the dead, it would be enough to drive him mad again to see how little had been acquired, in the way of practice, since his decease. The processes and varieties of the ball-room are just where he left then on his exit!

Previous to the introduction of quadrilles and country dances or contredanses, the inaptitude of nine-tenths of mankind for dancing was still more eminently demonstrated in the murders of the minuet. For (as Morall, the dancing-master of Marie Antoinette, used passionately to exclaim)—que de choses dans un minuet! What worlds of modest dignity—of alternate amenity and scorn! The minuet has all the tender coquetry of the bolero, divested of its licentious fervour. With the minuet and the hoop, indeed, disappeared that powerful circumvallation of female virtue, rendering superfluous the annual publication of a dozen codes of ethics, addressed to the "wives of England" and their daughters. All was comprehended in the pas grave. That noble and right Aulic dance was expressly invented in deference to the precariousness of powdered heads; and its calm sobrieties, once banished from the ball-room, revolutionary boulangères succeeded—and chaos was come again! The stately pavon had possession of the English court, with ruffs and farthingales, in the reign of Elizabeth. With the Stuarts came the wild courante or corante—

"Hair loosely flowing, robes as free"—

and if the House of Hanover, and minuets, reformed for a time the irregularities of St James's—what are we to expect now that waltzes, galops, and the eccentricities of the cotillon have possession of the social stage? WHAT NEXT? as the pamphlets say—"What will the lords do?"—what the ladies?

Thus much in proof, that the boss of pirouettiveness is strangely wanting in human conformation, and that there is consequently all the excuse of ignorance for the wild enthusiasm lavished by London on the operative class. Ten guineas per night—five hundred for the season—is the price exacted for a first-rate opera-box; and as the exclusives usually arrive at the close of the opera, or, if earlier, keep up a perpetual babble during its performance, they clearly come for the dancing.—"On voit l'opéra, et l'on écoute le ballet," used to be said of the Académie de Musique. But it might be asserted now, with fully as much truth, of the Queen's Theatre, where the evolutions of Carlotta Grisi, Elssler, and Cerito, keep the audience in a state of breathless attention denied to Shakspeare.

In two out of these instances, it may be advanced that they are consummate actresses as well as graceful and active dancers. Elssler's comedy is almost as piquant as that of Mademoiselle Mars. Nor is the ballet unsusceptible of a still higher order of histrionic display. We never remember to have seen a stronger levée en masse of cambric handkerchiefs in honour of O'Neill's Mrs Haller, or Siddons's Isabella, than of the ballet of "Nina;" while the affecting death-dance in "Masaniello" is still fresh in the memory of the admirers of Pauline Leroux. We have heard of swoons and hysterics along the more impressionable audiences of La Scala, during the performance of the ballet of "La Vestale;" and have witnessed with admiration the striking effect of the fascinative scene in "Faust."

Of late years, the union of Italian blood and a French education has been found indispensable to create a danseuse—"Sangue Napolitano in scuola Parigiana;"—and Vesuvius is the Olympus of all our recent divinities. Formerly, a Spanish origin was the most successful. The first dancer who possessed herself of European notoriety was La Camargo, whose portraits, at the close of a century, are still popular in France, where she has been made the heroine of several recent dramas. To her reign, succeeded that of the Gruinards and Duthés—in honour of whose bright eyes, a variety of noblemen saw the inside both of Fort St Evêque and St Pelagie; the opera being at that time a fertile source of lettres de cachet. To obtain admittance to the private theatricals of the former dancer, in her magnificent hotel in the Chaussée d'Antin, the ladies of fashion and of the court had recourse to the meanest artifices; while the latter has obtained historical renown, by having excited the jealousy, or rather envy, of Marie Antoinette. Mademoiselle Duthé appeared at the fêtes of Longchamps, in the Bois de Boulogne, in a gorgeous chariot drawn by six milk-white steeds, with red morocco harness, richly ornamented with cut steel; and thus accomplished the object of incurring the resentment of the court, from the prodigality of one of whose married princes these splendours were supposed to emanate—splendours exceeding those of the Rhodopes of old.

But the greatest triumph ever achieved by danseuse, was that of Bigottini! The Allied sovereigns, after vanquishing the victor of modern Europe, were by her vanquished in their turn. At her feet, fresh trembling from an entre-chat, did

"Fiery French and furious Hun"

lay down their arms! The Allied armies appeared to have entered Paris only to become the slaves of Bigottini!

In our own country, devotees of the danseuse have done more, by promoting her to the decencies of the domestic fireside. In our own country, also, even Punch was once purchased by an eccentric nobleman for the diversion of his private life. But as Demosthenes observed of the cost of such a pleasure, "that is buying repentance too dear!"

We are perhaps offending the gravity of certain of our readers by the extent of this notice; albeit, we have striven to propitiate their prejudices by the peculiar combination and juxtaposition of professions, selected for consideration. But we are not acting unadvisedly. Close its eyes as it may, the public cannot but perceive, that the legitimate drama is banished by want of encouragement from the national theatres, and that the ballet is brandishing her cap and bells triumphantly in its room.

Such changes are never the result of accident. The supply is created by the demand. It is because we prefer the Sylphide to Juliet, that the Sylphide figures before us. Shakspeare was played to empty benches; the Peri and Gisele fill the houses.

We repeat, therefore, since such is the bent of public appetite, let it be gratified in the least objectionable way. Let us have a royal academy of dancing. We shall easily find some Earl of Westmoreland to compose its ballets, and lady patronesses to give an annual ball for the benefit of the institution. Do not let some eighty thousand a-year be lost to the country. An idol is as easily carved out of one block of wood as another. Let us make unto ourselves goddesses out of the haberdashers' shops of Oxford Street; and qualify the youthful caprices of Whitechapel to command the homage of Congress, and of the great autocrat of all the Russias. Properly instructed, little Sukey Smith may still obtain an enameled brooch or bracelet from her Majesty the Queen-Dowager! Let us "people this whole isle with sylphs!" Let Drury-Lane and Covent-Garden flourish; but—thanks to Great Britain pirouettes!—the art of giving ten guineas for a couple of hours spent in an opera-box, will then become less criminal; and we shall have no fear of the influence of some Herodias's daughter in our domestic life, when we see the Cracovienne announced in the bills "by Miss Mary Thomson." The charm will be destroyed. The unfrequented coulisses, like Dodona, will cease to give forth oracles.

Under the influence of an "establishment," we shall have to record of opera-dancers as of other professions, that "the goddesses are departing!" The danse à roulades of Fanny Elssler will be voted vulgar, when attempted by a Buggins. Let Mr Bunn look to himself. He may yet survive his immortality. We foresee a day in which he will be no longer styled Alfred the Great. With the aid of George Robins, and other illustrious persons interested in the destinies of theatrical property, we do not despond of hearing attached to "a bill for the legalization of the Royal and National Academy of Dancing of the United Kingdom," the satisfactory decree of "LA REINE LE VEUT!"

THE PIRATES OF SEGNA

A TALE OF VENICE AND THE ADRIATIC. IN TWO PARTS.

PART I

CHAPTER I.—THE STUDIO

It was on a bright afternoon in spring, and very near the close of the sixteenth century, that a handsome youth, of slender form and patrician aspect, was seated and drawing before an easel in the studio of the aged cavaliere Giovanni Contarini—the last able and distinguished painter of the long-declining school of Titian. The studio was a spacious and lofty saloon, commanding a cheerful view over the grand canal. Full curtains of crimson damask partially shrouded the lofty windows, intercepting the superabundant light, and diffusing tints resembling the ruddy, soft, and melancholy hues of autumnal foliage; while these hues were further deepened by a richly carved ceiling of ebony, which, not reflecting but absorbing light, allayed the sunny radiance beneath, and imparted a sombre yet brilliant effect to the pictured walls, and glossy draperies, of the spacious apartment. Above the rich and lofty mantelpiece hung one of the last portraits of himself painted by the venerable Titian, and on the dark pannels around were suspended portraits of great men and lovely women by the gifted hands of Giorgione, Paul Veronese, Paris Bordone, and Tintoretto. Regardless, however, of all around him, and almost breathless with eagerness and impatience, the student pursued his object, and with rapid and vigorous strokes had half completed his sketch—totally unconcious the while that some one had opened the folding-doors, crossed the saloon, and now stood behind his chair.

"But tell me, Antonello mio!" exclaimed old Contarini, after gazing awhile in mute astonishment at the sketch before him; "tell me, in the name of wonder, what kind of face do you mean to draw around that lean and withered nose and that horribly wrinkled mouth?"

Antonio, however, was so unconcious of the "world without," that he started not at this sudden interruption of the previous stillness. Regardless, too, of the serious and indeed reproving tone of the old man's voice, he hastily replied without averting his gaze from the canvass. "Hush, maestro! I beseech you. Question me not, for Heaven's sake! I cannot spare a word in reply. The original," continued he, after a brief interval of close attention to his object, and drawing as he spoke; "the original is still firmly fixed in my memory. I see its sharp outlines clear within me, and, as you well know and oft have told me, a feature lost is lost for ever. Alas! alas! those lines and angles around the mouth are already fading into shadow."