The Idler in FranceBlessington, Marguerite, Countess of
History
The Idler in France
Blessington, Marguerite, Countess of
France -- Description and travel; France -- Social life and customs
On a white marble _console_ in this gallery is placed an interesting
memorial of her brilliant theatrical career, presented to her by the
most enthusiastic of its numerous admirers. It consists of a laurel
crown, executed in pure gold; on the leaves of which are engraved on
one side, the name of each piece in which she appeared, and, on the
other, the _rôle_ which she acted in it. A very fine statue of Molière
is placed in this apartment.
Never did two hours glide more rapidly away than those passed in the
society of this fascinating woman, whose presence I left penetrated
with the conviction that no one can know without admiring her; and that
when she retires from the stage, "we shall not look upon her like
again."
Passed a very agreeable evening, at Madame Craufurd's, Met there la
Duchesse de la Force, and the usual circle of _habitués_. Talking of
theatres, some of _la Vieille Cour_, who happened to be present,
remarked on the distinction always made between the female performers
of the different ones. Those of the Théâtre Français were styled "_Les
Dames de la Comédie Française_"; "those of the Théâtre Italien," "_Les
Demoiselles du Théâtre Italien_;" and the dancers, "_Les Filles de
l'Opéra_." This last mode of naming _les danseuses_, though in later
times considered as a reproach, was, originally, meant as an honourable
distinction; the king, on establishing the _Académie Royale de
Musique_, having obtained the privilege that the performers attached to
it should be exempt from excommunication. Hence they were named, "_Les
Filles de l'Opéra_," as persons sometimes said "_Les Filles de la
Reine_."
_À propos_ of the Opera, Madame Grassini, once no less celebrated for
her beauty than for her voice, was of the party last night. She is, and
deservedly, a general favourite in Parisian society, in which her
vivacity, good-nature, and amiability, are duly appreciated. Her lively
sallies and _naïve_ remarks are very amusing; and the frankness and
simplicity she has preserved in a profession and position so calculated
to induce the reverse, add to her attractions and give piquancy to her
conversation.
There are moments in which Madame Grassini's countenance becomes
lighted up with such animation, that it seems to be invested with a
considerable portion of the rare beauty for which she was so
remarkable.
Her eyes are still glorious, and, like those only of the sunny South,
can flash with intelligence, or melt with tenderness. It is when
conversing on the grand _rôles_ which she filled as _prima donna_, that
her face lights up as I have noticed,--as the war-horse, when hearing
the sound of the trumpet, remembers the scene of his past glory.
When in Italy, some years since, Madame Grassini's carriage was stopped
by brigands, who, having compelled her to descend, ransacked it and
took possession of her splendid theatrical wardrobe, and her
magnificent diamonds.
Public-domain text, read in full here on John Shaqi.
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