The loss undergone in 1863 was even greater.  Xavier Delsarte was a tall, handsome young man.  The master was content with the profit which his son had derived from his tuition.  He was successful as a singer and elocutionist.  He was attacked by cholera during an epidemic.  The night before he had taken several glasses of iced orgeat in the open air.

Xavier lived in the Rue des Batailles with his family, but not in the same apartment.  This fact was fatal.  Instead of calling help in the first stages—­unwilling to disturb his relatives—­the invalid wandered down stairs during the night, and into the court-yard.  There he drank water from the pump.  I can still recall the unhappy father’s story of that cruel moment.

“It was scarcely day.  I was waked by that unexpected, fatal ringing of the bell, which, at such an hour, always bodes misfortune.  The maid heard it also, and opened the door.  She uttered a cry of alarm.  Almost instantly, my poor boy stood at my chamber door.  He leaned against the frame of the door, his strength not allowing him to advance.  From the change in his features, I understood all—­he was hopelessly lost!”

Delsarte was sensitive and of a very loving nature; but he was endowed with great strength.  Much absorbed, moreover, in his profession, his studies, his innovations, he often found in them a counterpoise to these rude blows of fate.  So when the thoughts of his friends recur to these disasters, they feel that their greatest sympathy and commiseration are due to the mother who three times underwent this supreme martyrdom.

Two names remain to be mentioned in this family where artistic callings seemed a matter of course.  The concerts of Madame Theresa Wartel—­sister of Madame Delsarte—­brought together the elite of Parisian virtuosi, and the brilliant pianist took her part in the quatuors in which Sauzay, Allard, Franchomme and other celebrities of the period figured.

George Bizet—­author of the opera of “Carmen”—­prematurely snatched from the arts, was the nephew of Francois Delsarte.  This young man taught himself Sanscrit unaided; he inspired the greatest hopes.

Wartel, who gave Christine Nilsson her musical education, was not of the same blood, but we find certain points in his method which recall the processes of Delsarte’s school.

Chapter XII.

Delsarte’s Religion.

I now confront an important and very interesting subject; but one which is more difficult to handle than the most prickly briers.  There has been a confusion, in regard to Delsarte, of two very distinct things:  his practical devotion and his philosophy of art, which does indeed assume a religious character.  He himself helped on this confusion.  I am desirous of doing my best to put an end to it.  I hope that, truth and sincerity aiding, I shall not find the task too great for me.

I must first grapple with those ill-informed persons who have denied the master his high intellectual faculties, and even his scientific discoveries, for the sole reason of the mystical side of his beliefs.  I must also expose the error of those who supposed that to this mysticism were attributable the miracles accomplished by Delsarte in his career as artist and scholar.