learn from him the means of rendering their brilliant salons yet more attractive.  Members of most of the reigning families of Europe were numbered among his pupils, and his apartments in Paris were filled, when I saw them, with pictures, photographs, and other souvenirs of esteem and friendship, from the highest dignitaries of Europe.  When he consented, on one occasion, to appear at a soiree at the Tuileries, Louis Philippe received him at the foot of the grand staircase, as if he had been his peer, and bestowed on him during the evening the same attentions he would have accorded to a fellow-sovereign.  The citizen king recognized the royalty of art.  And it may be noted that Delsarte would not have appeared on this occasion, except on the condition that no remuneration should be offered to him for the exercise of his talents.

Malibran, whose kind word in the courtyard of the Conservatoire had revived Delsarte’s fainting hopes, attended his early course of lectures.  I have already mentioned Rachel and Macready as his pupils.  I now recall the names of Sontag, of the gifted Madeleine Brohan, of Carvalho, Barbot, Pasca (who owed everything to Delsarte), and Pajol.  He was the instructor in pulpit oratory of Pere Lacordaire, Pere Hyacinthe, and the present abbe of Notre Dame.

Notwithstanding the labor exacted by his great specialty, he has done much good work in various other directions.  Among his mechanical inventions are a sonotype, a tuning instrument by means of which any one can tune a piano accurately, an improved level, theodolite and sextant, a scale for measuring the differences in the solidity of fluids, etc.

Of the conscientiousness with which he works, it may be mentioned that he devoted five years to the study of anatomy and physiology, to obtain a perfect knowledge of all the muscles, their uses and capabilities,—­a knowledge of which he has utilized with remarkable success.

It is now time to give some idea of his system, which can be done most satisfactorily, perhaps, through the medium of an article which appeared in the Gazette Musicale, from the authoritative pen of A. Gueroult.  After having analyzed the maestro’s theory of vocal art, he says: 

“The study of gesture and its agents has been subjected by M. Delsarte to an analysis no less profound.  Thus he recognizes in the human body three principal agents of expression, the head, the torso and the limbs, which perform each a distinct part in the economy of a character.  Gesture, sometimes expressive, sometimes excentric, and sometimes compressive, assumes in each case special forms, which have been classified and described by M. Delsarte with a care and perspicuity which make his labors on this subject entirely new, and for which I know no equivalent anywhere.  Permit me to explain more fully the utility of this study, to cite an application, for examples are always more eloquent than generalities.  In the play