I must beg you, gentlemen, to pay some little regard to arithmetic, at least; and not to say before the National Assembly in France, lest to its shame it should agree with you, that an addition gives a different sum, according to whether it is added up from the bottom to the top, or from the top to the bottom of the column.

For instance, I want to agree with a drainer to make a trench in my field for a hundred sous.  Just as we have concluded our arrangement the tax-gatherer comes, takes my hundred sous, and sends them to the Minister of the Interior; my bargain is at end, but the minister will have another dish added to his table.  Upon what ground will you dare to affirm that this official expense helps the national industry?  Do you not see, that in this there is only a reversing of satisfaction and labour?  A minister has his table better covered, it is true; but it is just as true that an agriculturist has his field worse drained.  A Parisian tavern-keeper has gained a hundred sous, I grant you; but then you must grant me that a drainer has been prevented from gaining five francs.  It all comes to this,—­that the official and the tavern-keeper being satisfied, is that which is seen; the field undrained, and the drainer deprived of his job, is that which is not seen.  Dear me! how much trouble there is in proving that two and two make four; and if you succeed in proving it, it is said “the thing is so plain it is quite tiresome,” and they vote as if you had proved nothing at all.

IV.—­Theatres, Fine Arts.

Ought the State to support the arts?

There is certainly much to be said on both sides of this question.  It may be said, in favour of the system of voting supplies for this purpose, that the arts enlarge, elevate, and harmonize the soul of a nation; that they divert it from too great an absorption in material occupations; encourage in it a love for the beautiful; and thus act favourably on its manners, customs, morals, and even on its industry.  It may be asked, what would become of music in France without her Italian theatre and her Conservatoire; of the dramatic art, without her Theatre-Francais; of painting and sculpture, without our collections, galleries, and museums?  It might even be asked, whether, without centralisation, and consequently the support of the fine arts, that exquisite taste would be developed which is the noble appendage of French labour, and which introduces its productions to the whole world?  In the face of such results, would it not be the height of imprudence to renounce this moderate contribution from all her citizens, which, in fact, in the eyes of Europe, realises their superiority and their glory?