“The right-royal munificence of Charles X. was not marked by niggardliness in the appreciation of works of art any more than in the appreciation of the works of science and letters.  But, as is known, it is not by interest alone that the heart of the artist is gained and his zeal stimulated.  They are far more sensitive to the esteem shown them, to the respect with which their art is surrounded, and to the taste manifested in the judgment of their productions.  Now, who more than Louis XVIII. and Charles X. possessed the secret of awakening lively sympathy in the world of artists and men of letters?  Who better than their worthy counsellor seconded them in the impulses of generous courtesy so common with them?  Thus from this noble and gracious manner of treating men devoted to art and letters, which marked the royal administration of the Fine Arts under the Restoration, sprang an emulation and a good will which on all sides gave an impetus to genius, and brought forth the new talents.”

In theatrical matters, the Viscount Sosthenes de La Rochefoucauld exercised a salutary influence.  He loved artists, and wishing to raise their situation, moral and social, he deplored the excommunication that had been laid on the players.

Speaking of the stage, he wrote in a report addressed to Charles X., June 20,1825:  “I perceive that I have forgotten the most essential side,—­the moral, I will even say the religious side.  What glory it would be for a king to raise this considerable class of society from the abject situation in which it is compelled to live!  Sacrificed to our pleasures, it has been condemned to eternal death, and a king believes his conscience quiet!  For a long time I have cherished this thought; we must begin by elevating these people, as regards their art, by reforming, little by little, the swarming abuses that awaken horror, and end by treating with Rome in order to obtain some just concessions that would have important results.”

In another report to the King, dated October 21, 1826, M. de La Rochefoucauld wrote, apropos of the obsequies of Talma:—­

“A profound regret for me is the manner of the great tragedian’s death.  Sire, would it not be worthy of the reign, the breast, the conscience of Charles X., to draw this class of artists from the cruel position in which they are left by that excommunication that weighs upon them without distinction?  Whether they conduct themselves well or ill, the Church repels them; this reprobation holds them perforce in the sphere of evil and disorder, since they have no interest in rising above it.  Honor them, and they will honor themselves.  It is time to undertake the reform of what I call a pernicious prejudice.  The clergy itself is not far from agreeing on these ideas.”

In his relations with authors, artists, directors of theatres, the Viscount was courtesy itself.  We read in one of his reports (June 17, 1825):—­