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Show 528 THE CODE OF TERPSICHORE. action for energy; bombast for grandeur; the gigantic for the mighty ; the incredible for the sublime ; contortions for classical attitudes; confusion and disparity of objects for genius. Their works are, however, to be admired for bold and fine touches, good colouring and vigorous design. Like the author of Pharsalia, they have flashes of genius and points worthy of the most classic artist; they seem to have taken up the brush after having read the Latin poem, and, like it, their works are not without fire, poetic feeling and occasional depth ; but these good qualities are overbalanced by inequalities and imperfections. Spontini, it may here be permitted to remark, is the Lucan, if not the Seneca of music. De Momigny makes the following remarks on him: " T h e Melpomene of the opera, still in her weeds, for Gluck, Piccini and Sacchini, had not espoused any of the men of talent to w h o m she had given a temporary reception at her court; she thought for an instant, that, in the author of the music of La Vestale, she had found a successor to her three husbands; two airs, the style and expression of which were beautiful, a duet, and the finale of the second act of that opera, had almost decided the royal muse on sharing her throne with Spontini: but on examining his partitions, and on sounding his powers and the fecundity of his genius, she felt the imprudence of such a step, and once more, but not without regret, she resumed her widow's weeds." A few observations on a passage in Montesquieu may be of some utility to the actor, as to the expression which he ought to throw into certain characters, and to the Ballet-master, on putting them in such action as may be most suitable to their condition. " Michael Angelo," says Montesquieu, " is the master who imparts nobility to all his subjects. In his celebrated |
