e lessons in elocution and
declamation intended for preachers--particularly for the fathers of the
Oratory,--never having been present at them. I only know that Father
Monsabre and other famous ecclesiastics took lessons from Francois
Delsarte.

Chapter XV.

Delsarte's Musical Compositions.

Delsarte paid but little attention to musical composition; still his
musical works prove that he would have succeeded here as elsewhere, had
he devoted himself particularly to the task.

To say nothing of six fine vocal exercises and a number of songs which
had their day, his "Stanzas to Eternity" were highly popular. A mass by
him was performed in several churches; but his "Last Judgment,"
especially, ranks him among serious composers.

This setting of the _Dies Irae_ is touching and severe; the melody is
broad, sombre, threatening; the accompaniment reminds one of the dull
rattling of the skeletons reassuming their original shape. One seems to
hear the uneasy hum of voices roused from long sleep.

One incident showed the importance of this work. Various pieces of
concerted music were being rehearsed one night at the church of St.
Sulpice, for performance during the solemnity of "the work of St.
Francis de Xavier." A close circle formed around the musicians; private
conversation added a discordant note to the harmony; the church echoed
back the footsteps of people walking to and fro.

The _Dies Irae_ came! The music at first imitates the angel trumpets
which, according to Christian belief, are to be heard when _time shall
end_. The summons sounded four times.

This mournful chant of reawakening generations instantly silenced every
voice and every step; all were motionless; and the solemn melody alone
soared to the vaulted roof.

A touching story is told of this work. At a large and miscellaneous
gathering, M. Donoso-Cortes, a well-known Spanish publicist, then
ambassador to Paris, begged Delsarte to sing his _Dies Irae_. A space
was cleared in the music-room.

The score of the symphony for voice and piano, made by Delsarte himself,
retains all his intentions and effects, to which his striking voice
added greatly.

Delsarte began:

"Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum sybilla."

The whole assembly were taken captive. M. Donoso-Cortes was particularly
moved. His eyes filled with tears. He was not quite well that night.

A week later the newspapers invited the frie