nvited to go early and spend a day
with them at Arcueil, where they had a country house. M. Arago had told
M. de la Place that I had read the "Mecanique Celeste," so we had a
great deal of conversation about astronomy and the calculus, and he gave
me a copy of his "Systeme du Monde," with his inscription, which pleased
me exceedingly. I spoke French very badly, but I was less at a loss on
scientific subjects, because almost all my books on science were in
French. The party at dinner consisted of MM. Biot, Arago, Bouvard, and
Poisson. I sat next M. de la Place, who was exceedingly kind and
attentive. In such an assemblage of philosophers I expected a very grave
and learned conversation. But not at all! Everyone talked in a gay,
animated, and loud key, especially M. Poisson, who had all the vivacity
of a Frenchman. Madame Biot, from whom we received the greatest
attention, made a party on purpose, as she said, to show us, "les
personnes distinguees." Madame Biot was a well-educated woman, and had
made a translation from the German of a work, which was published under
the name of her husband. The dinner was very good, and Madame Biot was
at great pains in placing every one. Those present were Monsieur and
Madame Arago, Monsieur and Madame Poisson, who had only been married the
day before, and Baron Humboldt. The conversation was lively and
entertaining.

The consulate and empire of the first Napoleon was the most brilliant
period of physical astronomy in France. La Grange, who proved the
stability of the solar system, Laplace, Biot, Arago, Bouvard, and
afterwards Poinsot, formed a perfect constellation of undying names; yet
the French had been for many years inferior to the English in practical
astronomy. The observations made at Greenwich by Bradley, Maskelyne, and
Pond, have been so admirably continued under the direction of the
present astronomer-royal, Mr. Airy, the first practical astronomer in
Europe, that they have furnished data for calculating the astronomical
tables both in France and England.

The theatre was at this time very brilliant in Paris. We saw Talma, who
was considered to be the first tragedian of the age in the character of
Tancrede. I admired the skill with which he overcame the disagreeable
effect which the rhyme of the French tragedies has always had on me.
Notwithstanding his personal advantages, I thought him a great artist,
though inferior to John Kemble. I am afraid my admiration of
Shakespea