THE OPERA, THAT TEMPLE of pleasure at Paris, was burned in the month of June, 1781. Twenty persons had perished in the ruins; and as it was the second time within eighteen years that this had happened, it created a prejudice against the place where it then stood, in the Palais Royal, and the king had ordered its removal to a less central spot. The place chosen was La Porte St. Martin.
The king, vexed to see Paris deprived for so long of its Opera, became as sorrowful as if the arrivals of grain had ceased, or bread had risen to more than seven sous the quarter loaf. It was melancholy to see the nobility, the army, and the citizens without their after-dinner amusement; and to see the promenades thronged with the unemployed divinities, from the chorus-singers to the prima donnas.
An architect was then introduced to the king, full of new plans, who promised so perfect a ventilation, that even in case of fire no one could be smothered. He would make eight doors for exit, besides five large windows, placed so low that any one could jump out of them. In the place of the beautiful hall of Moreau he was to erect a building with ninety-six feet of frontage toward the boulevard, ornamented with eight caryatides on pillars forming three entrance-doors, a bass-relief above the capitals, and a gallery with three windows. The stage was to be thirty-six feet wide, the theater seventy-two feet deep and eighty across, from one wall to the other. He asked only seventy-five days and nights before he opened it to the public.
This appeared to all a mere gasconade, and was much laughed at. The king, however, concluded the agreement with him. Lenoir set to work, and kept his word. But the public feared that a building so quickly erected could not be safe, and when it opened no one would go.
Even the few courageous ones who did go to the first representation of “Adele de Ponthieu” made their wills first. The architect was in despair. He came to the king to consult him as to what was to be done.
It was just after the birth of the dauphin; all Paris was full of joy. The king advised him to announce a gratuitous performance in honor of the event, and give a ball after. Doubtless plenty would come, and if the theater stood, its safety was established.
“Thanks, sire,” said the architect.
“But reflect, first,” said the king, “if there be a crowd, are you sure of your building?”—“Sire, I am sure, and shall go there myself.”
“I will go to the second representation,” said the king.
The architect followed this advice. They played “Adele de Ponthieu" to three thousand spectators, who afterward danced. After this there could be no more fear. It was three years afterward that Madame de la Motte and the cardinal went to the ball.
