The bursts of eloquent music, or musical eloquence I should rather say, that are elicited by some of the orators are often magnificent. Others, again, less gifted with oratorical powers, sometimes flounder away among the notes, producing nothing but discord. These speakers are not listened to; their attempts to speak are drowned in a clamour set up by the audience, produced by striking a small hammer on a metallic knob, which causes a loud, harsh noise, and indicates disapprobation.
Applause is expressed by striking a glass bell, with which each member is provided, and which brings forth an agreeable musical note.
It is remarkable how well adapted the musical oratory is for expressing, not only emotions and passions, but raillery, sarcasm, innuendo, refined wit and broad humour.
Some orators would excite the risible faculties of members to such a degree that neither the sanctity of the place, nor the inconveniences attending the art, would prevent them exploding into loud guffaws.
The effect of this laughter was often more comic to my mind than its exciting cause. Along with the cacchination, there issued from the laughers' mouths great bubbles of air, which quickly ascended through the whole height of the hall, threading their way among the ropes, until they attained the large glass dome or air-reservoir at the top. A hundred or more of these large bubbles proceeding out of the mouths of as many members had an exceedingly droll effect.
