receives a pension from Louis XVI., [122];
marries Mlle. Guimard, [136], [137];
his career, [136] note;
loses his pensions at the Revolution, [138];
becomes stage-manager at the Opera, [138];
resigns his post, [138];
his Passe-Temps, [139];
celebrates his wife’s charms in verse, [139];
appointed inspector of the Opera and the theatre of the Tuileries, [139];
dances with his wife, [140]
Desnoiresterres, Gustave (cited), [58], [71]
Devin du Village, Sophie Arnould’s performance in, [54] note
Devismes (director of the Opera), [282]
Devonshire, Elizabeth Cavendish, Duchess of, her friendship for Mlle. Guimard, [135]
Deux Pages, les, [246-249]
Dezède (composer), [247], [248]
Diderot, [4], (cited) [27], [28], [35], [36]
Didon, Le Franc de Pompignan’s, [148], [149], [151], [152], [171], [172]
Didon, Piccini’s, [296-306], [307], [308], [309], [312]
Douglas, Mr. R. B. (cited), [14], [54], [66], [88], [97]
Dodé de Jousserand, libels the administration of the Opera, [276]
Dorat (poet), [46], [124], [125]
Drais, Claude (goldsmith), marries the daughter of Mlle. Guimard and La Borde, [109], [110]
Du Barry, Madame, “unexampled audacity” of Sophie Arnould towards, [49] and note;
does not attend the first performance of Iphigénie en Aulide, [64];
compared with Mlle. Guimard, [114];
sends two kisses to Voltaire, [121];
presents Mlle. Raucourt with a robe de théâtre, [152]
Dubois, Antoine (surgeon), [260]
Ducis, his adaptations of Shakespeare, [258] and note
Duclos, [79]
Du Hausset (femme de chambre to Madame de Pompadour), [9]
Dumesnil, Mlle., [150], [161]
Duplant, Mlle., [73] note
Duranceray, Mlle., [266], [277]
Duras, Duc de, his quarrel with Mlle. Sainval the elder, [169], [170];
causes those who hiss Mlle. Raucourt to be arrested, [173];
satirised in La Vision du prophète Daniel, [176]
Duthé, Mlle., [121]
Duval, Alexandre, his quarrel with Mlle. Contat, [251]
Dugazon, Gustave (son of Madame Dugazon), [22], [121] and note
Dugazon, Louis (actor), marries Louise Lefèvre, [199];
his singular character, [200];
insults Marie Antoinette at an Opera-ball, [201];
quarrels with his wife, [202];
forces M. de Cazes to surrender his wife’s letters, [202], [203];
canes him at the Comédie-Italienne, [203], [204];
his affray with the Marquis de Langeac, [205];
resigns himself to his wife’s infidelity, [205];
his conduct during the Revolution, [219] note;
his death, [219] note
Dugazon, Madame, birth and parentage, [197];
makes her début at the Comédie-Italienne, [197];
attracts the attention of Grétry, [197];
receives lessons from Justine Favart, [198];
her gratitude to her, [198];
her success in Sylvain, [198];
other successes, [198];
idolised by the public, [199];
surrounded by adorers, [199];
marries Dugazon, of the Comédie-Française, [199];
quarrels with her husband, [201], [202];
her liaison with M. de Cazes, [202-204];
with the Marquis de Langeac, [204], [205];
with the financier Boudreau, [205];
and with Garat, [206];
her talent, [207];
greater as an actress than a singer, [208];
her success in Blaise et Babet, [209];
in Alexis et Justine, [210];
and in Le Dot, [210], [211];
her brilliant triumph in Nina, ou la Folle par amour, [211-214];
receives a magnificent reception at Lyons, [214], [215];
goes to England, [215], [216];
returns to the Comédie-Italienne, [216];
abandons juvenile heroines for young matrons, [216];
her amiable qualities, [216], [217];
her generosity, [217], [218];
a Royalist to the core, [218], [219];
incident during a performance of Les Événements imprévus, in 1792, [219], [220];
retires temporarily from the Comédie-Italienne, [220];
returns to the stage, [220];
her joy at the Restoration, [220];
her audience of Louis XVIII. at Saint-Ouen, [221];
her affection for her son Gustave, [221];
her death, [221]
E
Edwards, Mr. Sutherland (cited), [37] note, [145]
Électre, Lemoine’s, [285]
Elliot, Mrs., [219]
Embarrass des richesses, l’, Madame Saint-Huberty’s success in, [288] and note;
its ridiculous libretto, [288], [289]
Énée et Lavinie, Sophie Arnould’s appearance in, [15], [16]
Espion Anglais, l’, (cited) [20]
Euthyme et Lyris, Sophie Arnould’s appearance in, [75]
Étioles, Alexandrine d’, [10]
F
Fausse Lord, le, incident during a performance of, [302] note
Favart, Charles Simon (cited), [37] note
Favart, Justine, gives lessons to Madame Dugazon, [190]
Fleury, not indifferent to the charms of Mlle. Contat, [245];
attempts to pacify her creditors, [245];
always her faithful and devoted friend, [246];
his masterly impersonation of Frederick the Great in Les Deux Pages, [249] and note;
arrested and imprisoned in the Madelonettes, [184];
saved by Labussière, [184-186];
plays with Mlle. Contat at Bordeaux, [254];
(cited), [134], [158], [182], [184], [225], [227], [236], [237], [238], [249] note, [259-261]
Fontenelle, [4], [15] and note
Forbes, Lord, [25]
Fouché, [337]
Fouquier-Tinville, [184], [185]
Fragonard (painter) plays a practical joke on Mlle. Guimard, [119]
Francœur (musician), [59], [138]
Frederick the Great, [179], [248], [249]
Fréron, [14], [230]
Fronsac, Duc de, [21], [232]
G
Gaboriau Émile, (cited) [114], [148], [198], [232], [282], [288], [303], [308]
Gaillard, Gabriel Henri, his report to the Government on Beaumarchais’s Mariage de Figaro, [233], [234]
Garrick, David, anecdote of, [230] note
Gauthier-Villars, M., [80]
Gavaudan, Mlle. (singer), [316]
Geoffrin, Madame, [111]
Geoffroy (critic), his criticisms of Mlle. Contat’s acting, [258]
Gluck, invited to Paris by Marie Antoinette, [57];
chooses Sophie Arnould for the name-part in Iphigénie en Aulide, [57];
difficulties with which he has to contend, [57-62];
his quaint behaviour at rehearsals, [62], [63];
refuses to consent to a postponement of Iphigénie, [63];
success of his opera, [66];
adapts Orfeo for the Paris stage, [66];
his quarrel with the Prince d’Hénin at Sophie Arnould’s house, [66-68];
production of his Orphée, [68];
failure of his Cythère assiégée, [68], [69];
gives lessons in singing to Rosalie Levasseur, [70];
chooses her for the part of Alceste in preference to Sophie Arnould, [71], [72];
is “the musician of the soul,” [73];
attacked in Le Nouveau Spectateur, [75];
disgraceful treatment of Sophie Arnould by his supporters, [75], [76];
his tribute to Sophie Arnould’s talent, [96];
his prediction concerning Madame Saint-Huberty, [266];
gives her lessons, [274], [275] and note;
obtains a post for her husband, [276];
his contest with Piccini, [295], [296]
Goncourt, Edmond and Jules de, (cited) [18], [60]
Grétry (composer), [197], [198], [288];
(cited) [59], [60], [208]
Greuze (painter), his portrait of Sophie Arnould, [19]
Guadagni (singer), [66]
Grimm (cited), [43], [44], [65], [68], [114], [123], [148], [149], [152] and note, [154], [161], [163], [164], [173], [180], [209], [210], [213], [229], [302] and note, [304]
Guéménée, Prince de, [130], [131]
Guichard, lampoons Sophie Arnould, [71], [72]
Guimard, Fabien (father of Mlle. Guimard), [101], [102]
Guimard, Marie Madeleine, birth and parentage, [101], [112];
education, [103];
joins the corps de ballet of the Comédie-Française, [103];
her liaison with the dancer Léger, [104], [105];
and with the financier Bertin, [105];
makes her début at the Opera, [105];
her success in Castor et Pollux, [105], [106];
growing in favour, [106];
her dancing “the poetry of motion,” [106], [107];
her personal appearance, [107], [108];
her adorers, [108];
her liaison with La Borde, [108], [109];
marriage of her daughter by him, [109], [110];
accepts the “protection” of the Prince de Soubise, [110];
unrivalled in magnificence, [110], [111];
her appearance at Longchamps, [111];
her suppers, [111];
her theatre at Pantin, [112], [113];
Jarente, Bishop of Orléans, becomes her lover, [113];
and allows her to control the feuille des bénéfices, [114];
her generosity, [114-116];
her hôtel in the Chaussée d’Antin, [116-118];
befriends Jacques Louis David, the painter, [118], [119];
Fragonard’s practical joke at her expense, [119];
inauguration of her private theatre in the Chaussée d’Antin, [119];
compelled to give La Borde his congé, [120], [121];
fête at her hôtel forbidden by Louis XVI., [121], [122];
her triumph in La Chercheuse d’esprit, [123];
and in Ninette à la Cour, [124];
other successes, [124];
Dorat’s verses to her, [124], [125];
the cause of much trouble to the administration of the Opera, [125-128];
receives a pension, [128];
has a narrow escape of her life, [128];
in the fire at the Opera-House in the Haymarket, [129];
has her arm broken, [129];
resigns the pension allowed her by the Prince de Soubise, [129-131];
disposes of her hôtel in the Chaussée-d’Antin by lottery, [132], [133];
her visits to England, [134], [135];
caricature of her, [136];
marries Jean Étienne Despréaux, [136-138];
loses her pensions during the Revolution, [138];
goes to live at Montmartre, [138], [139];
her charms celebrated by her husband in verse, [139];
her last performance, [145];
her “theatre,” [140], [141];
her death, [141]
Guimard, Marie Madeleine the younger, her birth, [109];
acknowledged by her parents, [109];
her marriage, [109], [110];
her mother’s grief at her death, [110]
H
Hawkins, Mr. Frederick (cited), [145] note, [258] note
Hebditch, David, his evidence at the inquest on the Comte and Comtesse d’Antraigues, [320-341]
Heinel, Mlle. (danseuse), her début at the Opera, [43];
Grimm’s enthusiasm for her, [44];
her visit to England, [44] note;
mistress of the Comte de Lauraguais, [45]
Henriette, Mlle. Raucourt’s, [178-181]
Henry of Prussia, Prince, Mlle. Contat’s adventure with him, [246-248]
Hitchin, William, his evidence at the inquest on the Comte and Comtesse d’Antraigues, [341], [342]
Holbach, Baron d’, [96]
Huet (actor), harangues Louis XVIII. on the day of Mlle. Raucourt’s funeral, [192]
Hus, Mlle., [38]
Hénin, Prince d’, becomes amant en titre to Sophie Arnould, [46];
bores her insufferably, [54];
a victim of the “inextinguishable humour” of the Comte de Lauraguais, [54], [55];
his quarrel with Gluck at Sophie Arnould’s house, [66-67];
compelled to apologise to the composer, [67], [68];
threatens the directors of the Opera with corporal punishment, [72];
guillotined, [89];
one of Mlle. Raucourt’s warmest partisans, [171];
deserts Sophie Arnould for her, [177], [178];
assists her to outwit her creditors, [178];
bitterly attacked in La Vision du prophète Daniel, [176]
I
Iphigénie en Aulide, Gluck’s, [57], [58], [62-66], [68], [69], [73] and note, [76], [96]
Iphigénie en Tauride, Piccini’s, [32], [284] and note, [296]
J
Jal, Auguste (cited), [145], [226]
Jarente, Bishop of Orléans, his liaison with Mlle. Guimard, [33], [113], [114]
Jéliotte (singer), [6]
Joly, Mlle., [187]
Joly de Fleury (advocate-general), his dispute with the Comte de Lauraguais, [40], [41]
Journal de Paris, le (cited), [171], [259], [286]
Jullien, M. Adolphe (cited), [308], [309] note, [343]
L
La Borde, Jean Benjamin de, makes alterations in the music of Amadis de Gaule, [53] note;
lover of Mlle. Guimard, [109];
his character, [109];
his Pensées et Maximes, [109] note;
his daughter by her, [109];
supplanted as titular protector by the Prince de Soubise, [110];
but remains her amant de cœur, [110];
given his congé, [120], [121];
goes to visit Voltaire, 121
Labussière, Charles de, destroys the accusatory documents relating to the imprisoned actors of the Comédie-Française, [184-186]
La Ferté (Intendant of the Menus Plaisirs), [127], [132], [291], [292], [300], [305], [306], [312], [313], [324], [325]
Laguerre, Mlle., her liaison with the Duc de Bouillon, 32 and [320];
Sophie Arnould’s bons mots about her, [32]
La Harpe (cited), [76] note, [163], [168], [173], [174], [180]
Lalande (composer), [7]
Langeac, Marquis de, lover of Madame Dugazon, [204];
his affray with her husband, [204], [205]
Larive (actor), [187]
Larrivée (singer), [61], [70], [275]
La Tour (painter), his portrait of Sophie Arnould, [19]
Lau, Comtesse de, [133]
Lauraguais, Comte de, takes up his residence, under an assumed character, at the Arnoulds’ hôtel, [21], [22];
elopes with Sophie Arnould, [23];
his letter to her parents, [24];
his eccentric character, [24], [25];
anecdotes about him, [25-27];
his liaison with Sophie Arnould, [28], [29];
discarded by her, [35], [36];
her letter to him, [36], [37];
resumption of their relations, [39], [40];
his Mémoire sur l’inoculation, [40], [41];
imprisoned at Metz, [41], [42];
his release procured by Sophie Arnould, [42];
separated from his wife, [42], [43];
indulging in “passades,” [43];
purchases the favours of Mlle. Heinel, [45];
“a charming instance of his inextinguishable humour,” [52-54];
in exile, [89];
Sophie Arnould’s letter to him, in 1797, [92], [93];
befriends her in her poverty and old age, [93]
La Vauguyon, Duc de, Sophie Arnould’s bon mot about him, [33], [34]
La Vrilliére, Duc de, [37], [62]
Lebrun: see Vigée Lebrun
Le Doux (architect), [119]
Legouvé, Ernest, [187]; (cited) [257] note
Legros (singer), [61], [63], [68], [71], [74], [275]
Le Maure, Mlle, (singer), [17] and note
Lemercier, [257] and note
Lemierre, [257]
Lemoine (composer), his kindness to Madame Saint-Huberty when a child, [267], [268];
her efforts on behalf of his Électre, [285];
his Phèdre given precedence over Sacchini’s Œdipe, [310];
ruse by which its success is secured, [311]
Levacher de Charnois, (cited) [286]
Levasseur, Rosalie, a bitter rival of Sophie Arnould, [57];
infatuation of Mercy-Argenteau for her, [69], [70];
receives lessons from Gluck, [70];
persuades him to entrust her with the part of Alceste in preference to Sophie Arnould, [70], [71];
causes a disgraceful lampoon to be circulated about Sophie, [71], [72];
attacked in Le Nouveau Spectateur, [74];
not satisfactory as Armide in Sacchini’s Renaud, [289];
her talent on the wane, [291];
doubles Madame Saint-Huberty as Armide, [317]
Ligne, Prince de, a visitor at Sophie Arnould’s house, [79];
secures the release of Mlle. Raucourt from For l’Évéque, [166]
Louis XIV., his gastronomic feats, [30], [31] and note
Louis XV., satirised by the Comte de Lauraguais in La Cour du Roi Pétaud, [25], [26] and note;
fears Sophie Arnould’s wit, [31];
regards Lauraguais as a public nuisance, [41];
admires Sophie Arnould’s singing in Dardanus, [42];
compliments and rewards Mlle. Raucourt, [151];
reported to have enjoyed that lady’s favours, [159]
Louis XVI., attends the first performance of Iphigénie en Aulide, [64];
forbids a fête at Mlle. Guimard’s hôtel, [122];
amused by Despréaux’s parody of Ernelinde, [122];
“led by the nose” by Marie Antoinette, [168];
orders Dugazon to insult the Queen at an Opera-ball, [201];
pronounces the Mariage de Figaro “detestable” and “unactable,” [230];
forbids its performance at the Théâtre des Menus-Plaisirs, [232];
causes six censors to be appointed to examine it, [237];
delighted with Piccini’s Didon, [300]
Louis XVIII., gives audience to Madame Dugazon at Saint-Ouen, [218]
Lourdet de Sans-Terre, extraordinary anachronisms committed by him in the libretto of l’Embarras des richesses, [288], [289]
Lubomirska, Princess, befriends Madame Saint-Huberty at Warsaw, [272], [274]
Lubsac, Chevalier de, first lover of Mlle. Contat, [240];
anecdote about him, [241], [242]
Lulli (composer), [15]
M
Maillard, Mlle., [305], [316]
Maisonneuve, [257]
Malézieux, Chevalier de, a suitor for Sophie Arnould’s hand, [12];
his pretensions encouraged by the Princess de Conti, [13];
offers to settle all his property on Sophie, [13];
takes to his bed on learning of her elopement with Lauraguais, [23]
Marat, [88] and note, [183]
Marais (inspector of police), [101], [103]
Marie Antoinette, Queen of France, invites Gluck to Paris, [57];
supports him against the rebellious artistes of the Opera, [63];
in great alarm for his success, [64];
attends the first performance of Iphigénie en Aulide, [64] and note;
commands the Prince d’Hénin to apologise to the composer, [67];
intervenes on behalf of Sophie Arnould, [75], [77];
Mlle. Raucourt presented to her, [151];
espouses the cause of this actress against her enemies, [171];
plays in Blaise et Babet at Trianon, [209];
incident during her last appearance at the play, [219];
supports Mlle. Vanhove against the Contats, [252];
Mlle. Contat’s attachment to her, [252], [253];
gives Lemoine’s Phèdre precedence over the Œdipe of Sacchini, [310]
Marie Leczinska, Queen of France, Sophie Arnould’s visit to her, [8], [9];
makes Sophie one of the singers of her chamber, [11]
Marivaux, [249]
Marmontel, a visitor at Sophie Arnould’s house, [79];
writes the libretto of Sylvain, [198];
secures a pension for Piccini, [298];
writes the libretto of Piccini’s Didon, [297];
Madame Saint-Huberty sings her part at his country-house, [297];
kneels at her feet after the first performance of Didon, [301];
writes the libretto of Pénélope, [309]
Maupeou, Marquis de, lover of Mlle. Contat, [242], [243], [246]
Marsollier (dramatist), [212], [217]
Mémoires secrets, les, (cited) [45], [54], [64], [75], [114] note, [121], [149], [163], [167], [178], [180], [181], [260], [290], [302]
Mercier (cited), [59]
Mercure de France, le (cited), [14], [15], [16], [53], [54] note, [65], [68], [105], [106], [123], [149], [163], [229] note, [275], [284], [288] note
Mercy-Argenteau, Comte de (Austrian Ambassador in Paris), his infatuation for Rosalie Levasseur, [69], [70];
persuades Gluck to give her lessons in singing, [70];
and the part of Alceste in preference to Sophie Arnould, [71]
Merlin de Douai, [188]
Mesmer fails to cure Sophie Arnould’s dog, [79], [80]
Métra, [319];
(cited) [65], [301], [320]
Mirabeau, [321]
Miromesnil, M. de, his wager with the Comte de Vaudreuil, [230] note
Molé (actor), [183]
Molière, [182], [249]
Moreau le jeune (painter), [286], [299], [300]
Mouret (composer), [14]
N
Napoleon I., Emperor, sends Mlle. Raucourt to Italy with a troupe of French players, [190];
an admirer of Mlle. Contat’s acting, [258];
attends her benefit performance, [259];
verses incorrectly ascribed to him, [308]
Neufchâteau, François de, gives Sophie Arnould a pension, [92];
resigns his post as Minister of the Interior, [93];
the production of his Paméla causes the arrest of the players of the Comédie-Française, [183];
persuades the Consular Government to reorganise the Comédie-Française, [189]
Nina, ou la Folle par amour, Madame Dugazon’s success in, [211-214], [216]
Ninette à la Cour, [124], [285]
Nivelon (dancer), [128] note, [311]
Noverre (cited), [108]
O
Œdipe, Sacchini’s, [310]
Orphée et Eurydice, Gluck’s, [66], [68]
P
Pallisot, his Courtisanes, [228], [229]
Parny, Paul de Forges, marries Mlle. Contat, [258]
Pénélope, Piccini’s, Madame Saint-Huberty’s success in, [309]
Pergolese, his Serva Padrona performed in Paris, [58]
Perregaux (banker), becomes the owner of Mlle. Guimard’s hôtel in the Chaussée d’Antin, [133];
her letters to him from London, [134], [135]
Phèdre, Lemoine’s, secured, by Madame Saint-Huberty, precedence over Sacchini’s Œdipe, [310];
ruse by which its success is assured, [311]
Phèdre, Racine’s, Mlle. Raucourt’s hostile reception in, [172-174]
Piccini, production of his Roland, [283], [284];
his gratitude to Madame Saint-Huberty, [284];
saves her from being expelled from the Opera, [287];
his contest with Gluck, [295], [296];
receives a pension, [296];
agrees to compose his Didon, [296], [297];
its brilliant success, [300-305];
failure of his Pénélope, [309]
Pompadour, Madame de, Sophie Arnould’s visit to her, [9-11]
Portail, Madame, her conversation with Sophie Arnould, [28], [29]
Préville, superior to Dugazon as a comedian, [200];
adopts Louise Contat and trains her for the stage, [225];
secures her admission as a regular member of the Comédie-Française, [227];
anecdote about him and Garrick, [230] note;
plays Brid’oison in Mariage de Figaro, [239]
Provençale, la, Sophie Arnould’s success in, [15]
Pygmalion, Mlle. Raucourt’s success in, 163
Q
Quidor (inspector of police) pursues the dancer Nivelon to Belgium, [128] note;
ingenious ruse by which he secures the success of Lemoine’s Phèdre, [311]
R
Rameau (composer), [51]
Raucourt, François (father of Mlle. Raucourt), his unsuccessful début at the Comédie-Française, [146];
goes with his daughter to Spain, [146];
accompanies her to Paris, [147];
a jealous guardian of her honour, [154];
utters terrible threats against Voltaire, [157]
Raucourt, Mlle., birth and parentage, [145] note, [146];
goes to Spain with a French troupe, [146];
plays at Rouen, [146];
comes to Paris with her father, [147];
studies under Brizard and Mlle. Clairon, [147] and note;
astonishing success of her début in Le Franc de Pompignan’s Didon, [148], [149];
her talent greatly overrated, [150];
becomes the idol of the town, [150], [151];
plays before the Court at Versailles, [151];
presented by Madame du Barry with a robe de théâtre, [151];
frantic enthusiasm evoked by her acting, [152];
a cabal formed against her at the Comédie-Française, [152], [153];
her popularity enhanced by her reputation for virtue, [154-156];
her reputation attacked by Voltaire, [156-158];
his verses to her, [158];
her galanterie with the Duc d’Aiguillon, [159];
becomes the acknowledged mistress of the Marquis de Bièvre, [159];
leads a life of luxury and extravagance, [160];
her liaison with the Marquis de Villette, [160];
“astonishes Court and town by her irregularities,” [161];
loses her popularity, [161];
hissed when playing Hermione in Andromaque, [162];
accused of shameful vices, [162] and note, [163];
her success as the Statue in Pygmalion, [163];
intrigues against her at the theatre, [163];
swoons after meeting with a hostile reception in Britannicus, [164];
persecuted by her creditors, [164];
flies from Paris and goes into hiding, [164];
expelled from the Comédie-Française, [165];
her adventures with Madame Souck, [165], [166];
arrested, [166];
released through the intervention of the Prince de Ligne, [166], [167];
leaves France, [167];
recalled to Paris, [170];
befriended by Sophie Arnould, [170], [171];
reappears at the Comédie-Française in Didon, [171], [172];
meets with a violently hostile reception, [172];
disgracefully treated on her appearance in Phèdre, [172], [173];
declines to bow to the storm, [174];
her letter to the Journal de Paris, [175];
attacked in La Vision du prophète Daniel, [176], [177];
commits “an act of frightful ingratitude,” [177];
still in financial difficulties, [178];
her play Henriette produced at the Comédie-Française, [178-181];
her success in a masculine part in Le Jaloux, [181];
regaining her popularity, [181], [182];
sympathises with the Royal Family in the Revolution, [183];
arrested and imprisoned in Saint-Pélagie, [183];
saved from the guillotine by Labussière, [184-186];
takes the Théâtre de Louvois, [187];
her success in Legouvé’s Laurence, [187];
her theatre closed by the Directory, [188];
takes the Odéon, [188];
makes no secret of her monarchical sympathies, [189];
growing rich, [189], [190];
her “palace” in the Rue Royale, [190];
takes a French troupe to Italy, [190];
her last appearance, [190];
her death, [190];
scandalous scenes at her funeral, [190-193]
Renaud, Sacchini’s, [289]
Richelieu, Maréchal de, [156], [157]
Rochefort, Comte de, enriches Mlle. Guimard’s jewel-case, [108]
Roland, Piccini’s, [283]
Rousseau, Jean Jacques, [163], [321]
S
Sageret (theatrical manager) induces the members of the Comédie-Française to migrate to the Théâtre-Feydeau, [187];
brings the expelled members of the Théâtre de la République to the same theatre, [188];
takes over the Odéon from Mlle. Raucourt, [188];
goes bankrupt and disappears, [189]
Sacchini, Madame Saint-Huberty’s success in his Renaud, [289];
and in his Chimène, [308];
Lemoine’s Phèdre given precedence over his Œdipe à Colone, [310];
his death, [310]
Saint-Aubin (singer), object of a violent fancy on the part of Madame Saint-Huberty, [312], [313]
Saint-Aubin, Madame, [313]
Saint-Huberty, Claude Croisilles de, visits Strasburg, [268];
persuades Antoinette Clavel to accompany him to Berlin, [269];
and to marry him, [269], [270];
ill-treats and deserts her, [270];
persuades her to rejoin him at Warsaw, [271];
arrested at Berlin and thrown into prison, [271];
his release procured by his wife, [272];
decamps from Warsaw with all her belongings, [272];
persuades her to rejoin him in Vienna, [274];
deserts her for the third time, [274];
appointed wardrobe-keeper at the Paris Opera, [276];
persecutes and robs his wife, [276];
her complaint to the Châtelet against him, [277];
his outrageous treatment of her, [278], [279];
lays claim to her professional earnings through fictitious creditors, [279], [280];
his marriage with her dissolved, [281]
Saint-Huberty, Madame, Gluck’s prediction concerning her, [265], [266];
her birth and parentage, [267];
her early years at Strasburg, [267];
Lemoine’s kindness to her, [267], [268];
meets Saint-Huberty, [268], [269];
accompanies him to Berlin, [269];
marries him, [270];
ill-treated and deserted by him, [270];
rejoins him at Warsaw, [271];
her success in Zémor et Azor, [271];
procures her husband’s release from prison, [272];
deserted and robbed by him, [272];
befriended by the Princess Lubomirska, [272];
obtains a separation from her husband in respect of property, [273];
rejoins him in Vienna, [274];
deserted by him for the third time, [274];
obtains an ordre de début at the Paris Opera, [275];
receives lessons from Gluck, [274], [275] and note;
makes her début, [275];
persecuted and robbed by her husband, [276];
lodges a complaint against him before the Châtelet, [277], [278];
shamefully ill-treated by him, [278], [279];
her professional earnings claimed by him through fictitious creditors, [280];
obtains judgment in her favour, [280];
and a dissolution of her marriage, [281];
steadily making her way to the front, [281], [282];
becomes a permanent member of the Opera, [283];
her triumph as Angélique in Piccini’s Roland, [283], [284];
further successes, [284];
her efforts on behalf of Lemoine’s Électre, [285];
endeavours to promote the reform of theatrical costumes, [286];
her success in Ariane dans l’Île de Naxos, [287];
saved by Piccini from being expelled from the Opera, [287];
her success in Grétry’s l’Embarras des richesses, [288], [289];
and in Sacchini’s Renaud, [289];
her personal appearance, [289], [290];
“effects a well-nigh physical transformation on the stage,” [290];
her dispute with the authorities of the Opera over her salary and privileges, [290-294];
all her demands conceded, [294];
sings her part in Piccini’s Didon at Marmontel’s country-house, [297];
goes on a provincial tour, [297];
modesty not one of her failings, [298];
insists on a radical change in costume, [299], [300];
her brilliant triumph in Didon, [300-306];
extraordinary enthusiasm aroused by her in the provinces, [306];
her receptions at Marseilles, Toulouse, and Strasburg, [306-308];
fresh successes in Paris, [308], [309];
obtains precedence for Lemoine’s Phèdre over the Œdipe of Sacchini, [310], [311];
her character less agreeable than her talent, [311], [312];
her passion for the tenor Saint-Aubin, [312], [313];
her arrogance and capriciousness, [313-315];
goes to Strasburg without permission, [315];
encourages the younger members of the Opera in insubordination, [317-319];
her disputes with the administration over her costumes, [317-319];
her private life comparatively free from scandal, [319], [320];
her relations with the Comte d’Antraigues, [320-323];
her charming letter to him, [323], [324];
her health undermined by her exertions, [324], [325];
leaves Paris and joins the Comte d’Antraigues in Switzerland, [326];
secretly married to him, [326], [327];
bears him a son, [327];
acknowledged as his wife by the count, [328];
assists him to escape from Milan, [329];
receives the Order of Saint-Michel from the Comte de Provence, [329], [330];
and a pension from the Emperor of Austria, [330] note;
accompanies her husband to England, [330];
assassinated with him by their servant Lorenzo, [331-343];
“the greatest lyric tragédienne whom France has ever possessed,” [343]
Sainval, Mlle. the elder, intrigues against Mlle. Raucourt, [153];
her quarrel with Madame Vestris, [167], [168];
insults the Duc de Duras, [168], [169];
expelled from the Comédie-Française and exiled, [169];
indignation which her punishment arouses, [169];
received in the provinces with frantic enthusiasm, [169];
believed to be responsible for the hostile demonstrations against Mlle. Raucourt, [174];
her bon mot about Mlle. Raucourt, [181]
Sainval, Mlle. the younger, takes the place of Mlle. Raucourt at the Comédie-Française, [165];
adversely criticised, [165] note;
scene during her impersonation of Aménaïde in Tancrède, [169]
Sedaine, [217]
Salieri, his Danaïdes, [309]
Sully, Duc de, Sophie Arnould’s bon mot about him and Choiseul, [34]
Soubise, Prince de, amant en titre of Mlle. Guimard, [110];
his predilection for the ladies of the Opera, [110];
his liberality, [110];
gives Mlle. Guimard a New Year’s gift of 6000 livres, [114];
compels her to give La Borde his congé, [120], [121];
replaces her by Mlle. Zacharie, [129], [130];
the pensions which he allows her and other danseuses resigned by them, [130], [131]
T
Talma sympathises with the Revolution, [182];
withdraws from the Comédie-Française and founds the Théâtre de la République, [182];
joins the Théâtre-Feydeau on the closing of his own theatre, [188]
Talma, Madame, [251]
Tancrède, incident during a performance of, [169]
Taravel (painter), [117]
Terrai, Abbé, Sophie Arnould’s bon mot about him, [34]
V
Vallayer Coster, Madame, her portrait of Madame Saint-Huberty, [290]
Vandreuil, Comte de (dancer), his wager with M. de Miromesnil, [230] note;
his efforts on behalf of the Mariage de Figaro, [230], [231], [232]
Vestris, Auguste (dancer), [126]
Vestris Gaetano (dancer), [61], [62]
Vestris, Madame, disobliges Mlle. Clairon, [147] note;
organises a cabal against Mlle. Raucourt, [153];
her quarrel with Mlle. Sainval the elder, [167-170];
urges the reinstatement of Mlle. Raucourt at the Comédie-Française, [170];
attacked in La Vision du prophète Daniel, [176]
Vision du prophète Daniel, la, satire on Mlle. Raucourt and her friends, [176], [177]
Vigée Lebrun, Madame (cited), [208], [220], [235]
Voisenon, Abbé de, [41]
Voltaire, a friend of Madame Arnould, [4];
his letter to Sophie Arnould, [5], [6];
visited by Lauraguais at Ferney, [35];
his pretended admiration of Lauraguais’s Clytemnestre, [35] note;
visits Sophie Arnould, [79];
Madame du Barry’s message to him, [121];
besmirches the spotless reputation of Mlle. Raucourt’s [156-158];
pours the balm of his flattery upon the wound he has inflicted, [158]
W
Wallace Collection, the, [19]
Walpole, Horace (cited), [44] note, [117] note
X
Ximenès, Marquis de, [157]
Z
Zacharie, Mlle. (danseuse), replaces Mlle. Guimard in the affections of the Prince de Soubise, [129], [130]
Printed by Ballantyne & Co. Limited
Tavistock Street, London
PIQUANT MEMOIRS OF
18TH CENTURY FRANCE
QUEENS OF THE
FRENCH STAGE
By H. NOEL WILLIAMS
Illustrated by Portraits, etc. 10s. 6d. net
(post free 11s.)
“Mr. Williams knows how to spread a full table for the cultured and romantic appetite. One has only to recall his ‘Madame de Montespan’ and ‘Madame Pompadour’ to be sure that ‘Queens of the French Stage’ will be full of good things. He infuses a vivid and brilliant interest into names and careers which, to the majority of us, are vague outlines of shadowy association. As illustrations to the social history of France, they perform an invaluable and delightful service, and they have just the rare and susceptible touch which gives work of this kind its crowning finish and charm.”
Pall Mall Gazette.