Part 24

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