INDEX

A, B, C, D, E, F, G, H, I, J, L, M, N, O, P, Q, R, S, T, V, W, X, Z

A Adèle de Ponthieu, incident during a representation of, 69 Aiguillon, Duc d’, his galanterie with Mlle. Raucourt, 159 Alceste, Gluck’s, 69-75, 78 Alembert, d’, 4, 79, 96, 159 Alexis et Justine, Madame Dugazon’s appearance in, 210 Allard, Mlle, (danseuse), 105, 265 Alleaume (notary), Sophie Arnould’s letters to him, 80-82 Alopeus (Swedish Minister in London), 330 Amelot (Minister of the King’s Household), 292, 294, 300, 305, 312, 313, 315, 322 Amis des Lois, les, scene during the performance of, 183 Amours des Dieux, les, Sophie Arnould’s appearance in, 15 Antraigues, Comte d’, his ancestry, 320; his early life, 321; his political writings, 321; changes his politics, 321; his relations with Madame Saint-Huberty, 322; his letter to her, 322; takes refuge in Switzerland, 326; joined by Madame Saint-Huberty, 326; marries her secretly, 327; an active agent of the counter-revolution, 328 and note; arrested at Trieste, 328; escapes from Milan, 329; establishes himself with his wife in England, 330; employed by the Foreign Office, 330; assassinated, with his wife, by their Piedmontese servant, Lorenzo, 331-337; inquest upon, 337-343 Antraigues, Comtesse: d’, see Saint-Huberty, Madame Ariane dans l’Île de Naxos, Madame Saint-Huberty’s appearance in, 286, 287, 299, 300 Armide, Gluck’s, 107, 266, 275, 313, 317 Arnaud, Abbé, 46 Arnault, 257 Arnould (daughter of Sophie Arnould), Alexandrine Sophie, birth, 43; marries André de Murville, 82, 83; her character, 83 and note; ill-treated by her husband, 83, 84; wishes to join the Opera, 84; divorces her husband and marries again, 89 Arnould, Jean (father of Sophie Arnould), a worthy man, 4; declines to force his daughter to marry M. de Malézieux, 13; in financial straits, 21; takes the Hôtel de Lisieux, 21; deceived by the Comte de Lauraguais, 21-23; reconciled to his daughter after her elopement, 24 Arnould, Madame (mother of Sophie Arnould), affects literary society, 4; takes her daughter to visit Madame de Pompadour, 9; dreads Sophie joining the Opera, 11; favours the suit of the Chevalier de Malézieux, 13; sends Sophie to take lessons from Mlles. Fel and Clairon, 18; a vigilant guardian, 20, 21; deceived by the Comte de Lauraguais, 21-23; in despair at her daughter’s elopement, 23; reconciled to her dishonour, 24 Arnould, Sophie, birth and parentage, 3 and note, 4; education, 4; taken by the Princesse de Conti to live with her, 5; sings in the choir of the Ursulines of Saint-Denis, 5; receives a letter from Voltaire, 5, 6; sings at the Abbey of Panthémont, 7; visits Marie Leczinska, 8, 9; and Madame de Pompadour, 9-11; appointed a singer of the Queen’s Chamber, 11; ordered to join the Opera, 11; receives an offer of marriage from the Chevalier de Malézieux, 12-14; her début at the Opera, 12-14; her success in La Provençale, 15; in Énée et Lavinie, 15, 16; and in Les Fêtes de Paphos, 16, 17; her voice, 17, 18; her acting, 18; her personal appearance, 19 and note, 20; surrounded by soupirants, 20, 21; her elopement with the Comte de Lauraguais, 21-24; her liaison with him, 28, 29; the idol of the public, 30; her wit, 30-34; leaves Lauraguais, 35-37; “comes to an arrangement” with the financier Bertin, 37, 38; bestowing her favours freely, 38; discards Bertin and returns to Lauraguais, 39; stormy character of their relations, 40; procures Lauraguais’s release from prison, 43; has a daughter by him, 43; supplanted in his affections by Mlle. Heinel, 45; receiving great attention from the Prince de Conti, 45 and note; leading an unedifying life, 46; accepts the “protection” of the Prince d’Hénin, 46, 47; her projected hôtel in the Chaussée-d’Antin, 47; falls in love with the architect Belanger, 47, 48; insults the Lieutenant of Police, 49; behaves with “unexampled audacity” towards Madame du Barry, 49 and note; her caprices a source of much tribulation to the administration of the Opera, 49-52; her triumphs as a singer, 53, 54; insufferably bored by the Prince d’Hénin, 54, 55; wishes to retire from the Opera, 56; her vocal powers and popularity declining, 56, 57; chosen by Gluck for the name-part in Iphigénie en Aulide, 57; claims the right to take liberties with the time when singing, 59-61; her success in Iphigénie en Aulide, 65; quarrel between Gluck and the Prince d’Hénin at her house, 66; her performance in Orphée, 68; shocks the audience during a performance of Adèle de Ponthieu, 69; passed over by Gluck in favour of Rosalie Levasseur, 70-72; believed to have joined a cabal to ensure the failure of Alceste, 72, 73; her letter to the Nouveau Spectateur, 73, 74; the object of hostile demonstration at the Opera, 75, 76; interference of Marie Antoinette in her favour, 75, 76; refuses to bow to the storm, 77; insulted in the garden of the Palais-Royal, 77, 78; retires from the stage, 78; her house a rendezvous for men of letters, 78; Voltaire’s visit to her, 79; failure of Mesmer to cure her dog, 79, 80; her letters to the notary Alleaume, 81, 82; marriage of her daughter Alexandrine, 82, 83; goes to live at Clichy-la-Garenne, 83; her life there, 84, 85; in financial difficulties, 85; declines to prosecute a burglar, 85, 86; attack of Champcenetz upon her in La Chronique scandaleuse, 86, 87; removes from Clichy to Luzarches, 87; her description of her new home, 87; receives a domiciliary visit from the local revolutionary committee, 87, 88 and note; her bon mot on the occasion of her daughter’s second marriage, 89; becoming poorer and poorer, 89, 90; befriended by Belanger, 90; her letter to him, 90, 91; returns to Paris, 91; her letter to Lauraguais, 92, 93; her generosity the cause of her poverty, 93; her letter to Lucien Bonaparte, 94, 95; in a pitiable condition, 95; Belanger’s letter to Lucien Bonaparte on her behalf, 96, 97; her death, 97; her kindness to Mlle. Raucourt, 170, 171; deserted by the Prince d’Hénin for that actress, 177 Artois, Comte d’, casts a “benevolent glance” on Sophie Arnould, 69; credited with a desire to participate in the favours of Mlle. Raucourt, 177; witnesses the performance of the Mariage de Figaro, at Gennevilliers, 235; become the amant en titre of Mlle. Contat, 243; indulges in a practical joke at her expense, 244; obtains for her an authorisation to play biribi at her house, 244; refuses to recognise his daughter by her, 245; sends her three thousand louis to pay her debts, 246 Ashton, Elizabeth, her evidence at the inquest upon the Comte and Comtesse d’Antraigues, 339 Atys, Piccini’s, 288, 313 B Bachaumont, 319; (cited) 49 note, 52, 53, 111 Bajazet, Mlle. Contat’s appearance in, 226 Balbatri (musician), 6 Ball, Matthew (surgeon), his evidence at the inquest on the Comte and Comtesse d’Antraigues, 342, 343 Barbier de Seville, Beaumarchais’s, 188, 231 Beaumarchais, a visitor at Sophie Arnould’s house, 79; his manœuvres to stimulate public interest in his Mariage de Figaro, 230; enables the Comte de Vaudreuil to win a wager, 230 note; chooses Mlle. Contat for the part of Suzanne, 231; performance of his Mariage de Figaro at Théâtre des Menus-Plaisirs forbidden by Louis XVI.; his diplomacy, 233; his play performed at Gennevilliers, 235; reads it to an audience selected by the Baron de Breteuil, 236, 237; production of the Mariage de Figaro at Comédie-Française, 237-240 Beaumesnil, Mlle, (singer), 33, 52 Beaumesnil, Christophe de (Archbishop of Paris) objects to the opening of Mlle. Guimard’s private theatre in the Chaussée-d’Antin, 121; persuades Louis XVI. to forbid a fête at her hôtel, 121, 122 Beauvau, Princesse de, 152 note, 157 Bélanger (architect), designs an hôtel for Sophie Arnould in the Chaussée-d’Antin, 47; becomes her amant de cœur, 48; his practical joke at the expense of the actor Florence, 48; wishful to marry Sophie, 48; narrowly escapes the guillotine, 89; marries Mlle. Dervieux of the Opera, 89; his kindness to Sophie Arnould during her last years, 90; her letters to him, 90, 91; his letter to Lucien Bonaparte on her behalf, 96, 97 Bernis, Abbé (afterwards Cardinal) de, 4 Bernard, Marie Anne (mother of Mlle. Guimard), 101, 102, 104, 105. Bertin (farmer-general) “comes to an arrangement” with Sophie Arnould, 37; presents her to his friends, 38; his generosity powerless to gain her affection, 38; discarded by Sophie, 39; indemnified by the Comte de Lauraguais, 39; furnishes a handsome apartment for Mlle. Guimard, 105; supplanted in her affections by M. de Boutourlin, 108 Berton (director of the Opera), 53 note Bièvre, Marquis de, first amant en titre of Mlle. Raucourt, 159 and note, 160 Billington, Miss (singer), 213 Black, Susannah, her evidence at the inquest on the Comte and Comtesse d’Antraigues, 337-339 Blaise et Babet, Madame Dugazon’s performance in, 209, 210; played at Trianon by Marie Antoinette and her friends, 209, 210 Boïeldieu (cited), 208 Bompas, commits a burglary at Sophie Arnould’s house at Clichy, 85; pardoned by her, 86 Bonaparte, Lucien, Sophie Arnould’s letter to him, 94, 95; promises her a benefit performance at the Opera, 95; Belanger’s letter to him on her behalf, 96, 97 Boucher (painter), 10 Boudreau (financier), lover of Madame Dugazon, 205, 206 Boufflers, Chevalier de, 53 note Bouillon, Duc de, 32, 320 note Bouilly, 217, 221, (cited) 207, 212 Bourbon, Duc de, his offer to Mlle. Raucourt, 156 Boutin (financier), lends money to Sophie Arnould, 85 Boutourilin, M. de, lover of Mlle. Guimard, 108 Boynes (Minister of Marine), Sophie Arnould’s bon mot at his expense, 34 Brancas, Constant de (son of Sophie Arnould and Comte de Lauraguais), 91 Brizard (actor), trains Mlle. Raucourt for the stage, 147 and note; his speech on the evening of her début at the Comédie-Française, 148; attacked by the enemies of the actress, 176 Breteuil, Baron de, opposed to the production of Beaumarchais’s Mariage de Figaro, 235; his opposition overcome by Beaumarchais’s tact, 235, 236; engages Piccini to come to Paris, 295 Burney, Dr. (cited), 44 note C Cabanis (physician), 323 Camille, ou le souterrain, Madame Dugazon’s success in, 216 Campan, Madame (cited), 168 Campardon, Émile (cited), 101, 109, 124, 208, 210, 212 Canning, George, 331 Caprices de Galathée, les, Mlle. Guimard’s triumph in, 124 Castil-Blaze (cited), 3 note, 91, 304 Castor et Pollux, Rameau’s, 33, 51, 52 Cazes, M. de, lover of Madame Dugazon; compelled by Dugazon to surrender his wife’s letters and portrait, 202, 203; caned by Dugazon at the Comédie-Italienne, 203, 204 Champcenetz, his attack on Sophie Arnould in La Chronique scandaleuse, 86 Champfort, 236 Chasse (singer), 6 Chartres, Duc de, 64, 120 Chartres, Duchesse de, 64 Chesterfield, Earl of, 67 Chevalier, Mlle. (singer), 6 Chimène, Sacchini’s, 308 Choiseul, Duc de, Sophie Arnould’s bon mot about him, 34; releases Lauraguais from prison on her petition, 42 Choiseul-Praslin, Duc de, 34 Clairon, Mlle., gives Sophie Arnould lessons in acting, 18; her pension compared with that of Sophie Arnould, 78 trains Mlle. Raucourt for the stage, 147 and note Clytemnestre, Comte de Lauraguais’s, 35 note Cléophile, Mlle., 160 Colasse (composer), 15 note Collé, 112, 120, (cited) 17, 24, 26 note Collette, Mlle., 108 Contat, Amalrie (daughter of Louise Contat and the Comte d’Artois), 245, 261 Contat, Émilie, 252 Contat, Louise, her parentage, 225 and note; adopted and trained for the stage by the Prévilles, 225; her début at the Comédie-Française, 226; her success in comedy, 226; cabal formed against her at the theatre, 226, 227; her success as Rosalie in Les Courtisanes, 228, 229; and as Sophie in Le vieux garçon, 229, 230; chosen by Beaumarchais for the part of Suzanne in his Mariage de Figaro, 231; her triumph in this part, 239, 240; her personal appearance, 240; her liaison with the Chevalier de Lubsac, 240-242; rejects the advances of a wealthy financier, 242; squandering the patrimony of the Marquis de Maupeou, 242, 243; discards him in favour of the Comte d’Artois, 243; her ruse to stimulate the latter’s generosity, 243, 244; authorised to play biribi at her house, 244; has a daughter, 245; abandoned by the Comte d’Artois, 245; her relations with Desentelles and the actor Fleury, 245; in financial difficulties, 245, 246; adventure with Prince Henry of Prussia, 246-248; her success in Les Deux Pages, 248, 249; inimitable in high comedy, 249, 250; her triumphs in the provinces, 250; verses addressed to her by a blind admirer, 251; her imperious character, 251; her quarrel with Alexandre Duval, 251; unable to endure a rival on the stage, 251, 252; her efforts on behalf of her sister Émilie Contat, 282; her attachment to Marie Antoinette, 252, 253; escapes the guillotine, 283; enthusiasm aroused by her at Bordeaux, 253, 254; her popularity in society, 254, 255; her qualities as an hostess, 255; her wit, 255, 256; her magnanimity, 256; her attraction for men of letters, 256-258; Napoleon an admirer of her acting, 258; her marriage, 258; her last appearance, 258, 259; her illness and death, 259-261; her daughter Amalrie Contat, 261 Conti, Prince de, pays assiduous attentions to Sophie Arnould, 43; invites her to his box at the Opera, 45; “wishes her to be entirely his own,” 45 note; gives her a pension, 80 note Conti, Princesse de, takes Sophie Arnould to live with her, 5; suggests that she shall sing at the Abbey of Panthémont in Holy Week, 7; embarrassed by Madame de Pompadour’s desire to see Sophie, 9; endeavours to conceal Sophie in a convent, 11, 12; encourages the suit of the Chevalier de Malézieux, 12, 13 Cour du Roi Pétaud, la, Comte de Lauraguais, 25, 26 and note Courtisanes, les, anecdote about its rejection by the Comédie-Française, 228, 229; Mlle. Contat’s performance in, 229 Crébillon fils, 46 D Dalayrac (composer), 210, 211, 212, 213, 217 Danaïdes, Salieri’s, 308, 309 Dangeville, Mlle., 226, 239 Dardanus, Sophie Arnould’s performance in, 42, 50, 51 Dauberval (dancer), one of the lovers of Mlle. Guimard, 113 note Dauvergne (director of the Opera), 126, 127, 311, 313, 315, 318, 322, 324, 325 David, Jaques Louis (painter), Mlle. Guimard’s kindness to him, 118, 119 Dervieux, Mlle., 90, 116, 121 Desentelles (Intendant of the Menus-Plaisirs), 245 Des Essarts (actor), 183 Desfaucherets, 257 Despréaux, Jean Étienne, his parody of Ernelinde performed at Mlle. Guimard’s hôtel in the Chaussée-d’Antin, 122; and before the Court at Choisy, 122; 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

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Typographical errors corrected by the etext transcriber:

protector at=> protector as {pg 29}

Duc de Choiseul-Praslin as Minister of Marine, in 1670=> Duc de Choiseul-Praslin as Minister of Marine, in 1760 {pg 34}

Princesse de Beauveau=> Princesse de Beauvau {pg 157}

Marie Antoniette=> Marie Antoinette {pg 168}

which brough the Terror=> which brought the Terror {pg 186}

Notwishstanding the laxity=> Notwithstanding the laxity {pg 216}

that a Bouvelard=> that a Boulevard {pg 230, n.}

occurred on the Bouvelards=> occurred on the Boulevards {pg 230, n.}

Moniseur=> Monsieur {pg 246}

Hereux=> Heureux {pg 257}

Castil-Blaize=> Castil-Blaze {pg 304}

serait encor sauvage=> serait encore sauvage {pg 308}

Bouvelard Saint-Martin=> Boulevard Saint-Martin {pg 324}

had pentrated four inches=> had penetrated four inches {pg 342}

overcome by Beaumerchais’s=> overcome by Beaumarchais’s {pg 348}

has a narrow escape of his life, 128;=> has a narrow escape of her life, 128; {pg 352}

FOOTNOTES: