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