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