But it was to the "Contes des Fées" of Madame D'Aulnoy that Planché was most largely indebted for his fairy stories. The list (extending from 1842 to 1854) is quite an imposing one. First came "Fortunio, and his Seven Gifted Servants," based on "Belle-Belle, ou le Chevalier Fortuné." Next, "The Invisible Prince, or the Island of Tranquil Delights," taken from "Le Prince Lutin." "Le Rameau d'Or" suggested "The Golden Branch," and "The King of Peacocks"[20] had its origin in "La Princesse Rosette." From "Le Serpentin Vert" was derived "The Island of Jewels"; from "L'Oiseau Bleu," "King Charming, or the Blue Bird of Paradise"; from "La Grenouille Bienfaisante," "The Queen of the Frogs"; from "La Biche au Bois,"[21] "The Prince of Happy Land, or the Fawn in the Forest"; from "La Princesse Carpillon," "Once upon a Time there were Two Kings"; and from "Le Nain Jeune," "The Yellow Dwarf and the King of the Gold Mines." "Beauty and the Beast" was taken from a tale by Mme. le Prince de Beaumont; but Planché claimed that the treatment was wholly new. He had Vestris for his Beauty, Harrison the tenor for his Beast, and Bland for his Sir Aldgate Pump, the father of Beauty. "The Good Woman in the Wood" was from a story by Mme. de la Force; and "Young and Handsome" from a faërie by the Countess de Murat. "Graciosa and Percinet" likewise had a French origin. [20] This, first played at the Lyceum in 1860, was afterwards revived at the St. James's with Miss Kate Terry as the Princess. [21] Other versions of this tale have been written by Maddison Morton (at Drury Lane), and by Mr. Burnand (at the Holborn in 1868, under the title of "The White Fawn").