After the establishment of the Empire, Napoleon, who was a great admirer of Mlle. Raucourt’s acting, accorded her a handsome pension and engaged her to organise a troupe of French players, to travel through Italy and give performances in the principal towns, with the idea of extending French influence in that country. In Italy, Mlle. Raucourt remained several years, paying, however, occasional visits to Paris, when she appeared at the Comédie-Française, generally in the parts of mothers or queens, and always with great success. Madame Vigée Lebrun tells us that she remained to the last a great _tragédienne_, but that, with advancing years, her voice became so harsh that, when not looking at her, people might have imagined themselves listening to a man.[125] Mlle. Raucourt retired from the stage in 1814, her farewell appearance at the Comédie-Française being as Catherine de Medicis, in the _États de Blois_ of Raynouard. On January 15 of the following year, she died, after a short illness, “thanking God that she had been permitted to salute the return of her legitimate King.” The funeral, which took place two days later, was the occasion of a painful scandal. From the earliest days of the Restoration, the clergy, relying on the support of the new Government, had shown themselves as intolerant towards the actor as had those of the old régime. Mlle. Raucourt’s house was in the Rue du Helder, that is to say, in the parish of Saint-Roch, and it was in that church that the service should have been held. The curé, however, flatly refused to celebrate it. “Actors,” said he, “are excommunicated, and the time has come to revert to the rigorous execution of the canons of the Church.” It was in vain that he was reminded of the never-failing charity of the deceased woman towards the poor of his parish, and the generous gift which he himself had received each year for the needs of his church. He remained deaf to all representations and entrenched himself behind the orders of the Archbishop of Paris.