“We have seen, for the first time, on the stage,” says the _Journal de Paris_, “in the principal personage, the costume rigorously observed. These designs have been made on the advice of M. Moreau _le jeune_, favourably known in artistic circles by the number, the variety, and the continual beauty of his works.” Levacher de Chamois, in his work on theatrical costume, has traced a description of the costume worn by Madame Saint-Huberty on this occasion: “One saw this actress appear habited in a long linen tunic, fastened beneath the bosom; the legs bare and fitted with the ancient buskin. From the head descended gracefully several plaits of hair, which played about her shoulders. This costume, a novel one for the spectators and both true and elegant, was applauded with a kind of frenzy. But, in spite of the approval of the public, there arrived orders which one called ‘ministerial,’ forbidding Madame Saint-Huberty to appear in this beautiful costume, and at the second representation of the work she was obliged to resume the heavy and ridiculous accoutrements of our coquettes and prudes.”[183] Notwithstanding this mortification, the actress had no reason to be dissatisfied with her performance of Ariane. It was indeed, for her, a veritable triumph. “As for Madame Saint-Huberty,” says the _Journal de Paris_, “we do not know which serves her the best, her face, her voice, or her acting; she knows how to give to each song inflections which occasion the most lively emotions.” And the musical critic of the _Mercure_ writes: “Madame Saint-Huberty, in the opera of _Ariane_, has added yet further to the idea that one has always entertained of her intelligence and her talent. She played in a manner always animated and interesting, and sang with the greatest expression the music constantly loud and passionate of a long and difficult rôle.” Guinguéné, in his notice on the life and works of Piccini, declares that Madame Saint-Huberty owed to the protection of the celebrated composer the fact that her name was not erased from the books of the Opera after her brilliant rendering of the part of Ariane, since she had shown on this occasion views too independent and a talent too original to suit the views of the authorities of that institution. “The success which she had obtained in it excited the petty passions of the _coulisses_. They were prepared to drive her from the Opera, and Piccini alone sustained her. He recalled to those who were the powers of the State the witty and sensible _mot_ of Gluck; he predicted that they would speedily have need of her, and that they would be only too happy to have her. His selection of her for the interesting part of Sangarede and the superior manner in which she rendered not only the music, but the scenes as well, moved the entire public in her favour and gave her a settled position on the stage of which she was for ten years the glory.”[184]