Space forbids us to give more than a very brief account of the remaining triumphs of this truly great artiste, who, no matter how unfavourable the verdict of the public and the critics might be in regard to some of the works in which she appeared, was always herself assured of applause and commendation. In the title-part of the _Chimène_ of Sacchini, as Délie, in the _Tibulle et Délie_ of Fuzelier and Mlle. de Beaumesnil, as Hypermnestre, in that superb opera of the _Danaïdes_, which made the name of Salieri worthy to rank with those of Gluck, Piccini, and Sacchini, she astonished and delighted the musical world scarcely less than she had in Piccini’s masterpiece. And such was her passionate love of her art and her amazing capacity for hard work that all these four most difficult and most varied rôles--Didon, Chimène, Délie, and Hypermnestre, of which three at least are among the most beautiful figures to which the lyric art has lent life--were studied, mastered, and represented within the space of some seven months: from October 16, 1783 to April 26, 1784.[200] Two years after the great success of their _Didon_, Marmontel and Piccini reappeared on the stage of the Opera with _Pénélope_. Unfortunately, the vogue which the preceding work had obtained had aroused too many expectations in regard to this new essay--author and composer, so to speak, were the victims of their own excellence--and though _Pénélope_ was, in its way, a fine opera, it was received in comparative silence. All the critics, however, were agreed that Madame Saint-Huberty, in the part of the virtuous wife of Ulysses, was superb, and that she had seldom been heard to more advantage than in the two airs: “_Je le vois, cette ombre errante_,” and “_Il est affreux, il est horrible_,” and in the scene where Telemachus comes to announce the return of her husband. It was Madame Saint-Huberty again who, in May, 1786, rescued from complete disaster the _Thémistocle_ of Philidor, which, after a tolerably good reception by the Court, had been greeted, at first, by the town with marked disfavour; and it was not one of her least successes to have invested with life the inanimate figure of the heroine, Mandane. In November of the same year, the singer was able to discharge the debt of gratitude which she owed to her first master, Lemoine. Lemoine, it will be remembered had, some years before, produced an _Électre_, which had failed, in spite of the heroic efforts of his former pupil. Now, however, he had composed a far more important work on the subject of Phædra, from which he expected great things; and Madame Saint-Huberty exerted all her influence to secure it precedence over the _Œdipe_ of Sacchini, who was also impatiently awaiting his turn.