Sageret (theatrical manager) induces the members of the Comédie-Française to migrate to the Théâtre-Feydeau, 187; brings the expelled members of the Théâtre de la République to the same theatre, 188; takes over the Odéon from Mlle. Raucourt, 188; goes bankrupt and disappears, 189 Sacchini, Madame Saint-Huberty’s success in his _Renaud_, 289; and in his _Chimène_, 308; Lemoine’s _Phèdre_ given precedence over his _Œdipe à Colone_, 310; his death, 310 Saint-Aubin (singer), object of a violent fancy on the part of Madame Saint-Huberty, 312, 313 Saint-Aubin, Madame, 313 Saint-Huberty, Claude Croisilles de, visits Strasburg, 268; persuades Antoinette Clavel to accompany him to Berlin, 269; and to marry him, 269, 270; ill-treats and deserts her, 270; persuades her to rejoin him at Warsaw, 271; arrested at Berlin and thrown into prison, 271; his release procured by his wife, 272; decamps from Warsaw with all her belongings, 272; persuades her to rejoin him in Vienna, 274; deserts her for the third time, 274; appointed wardrobe-keeper at the Paris Opera, 276; persecutes and robs his wife, 276; her complaint to the Châtelet against him, 277; his outrageous treatment of her, 278, 279; lays claim to her professional earnings through fictitious creditors, 279, 280; his marriage with her dissolved, 281 Saint-Huberty, Madame, Gluck’s prediction concerning her, 265, 266; her birth and parentage, 267; her early years at Strasburg, 267; Lemoine’s kindness to her, 267, 268; meets Saint-Huberty, 268, 269; accompanies him to Berlin, 269; marries him, 270; ill-treated and deserted by him, 270; rejoins him at Warsaw, 271; her success in _Zémor et Azor_, 271; procures her husband’s release from prison, 272; deserted and robbed by him, 272; befriended by the Princess Lubomirska, 272; obtains a separation from her husband in respect of property, 273; rejoins him in Vienna, 274; deserted by him for the third time, 274; obtains an _ordre de début_ at the Paris Opera, 275; receives lessons from Gluck, 274, 275 and note; makes her _début_, 275; persecuted and robbed by her husband, 276; lodges a complaint against him before the Châtelet, 277, 278; shamefully ill-treated by him, 278, 279; her professional earnings claimed by him through fictitious creditors, 280; obtains judgment in her favour, 280; and a dissolution of her marriage, 281; steadily making her way to the front, 281, 282; becomes a permanent member of the Opera, 283; her triumph as Angélique in Piccini’s _Roland_, 283, 284; further successes, 284; her efforts on behalf of Lemoine’s _Électre_, 285; endeavours to promote the reform of theatrical costumes, 286; her success in _Ariane dans l’Île de Naxos_, 287; saved by Piccini from being expelled from the Opera, 287; her success in Grétry’s _l’Embarras des richesses_, 288, 289; and in Sacchini’s _Renaud_, 289;