her personal appearance, 289, 290; “effects a well-nigh physical transformation on the stage,” 290; her dispute with the authorities of the Opera over her salary and privileges, 290-294; all her demands conceded, 294; sings her part in Piccini’s _Didon_ at Marmontel’s country-house, 297; goes on a provincial tour, 297; modesty not one of her failings, 298; insists on a radical change in costume, 299, 300; her brilliant triumph in _Didon_, 300-306; extraordinary enthusiasm aroused by her in the provinces, 306; her receptions at Marseilles, Toulouse, and Strasburg, 306-308; fresh successes in Paris, 308, 309; obtains precedence for Lemoine’s _Phèdre_ over the _Œdipe_ of Sacchini, 310, 311; her character less agreeable than her talent, 311, 312; her passion for the tenor Saint-Aubin, 312, 313; her arrogance and capriciousness, 313-315; goes to Strasburg without permission, 315; encourages the younger members of the Opera in insubordination, 317-319; her disputes with the administration over her costumes, 317-319; her private life comparatively free from scandal, 319, 320; her relations with the Comte d’Antraigues, 320-323; her charming letter to him, 323, 324; her health undermined by her exertions, 324, 325; leaves Paris and joins the Comte d’Antraigues in Switzerland, 326; secretly married to him, 326, 327; bears him a son, 327; acknowledged as his wife by the count, 328; assists him to escape from Milan, 329; receives the Order of Saint-Michel from the Comte de Provence, 329, 330; and a pension from the Emperor of Austria, 330 note; accompanies her husband to England, 330; assassinated with him by their servant Lorenzo, 331-343; “the greatest lyric _tragédienne_ whom France has ever possessed,” 343 Sainval, Mlle. the elder, intrigues against Mlle. Raucourt, 153; her quarrel with Madame Vestris, 167, 168; insults the Duc de Duras, 168, 169; expelled from the Comédie-Française and exiled, 169; indignation which her punishment arouses, 169; received in the provinces with frantic enthusiasm, 169; believed to be responsible for the hostile demonstrations against Mlle. Raucourt, 174; her _bon mot_ about Mlle. Raucourt, 181 Sainval, Mlle. the younger, takes the place of Mlle. Raucourt at the Comédie-Française, 165; adversely criticised, 165 note; scene during her impersonation of Aménaïde in _Tancrède_, 169 Sedaine, 217 Salieri, his _Danaïdes_, 309 Sully, Duc de, Sophie Arnould’s _bon mot_ about him and Choiseul, 34 Soubise, Prince de, _amant en titre_ of Mlle. Guimard, 110; his predilection for the ladies of the Opera, 110; his liberality, 110; gives Mlle. Guimard a New Year’s gift of 6000 livres, 114; compels her to give La Borde his _congé_, 120, 121; replaces her by Mlle. Zacharie, 129, 130; the pensions which he allows her and other _danseuses_ resigned by them, 130, 131 T