[65] According to Castil-Blaze, during the Reign of Terror, Lauraguais disguised himself as a coachman and drove a _fiacre_. [66] The official Republican name for the Opera. [67] Cited by E. and J. de Goncourt, _Sophie Arnould_, p. 302. [68] Campardon, _Académie royale de Musique au XVIIIe siècle_: Article, “Guimard.” [69] _Ibid._ [70] _Arnoldiana._ [71] Edmond de Goncourt, _La Guimard_, p. 18. [72] Castil-Blaze, _Histoire de l’Académie de Musique_, i. 267. [73] Cited by Edmond de Goncourt, _La Guimard_, p. 304 note. [74] The Archbishop of Sens. [75] He was the author of _Pensées et Maximes_, published some years after his death, a work in the style of La Rochefoucauld, which reveals him as a keen observer of life and particularly of woman. Here are some of his reflections: “Vouloir qu’on soit amoureux avec raison, c’est vouloir qu’on soit fou avec raison.” “Une femme qui sait mal est moins supportable qu’une femme qui ne sait rien.” “Le plaisir est comme une fleur, dont l’odeur est délicate, et qu’il faut sentir légèrement, si on veut toujours lui trouver le même parfum.” “La plupart des femmes ressemblent à des énigmes qui cessent de plaire, dès qu’elles sont devinées. “Qui aime est bien plus heureux que d’être aimé. “On combat l’amour par la fuite et la colère par le silence.” [76] _Mémoires secrets_, iii. 383. [77] The titles of some of the pieces represented speak for themselves: _Junon et Ganymède, comédie érotique_; _La Vierge de Babylone, comédie érotique_; _César et les deux Vestales, pièce érotique en un acte_; _Héloïse et Abailard, comédie érotique en un acte_; _Ninon et Lachatre, scène érotique_; _Minette et Finette, ou les Épreuves d’amour_, and so forth. [78] It was composed by Armand, concierge of the Hôtel des Comédiens, and author of several dramas, at the instance of La Borde, who had recommended him to make it as salacious as possible. [79] Mlle. Guimard had, in point of fact, a third lover already, in the person of the dancer Dauberval; but he was a negligible quantity, so far as contributions to the lady’s revenues were concerned. A satirical print of the time entitled _Concert à trois_, shows us the ballerina holding a roll of music in her hand and about to sing, her chief protector, the Prince de Soubise, playing the violin, the _sous-entreteneur_, La Borde, beating time with the conductor’s bâton, and Dauberval playing the cornet.