[175] It is not clear what papers are referred to, but, in all probability, they were those relating to the separation of her goods from those of her husband which she had obtained at Warsaw, in March 1777. [176] Cited by Campardon, _L’Académie royale de Musique au XVIIIe siècle_: Article, “Saint-Huberty.” [177] Edmond de Goncourt, _Madame Saint-Huberty_, p. 42. [178] Émile Gaboriau, _Les Comédiennes adorées_, p. 210. [179] Edmond de Goncourt, _Madame Saint-Huberty_, p. 45. [180] This multiplicity and exaggeration of gestures appears to have been Madame Saint-Huberty’s principal fault in the early part of her career. On another occasion, she was reproached with her resemblance to a woman “persecuted by internal convulsions.” [181] Rosalie Levasseur had sung charmingly on the opening night; but on the second, she was so intoxicated as to be almost incapable of struggling through the part. At the conclusion of the performance she was arrested and conveyed to For l’Évêque. [182] Adolphe Jullien, _L’Opéra secret au XVIIIe siècle: Madame Saint-Huberty_. [183] _Recherches sur les costumes et sur les théâtres de toutes les nations_, i. 35. [184] Ginguéné, _Notice sur la vie et les ouvrages de Nicolas Piccini_. [185] _L’Opéra secret au XVIIIe siècle: Madame Saint-Huberty._ [186] “Madame Saint-Huberty played the part of Rosette with an intelligence, a sensibility, and a fervour of expression, which proves the extent and the variety of her talent, equally well calculated to render every rôle and to sing all kinds of music.”--_Mercure de France_, December 1782. [187] Adolphe Jullien, _L’Opéra secret au XVIIIe siècle: Madame Saint-Huberty_. [188] Edmond de Goncourt, _Madame Saint-Huberty_, p. 5. [189] Edmond de Goncourt, _Madame Saint-Huberty_, p. 75 _et seq._ Adolphe Jullien, _L’Opéra secret au XVIIIe siècle: Madame Saint-Huberty_. [190] Adolphe Jullien, _L’Opéra secret au XVIIIe siècle: Madame Saint-Huberty_. [191] _Mémoires de Marmontel_ (edit. 1804), iii. 224 _et seq._ [192] See the author’s “Queens of the French Stage” (London: Harpers’; New York: Scribners’. 1905), p. 314 _et seq._ [193] The train of an ordinary actress was held by a page dressed in black and white, but actresses representing queens were entitled to two trains and two pages, who followed them everywhere they went. “Nothing is more diverting,” writes a critic of the time, “than the perpetual movement of these little rascals, who have to run after the actress when she is rushing up and down the stage in moments of great distress. Their activity throws them into a state of perspiration, whilst their embarrassment and blunders invariably excite laughter. Thus a farce is always going on, which agreeably diverts the spectator in sad or touching situations.” [194] Adolphe Jullien, _L’Opéra secret au XVIIIe siècle: Madame Saint-Huberty_.