played in succession before her Majesty. At the end of each piece there
was always a little ballet.

The theater of Saint-Cloud was, so to speak, on more than one occasion
the theater of first attempts. For instance, M. Raynouard played there
for the first time the 'Etats de Blois', a work which the Emperor would
not allow to be played in public, and which was not done, in fact, until
after the return of Louis XVIII.

'The Venetians' by M. Amand also made its first appearance on the theater
of Saint-Cloud, or rather of Malmaison. This was not highly considered
at the time; but the infallible judgment the Emperor displayed in his
choice of plays and actors was most remarkable. He generally gave M.
Corvisart the preference in deciding these matters, on which he descanted
with much complacence when his more weighty occupations allowed. He was
usually less severe and more just than Geoffroy; and it is much to be
desired that the criticisms and opinions of the Emperor concerning
authors and actors could have been preserved. They would have been of
much benefit to the progress of art.


In speaking of the retreat from Moscow, I related previously in my
memoirs that I had the good fortune to offer a place in my carriage to
the young Prince of Aremborg, and assisted him in continuing his journey.
I recall another occasion in the life of this prince, when one of my
friends was very useful to him, some particulars of which may not be
without interest.

The Prince of Aremberg, an ordnance officer of the Emperor, had, as we
know, married Mademoiselle Tascher, niece of the Empress Josephine.