singer at the French opera, was a German by birth, and strongly
recommended by Gluck for her good natural voice. At Her Majesty's
request, Gluck himself taught Madame Saint Huberti the part of Armida.
Sacchini, also, at the command of Marie Antoinette, instructed her in the
style and sublimity of the Italian school, and Mdlle. Benin, the Queen's
dressmaker and milliner, was ordered to furnish the complete dress for
the character.

"The Queen, perhaps, was more liberal to this lady than to any other
actress upon the stage. She had frequently paid her debts, which were
very considerable, for she dressed like a Queen whenever she represented
one.

"Gluck's consciousness of the merit of his own works, and of their
dignity, excited no small jealousy, during the getting up of Armida, in
his rival with the public, the great Vestris, to whom he scarcely left
space to exhibit the graces of his art; and many severe disputes took
place between the two rival sharers of the Parisian enthusiasm. Indeed,
it was at one time feared that the success of Armida would be endangered,
unless an equal share of the performance were conceded to the dancers.
But Gluck, whose German obstinacy would not give up a note, told Vestris
he might compose a ballet in which he would leave him his own way
entirely; but that an artist whose profession only taught him to reason
with his heels should not kick about works like Armida at his pleasure.
'My subject,' added Gluck, 'is taken from the immortal Tasso. My music
has been logically composed, and with the ideas of my head; and, of
course, there is very little room left for capering. If Tasso had
thought proper to make Rinaldo a dancer he never would have designated
him a warrior.'