That girl had wit, education and talent-everything, in fact, that is needful to succeed in the profession she had adopted. During the supper Patu told me in Italian that he was on the point of taking her at the very moment I chose her, and the next morning he informed me that he had slept quietly all night. The Saint Hilaire was highly pleased with me, and she boasted of it before her companions. She was the cause of my paying several visits to the Hotel du Roule, and all for her; she was very proud of my constancy.
Those visits very naturally cooled my ardour for Coraline. A singer from Venice, called Guadani, handsome, a thorough musician, and very witty, contrived to captivate her affections three weeks after my quarrel with her. The handsome fellow, who was a man only in appearance, inflamed her with curiosity if not with love, and caused a rupture with the prince, who caught her in the very act. But Coraline managed to coax him back, and, a short time after, a reconciliation took place between them, and such a good one, that a babe was the consequence of it; a girl, whom the prince named Adelaide, and to whom he gave a dowry. After the death of his father, the Duke of Valentinois, the prince left her altogether and married Mlle. de Brignole, from Genoa. Coraline became the mistress of Count de la Marche, now Prince de Conti. Coraline is now dead, as well as a son whom she had by the count, and whom his father named Count de Monreal.
Madame la Dauphine was delivered of a princess, who received the title of Madame de France.
In the month of August the Royal Academy had an exhibition at the Louvre, and as there was not a single battle piece I conceived the idea of summoning my brother to Paris. He was then in Venice, and he had great talent in that particular style. Passorelli, the only painter of battles known in France, was dead, and I thought that Francois might succeed and make a fortune. I therefore wrote to M.
Grimani and to my brother; I persuaded them both, but Francois did not come to Paris till the beginning of the following year.
Louis XV., who was passionately fond of hunting, was in the habit of spending six weeks every year at the Chateau of Fontainebleau. He always returned to Versailles towards the middle of November. That trip cost him, or rather cost France, five millions of francs. He always took with him all that could contribute to the amusement of the foreign ambassadors and of his numerous court. He was followed by the French and the Italian comedians, and by the actors and actresses of the opera.
During those six weeks Fontainebleau was more brilliant than Versailles; nevertheless, the artists attached to the theatres were so numerous that the Opera, the French and Italian Comedies, remained open in Paris.
Baletti's father, who had recovered his health, was to go to Fontainebleau with Silvia and all his family. They invited me to accompany them, and to accept a lodging in a house hired by them.
It was a splendid opportunity; they were my friends, and I accepted, for I could not have met with a better occasion to see the court and all the foreign ministers. I presented myself to M. de Morosini, now Procurator at St. Mark's, and then ambassador from the Republic to the French court.
The first night of the opera he gave me permission to accompany him;
the music was by Lulli. I had a seat in the pit precisely under the private box of Madame de Pompadour, whom I did not know. During the first scene the celebrated Le Maur gave a scream so shrill and so unexpected that I thought she had gone mad. I burst into a genuine laugh, not supposing that any one could possibly find fault with it.
But a knight of the Order of the Holy Ghost, who was near the Marquise de Pompadour, dryly asked me what country I came from. I
answered, in the same tone, "From Venice."
"I have been there, and have laughed heartily at the recitative in your operas."
"I believe you, sir, and I feel certain that no one ever thought of objecting to your laughing."
My answer, rather a sharp one, made Madame de Pompadour laugh, and she asked me whether I truly came from down there.
"What do you mean by down there?"
"I mean Venice."
"Venice, madam, is not down there, but up there."
That answer was found more singular than the first, and everybody in the box held a consultation in order to ascertain whether Venice was down or up. Most likely they thought I was right, for I was left alone. Nevertheless, I listened to the opera without laughing; but as I had a very bad cold I blew my nose often. The same gentleman addressing himself again to me, remarked that very likely the windows of my room did not close well. That gentleman, who was unknown to me was the Marechal de Richelieu. I told him he was mistaken, for my windows were well 'calfoutrees'. Everyone in the box burst into a loud laugh, and I felt mortified, for I knew my mistake; I ought to have said 'calfeutrees'. But these 'eus' and 'ous' cause dire misery to all foreigners.
Half an hour afterwards M. de Richelieu asked me which of the two actresses pleased me most by her beauty.
"That one, sir."
"But she has ugly legs."
"They are not seen, sir; besides, whenever I examine the beauty of a woman, 'la premiere chose que j'ecarte, ce sont les jambes'."
That word said quite by chance, and the double meaning of which I did not understand, made at once an important personage of me, and everybody in the box of Madame de Pompadour was curious to know me.
The marshal learned who I was from M. de Morosini, who told me that the duke would be happy to receive me. My 'jeu de mots' became celebrated, and the marshal honoured me with a very gracious welcome.
Among the foreign ministers, the one to whom I attached myself most was Lord Keith, Marshal of Scotland and ambassador of the King of Prussia. I shall have occasion to speak of him.
