Mlle. Clairon became the recipient of great favors and honors, her most prominent slave being Marmontel, to whom she had given a room in her hotel after Mme. Geoffrin had withdrawn from him the privilege of occupying an apartment in her spacious establishment.  She contributed largely to the success of his plays, as well as to those of Voltaire, whom she visited at Ferney, performing in his private theatre.  Her success was uninterrupted until she declined to play, in the Siege de Calais, with an actor who had been guilty of dishonesty; she was then thrown into prison, and refused to reappear.  When about fifty years of age she became the mistress of the Margrave of Ansbach, at whose court she resided for eighteen years.  In 1791 she returned to Paris, where, poor and forgotten, she died in 1803.

An actress or a singer who left a greater reputation through her wit, the promptness and malignity of her repartee, and her extravagance, than through her voice was Sophie Arnould, the pupil of Mlle. Clairon.  She was the daughter of an innkeeper; her first success was won through her charming figure and her flexible voice.  Some of the ladies attached to the court of Louis XV., having heard her sing at evening service during Passion week, had induced the royal chapel master to employ her in the choir.  There, and by the warm eulogies of Marmontel during one of his toilette visits to Mme. de Pompadour, the attention of the maitresse-en-titre was called to her beauty and vocal charm.

Her debut was made with unusual success, but she afterward eloped with the Comte de Lauraguais, who had made a wager that he could win the beautiful artist.  After her reappearance at Paris her career became a long series of dissipations and unprecedented extravagances.  She was as witty as she was licentious, and many of her bons mots have been collected.  It was she who characterized the great Necker and Choiseul, on being shown a box containing their portraits:  “That is receipt and expenditure”—­the credit and debit.  She was one of the few prominent women who died in favor and in comfortable circumstances.

The lowest and most depraved of this licentious class of women was Mlle. La Guimard, the legitimate daughter of a factory inspector of cloth.  In 1758 she entered the opera as a ballet girl, but very little is known of her during the first years of her career except in connection with her numerous lovers.  In about 1768 she was living in most sumptuous style, her extravagances being paid for by two lovers, the Prince de Soubise, her amant utile, and the farmer-general, M. de La Borde, her amant honoraire.

At this period she gave three suppers weekly:  one for all the great lords at court and of distinction; the second for authors, scholars, and artists; the third being a supper of debauchees, the most seductive and lascivious girls of the opera; at the last function, luxury and debauch were carried to unknown extremes.  At her superb country home, “Pantin,” she gave private performances, the magnificence of which was unprecedented and admission to which was an honor as eagerly sought as was that of attendance at Versailles.