The parterre of the theater was usually filled with generals, senators, and councilors of state; the first boxes were reserved for the princes and princesses of the imperial family, for foreign princes, marshals, their wives, and ladies of honor.  In the second tier were placed all persons attached to the Court.  Between the acts, ices and refreshments were served; but the ancient etiquette had been re-established in one particular, which greatly displeased the actors,—­no applause was allowed; and Talma often told me that the kind of coldness produced by this silence was very detrimental at certain parts where the actor felt the need of being enthused.  Nevertheless, it sometimes happened that the Emperor, in testimony of his satisfaction, made a slight signal with his hand; and then and also at the grandest periods we heard, if not applause, at least a flattering murmur which the spectators were not always able to repress.

The chief charm of these brilliant assemblies was the presence of the Emperor; and consequently an invitation to the theater of Saint-Cloud was an honor much desired.  In the time of the Empress Josephine there were no representations at the palace in the absence of the Emperor; but when Marie Louise was alone at Saint-Cloud during the campaign of Dresden, two representations a week were given, and the whole repertoire of Gretry was 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.