“These innocent amusements were made subjects of censure against her by the many courtiers who were denied access to them; while some, who were permitted to be present, were too well pleased with the opportunity of sneering at her mediocrity in the art, which those, who could not see her, were ready to criticise with the utmost severity.  It is believed that Madame de Genlis found this too favourable an opportunity to be slighted.  Anonymous satires upon the Queen’s performances, which were attributed to the malice of that authoress, were frequently shown to Her Majesty by good-natured friends.  The Duc de Fronsac also, from some situation he held at Court, though not included in the private household of Her Majesty at Trianon, conceiving himself highly injured by not being suffered to interfere, was much exasperated, and took no pains to prevent others from receiving the infection of his resentment.

“Of all the arts, music was the only one which Her Majesty ever warmly patronised.  For music she was an enthusiast.  Had her talents in this art been cultivated, it is certain from her judgment in it that she would have made very considerable progress.  She sang little French airs with great taste and feeling.  She improved much under the tuition of the great composer, her master, the celebrated Sacchini.  After his death, Sapio was named his successor; but, between the death of one master and the appointment of another, the revolutionary horrors so increased that her mind was no longer in a state to listen to anything but the howlings of the tempest.

“In her happier days of power, the great Gluck was brought at her request from Germany to Paris.  He cost nothing to the public Treasury, for Her Majesty paid all his expenses out of her own purse, leaving him the profits of his operas, which attracted immense sums to the theatre.

“Marie Antoinette paid for the musical education of the French singer, Garat, and pensioned him for her private concerts.

“Her Majesty was the great patroness of the celebrated Viotti, who was also attached to her private musical parties.  Before Viotti began to perform his concertos, Her Majesty, with the most amiable condescension, would go round the music saloon, and say, ’Ladies and gentlemen, I request you will be silent, and very attentive, and not enter into conversation, while Mr. Viotti is playing, for it interrupts him in the execution of his fine performance.

“Gluck composed his Armida in compliment to the personal charms of Marie Antoinette.  I never saw Her Majesty more interested about anything than she was for its success.  She became a perfect slave to it.  She had the gracious condescension to hear all the pieces through, at Gluck’s request, before they were submitted to the stage for rehearsal.  Gluck said he always improved his music after he saw the effect it had upon Her Majesty.