ou, Mr. Gluck!'--'No, no, no! you do not understand me,' replied Gluck,
'I mean real, real heads. My actresses are very ugly, and Armida and her
confidential lady ought to be very handsome:

"However great the success of the opera of Armida, and certainly it was
one of the best productions ever exhibited on the French stage, no one
had a better opinion of its composition than Gluck himself. He was quite
mad about it. He told the Queen that the air of France had invigorated
his musical genius, and that, after having had the honour of seeing Her
Majesty, his ideas were so much inspired that his compositions resembled
her, and became alike angelic and sublime!

"The first artist who undertook the part of Armida was Madame Saint
Huberti. The Queen was very partial to her. She was principal female
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