the little hamlet of eight cottages, where
she and her ladies played at farming, with its dairy, its mill, and its
poultry yard.

"At Trianon there was no ceremony, no etiquette, no household, only
friends. When the queen entered the salon, the ladies did not quit
their work nor the men interrupt their game of billiards or of
_trictrac_. It was the life of the chateau, with all its agreeable
liberty, such as Marie Antoinette had always dreamed, such as was
practised in that patriarchal family of the Hapsburgs, which was, as
Goethe has said, 'Only the first _bourgeoise_ family of the empire.'"

In spite of Marie Antoinette's many kindnesses to authors, it seems
doubtful if she really cared for literature, but of music she was a
constant lover. As a child she had played with Mozart and had received
lessons from Gluck, and when she became queen she still took lessons
both in music and singing.

Gluck was to her not only a great composer, he was one of the dear
memories of her youth, her home, and her country, and also a hope for
reform in French music, which she found monotonous. It was to please
her that the directors of the Grand Opera invited Gluck to come to
Paris and produce some of his works. The great reformer of opera had
long wished for this opportunity, which he seized with alacrity, and
set out from Vienna for Paris in the autumn of 1773. He was received
with every kindness and encouragement by Marie Antoinette and the
court, and proceeded to rehearse his "Iphigenia in Aulis"--not without
difficulties, as he found the French singers and musicians even less
inclined to reforms than those of Vienna. Gluck, however, supported by
the protection of the dauphiness, made short work of those who held
back. To the lady who sang the music of "Iphigenia," and who refused
to obey him at rehearsal, he said, "Mademoiselle, I am here to bring
out 'Iphigenia.' If you will sing, nothing can be better; if not, very
well, I will go the queen and say, 'It is impossible to have my opera
performed;' then I will take my seat in my carriage and return to
Vienna." Doubtless this result would have been much to the prima
donna's liking, but she had to submit.

[Illustration: Gluck at the Trianon. From painting by E. J. C. Hamman.]

"Iphigenia" was produced on April 19, 1774, and Marie Antoinette
applauded from the royal box without ceasing. On the first
representation, opinions were divided, but at the second performance