The XVIIIth century; its institutions, customs, and costumes France, 1700-1789 . -Dumirail, :is a peasant: after Wattcau. Other, and from the infernal regions to the Elysian fields. If you aredistressed at the sight of some arid desert, a signal lands you in theabode of the gods ; another signal and you are in fairyland. Theopera was the very temple of heathen m)-thology, and yet it wastolerated b)- the moralists, who were very severe as a rule, whilegentlemen and ladies of high birth were entitled, in accordance withthe privilege granted to Lully and Moliere by Louis XI\^, to singin public wi
The XVIIIth century; its institutions, customs, and costumes France, 1700-1789 . -Dumirail, :is a peasant: after Wattcau. Other, and from the infernal regions to the Elysian fields. If you aredistressed at the sight of some arid desert, a signal lands you in theabode of the gods ; another signal and you are in fairyland. Theopera was the very temple of heathen m)-thology, and yet it wastolerated b)- the moralists, who were very severe as a rule, whilegentlemen and ladies of high birth were entitled, in accordance withthe privilege granted to Lully and Moliere by Louis XI\^, to singin public without loss of rank. The old Court party never went to th(^ \>^^y^ ^^id the courtiers THE THEATRES. 393 took care not to be seen there, for fear of losing favour with Madamede Maintenon and the King. Even the Princes and Princessesscarcely ventured to attend the theatres, and when they did it wasalmost in secret. The Due dOrleans, who was much more at Paristhan at Versailles, was the only exception. Notwithstanding the. Fig. 259.—Poisson, as a peasant ; after Watteau. altered habits of the Court, theatrical representations were alwaysbeing given at the Chateau de Chantilly, residence of the Princess deConde, and by the Duchesse de Maine at Sceaux. The theatre of theRue de IAncienne Comedie also maintained its vogue, owing to themarked liking of the public for tragedy and comedy. This theatrepossessed many good actors, and produced several new pieces whichwere very successful. Tins was the epoch of Regnard, Dancourt,Dufresny, and Boursault, while the dramas of Jolyot de Crebillontook their place beside those of Corneille, Racine, and Moliere. Still 3 E 394 THE EIGHTEENTH CENTURY. the receipts were but small, especially during Lent, and at the greatfestivals of the Church. The situation improved as soon as the Due dOrleans becameRegent. The old Court party did not attend the theatre any morethan it had done during the last years of Louis XIV., but theyounger Court party was o
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