Madame Dagueville's Last Performances

Medea and Jason [1] Thursday 26 August 1784

Almost all of the theatre advertisements from the eighteenth century omit forenames. Consequently we can't be sure of the identity of the Madame Dagueville  who danced in the role of Medea. In this pantomime there would have been a transformation scene in which the characters of Greek mythology were transformed into the Harlequinade. Mother Shipton is said to have ultimately developed into the pantomime dame.

If the dancing master with his practice in Ipswich is d'Egville senior then he must have married at least twice. Mr Dagueville refers to himself as former principal dancer at the Opera House in some of his local advertising material. His wife died in childbirth on Monday 10 May 1779. We know that d'Egville senior continued to be active in London but this doesn't necessarily mean that the two men aren't one individual. Dagueville of Ipswich had a business partner who could have taken over his pupils when he was in town.

The Essex Chronicle 14 May 1779
The British Library Board

Its implausible that the Madame Dagueville who danced in the role of Medea is Catherine Berry (wife of James Harvey d'Egville) as they didn't marry until 1792. Neither can she have been either of Peter's known daughters. Madame Dagueville disappears from the advertisements in the latter half of the seventeen-nineties.

[1] Willaim Van Lennep, The London Stage, 1660-1800 Part 5, 1776-1800: A Calendar of Plays, Entertainment & Afterpieces Together with Casts, Box-Reciepts and Contemporary Comment (SIU Press, 1970)

The Frustrations Of Pierre d'Aigueville's Timeline

Among some of the first data about a Peter/Pierre d'Aigueville to show up on the Internet was a marriage record held by FamilySearch. A Peter Hervez Daigueville married Margaret Benton at Saint Mary's Church, Portsea, Hampshire, on 19 December 1774.

The Hampshire Chronicle 4 October 1773
The British Library Board

In October 1773 Mr and Mrs Daigueville were performing at the theatre in Southampton and Mr Daigueville's teaching practice was based at a girls' boarding school.

Elizabeth Armstrong was a longstanding pupil and is listed among "scholars of d'Egville". She had certainly been on the stage since the age of six when she danced at Sadler's Wells in the autumn of 1769. At the time of the performance in Southampton she was no more than ten years old.

For Peter, the father of James Harvey d'Egville, to have married Margaret Benton in Portsea in December 1774 the Mrs Daigueville on the bill would have to have died sometime in the next twelve months. But at his benefit in May 1775 his wife danced in the role of Boadicea Queen of Britain assisted "by her two daughters."

Peter often seems to have spent extended periods in the provinces as he danced in Bristol in 1776. For him to have been in Southampton - a city of some importance - would not be unusual for a performer based in London.

After James returned to England at around the time of the French Revolution it becomes increasingly difficult which d'Egville is referred to in the bills and advertisements. It is consequently difficult to identify the woman referred to as Madame d'Egville.

The Daigueville who left a well furnished home in Ipswich in 1791 remains tantalising. In another coincidence Peter's daughter Sophie disappears from the English scene shortly afterwards.

Auselin or Anselme: A Problem Of Palaeography

Among the problems one encounters when trawling the Internet for information is just how many tasty snippets slip through the mesh of the net. My strategy when searching, particularly when using a proper noun, is to break the word down into as many permutations as possible. This can improve the quantity of the results because some old documents were acquired by the likes of Google as images.

These can be thought of as similar to the photographs produced by a digital camera. So, if you've ever been in a record office and photographed a baptism record you might have taken it home and then typed out all the information but kept the image as a memento.

The out of copyright documents in Google Books usually have an option to display these kind of images as a text that one can cut and paste into a word processor. If you haven't tried this then follow the link to Monnet's letter to Garrick (14 April 1768) and then click on the "Plain text" option. This is done by a process known as Optical Character Recognition (OCR). If you've gone through the laborious process of typing out the text from your photos you will be pleased to know that there are OCR programmes available on the Internet.

It doesn't take long to discover that even when the original is a clearly printed document the process of converting an image to text makes frequent mistakes. When the original is a handwritten document or a cursive font has been used then there are usually many more mistakes to correct.

Human beings encounter similar problems in information processing. I've been working with original documents since a 1975 school history project on the Battle of Worcester and paleography is often just as baffling as that first adventure. I both expect and enjoy this challenge as some people enjoy crosswords. On first reading the naturalization act of James Hervet d'Egville I wasn't disappointed. I found it equally tantalizing when a dance historian told me that he had almost "fallen off his chair" when he had read the maiden name of James' mother.

At that time I'd very little knowledge of dance in the eighteenth century so I had no idea what he could mean other than it must be something very interesting indeed. So when I tried to make out the grey photocopy of a handwritten original I remained firmly in my seat. The legibility was such that I had to give it a second glance and the name that I read, "Ansaume," meant nothing to me.

Even after a quick Google Anseume or Anseaume meant little more and I had to burrow among the Google Books to get an idea of who he was. Rather than explaining I will leave you to explore this yourself if you are unfamiliar with him. It's enough to say that he was a significant figure in the Opéra Comique and might make a person fall off a chair. But it did not add up; for all sorts of reasons he could not be Sophia d'Aigueville's father.

I returned to the copy of the manuscript and to first principles. I looked for analogues of the letters among known words and eventually deciphered the name as "Anselme." The Anselme family of the Hague were even more difficult to find for the theatrical layperson - but I could easily understand that she too might make a person fall from a chair. For as many reasons as Ansaume was wrong she was definitely right - not least because Sophia Baptiste Anselme's collection of names fits with Jame's mother and there is the Hague connection.

I'm now interested to read a different interpretation of the name, "Auselin," from some of our contributors. I never wed myself to a particular hypothesis to the extent that I can't get a "quickie" divorce and I will certainly be returning to the manuscript. I will be happy to tear up some of my previous work if necessary. It is probably worth noting that Genlias - the Dutch genealogical database - doesn't return any results for Auselin today. I have used this phrase because it has given me differing results on different days. However, records from the Hague are not included.

The OCR process readily interprets "Anselme" as "Auselin" even in text which is obvious to the human brain. The autograph manuscript of M. Monnet's letter to Garrick has now become an object of desire for me but a visit to the Hague is a necessity.

Mother Sophia In Paris

Jean Monnet (1703-1785) was director of the Opéra comique from 1743 to 1757, although the theatre was closed down by the authorities from 1745 to 1751. During the period of closure Monnet was, in 1745, director of the theatre at Lyon and in 1748 was director of a French troupe in London where he is known to have returned in 1766. As he refers to Mademoiselle Auselin's engagement at the Opera in London two or three years previously in his April 1768 letter to David Garrick it possible that he saw her there.

In 1762 the Opéra comique merged with the Comédie-Italienne and moved from the Foire Saint Germain to the Hôtel de Bourgogne. Performances at the Hôtel de Bourgogne began in February 1762 and it is here that Mademoiselle Auselin would have appeared in April 1768.  By then the direction of the company had passed to the Société d'artistes. Regretably, there are no further references to her performance - or any other - in Gallica or César.

"Miss Auselin, who danced at the Opera in London two or three years ago, arrived here a few days since: she has a strong enough engagement at the court of the Elector Palatine: the Directors of our Opera House have engaged her to dance three times, I saw her again yesterday, I like her better than Miss Allard. She arrived from Stuttgart, where she has worked for two years with Noverre: I think she would make much impact on your theatre, if you need it, I will try to get her for you for next season."

The private correspondence of David Garrick with the most celebrated persons of his time, Volume 2. H. Colburn and R. Bentley, London, 1832

The entire letter appears below:

DE M. MONNET À M. GARRICK.

À Paris, ce 14 Avril, 1768.

Je Vous préviens, mon ami, que vous recevrez dans les premiers jours du mois prochain tout ce que vous et Madame Garrick m'avez fait demander par Antonio Carara. C'est le nommé Roch de sa connoissance qui veut bien se charger du tout; mais qui ne peut partir qu'à la fin de ce mois. A propos de Carara; descendroit-il de cette illustre famille de Padoue dont le chef fut empoisonné en prison par les ordres de la république?

  Vous direz, je vous prie, à Madame Garrick que je lui envoie par cet homme tout ce qu'elle a désiré, a l'exception de l'étui à curedent et des boucles à soulier; attendu que ces sortes de choses se font mieux et plus solidement en Angleterre qu'en France. Madame Sayde tire cette marchandise de Londres, c'est à dire les petites boëtes de chagrin-verd: quant aux boucles on les fait, et je compte qu'elle les aura dans le mois prochain.

J'ai ajouté aux livres que vous m'avez désignés un ouvrage nouveau en deux vol. sur les Sauvages, et un drame intitulé "La Vestale." Les comédiens François avoient reçu cette pièce, mais la police n'a pas voulu en permettre la représentationJe crois que vous pouvez en tirer parti pour vôtre théâtre.

Pourquoi ne souscrivez-vous pas pour les Métamorphoses d'Ovide, représentées en une suite de cent quarante Estampes in 4°.? cet ouvrage est digne de vôtre bibliothèque. Je vous en ferai passer le Prospectus; si vous jugez à propos de souscrire, comme je connois les graveurs de cet ouvrage, vous aurez de belles épreuves. Vous devriez aussi prendre le Dictionnaire de Musique de Jean Jacques Rousseau, qui paroît depuis peu avec succès.

J'ai payé à Mr. de la Combe ce que vous lui deviez pour l'Année Littéraire; je n'ai pas souscrit pour l'avenir, ne sachant pas si vôtre volonté est de continuer pour cette feuille.

Le Kain a été fort malade: il va jouer quatre ou cinq fois; ensuite il ira prendre des eaux à Forges, et pendant son absence on donnera " La Gageuse," comédie nouvelle en un acte de Mr. Sedaine, sujet tiré de la première nouvelle de Scarron. Le même auteur a fait aussi une pièce pour les Italiens, qui a pour titre " Le Déserteur;" quand l'une et l'autre seront imprimées, j'aurai soin de vous les faire tenir.

Mon ami, j'aurois la plus grande envie de vous aller voir cette année, et j'y suis fortement invité par Messieurs Thornhill et Lascelles, mais je ne le peux pas: partie remise à l'année prochaine, sous la condition que vous viendrez celle-ci à Paris passer un mois; ce peu de tems ne vous privera pas du plaisir de jouir de vôtre campagne que je crois charmante à présent par la réparation que vous y avez fait.

Je vous ai déjà parlé des effets que vous m'avez laissés dans un mauvais coffre; que voulez-vous que j'en fasse? je serois d'avis de vous envoyer par la première occasion les deux habits de soie, l'un de lustrine et l'autre verd galonné d'argent; j'y joindrai la veste de cirsaca blanche et or ; ce qui restera sera fort peu de chose.

Je vous enverrai aussi une note des petites avances que j'ai fait pour vous et Madame Garrick: nous ferons nos petits comptes en déduisant ce que vous avez payé pour moi au Sieur Guillaume Webb négociant, &c.; et dans la suite je serai très exact à vous envoyer les prix sur chaque chose dans les commissions dont vous voudrez bien me charger. En voici une que je vous prie de me faire le mieux et le plus promptement possible. Mr. Greuze que vous connoissez, Peintre, voudroit avoir un habile graveur de vôtre manière noire. Si vous pouvez lui trouver un jeune homme sage et très habile qui veuille venir à Paris, il le logera chez-lui, et il lui fera un bon parti. Mr. Greuze vous fait bien des compliments, et il compte toujours vous faire un petit tableau qui vous arrivera au moment que vous y penserez le moins. À propos de tableaux, je vois bien des difficultés pour pouvoir faire graver le vôtre; on me demande fort cher; mais je ne concluerai rien sans vôtre avis. D'ailleurs ce portrait (entre nous soit dit) a beaucoup de défaut dans les mains et les jambes surtout; il n'y a que la tête qui est belle et pleine d'expressions.

Au nom de Dieu, mon ami, ne faites point de grâce à Mr. Mant: je ne veux pas en être la dupe; envoyez y Carara jusqu'à ce qu'il en soit payé.

  Le jeune Barthelemon me doit trois louis: par une lettre qu'il m'a écrit, il me demande à qui je veux qu'il les remette. Je vous prie de vous en charger.

Quant au fromage que vous voulez absolument m'envoyer; adressez le tout naturellement à Mr. de Vimeux négociant, à Calais.

  Mademoiselle Auselin, qui a dansé il y a deux ou trois ans à l'Opéra de Londres, est ici depuis quelques jours: elle a un engagement assez fort pour la cour de l'Electeur Palatin: les Directeurs de nôtre Opéra l'ont engagé pour danser trois fois, je l'ai vu répéter hier, je l'aime mieux que Mademoiselle Allard. Elle arrive de Stutgard, où elle a travaillé deux ans avec Noverre: je pense qu'elle feroit beaucoup d'effet sur vôtre théâtre; si vous en avez besoin, je tâcherai de vous la faire avoir pour la saison prochaine.

Mr. de Voltaire, qui a écrit contre le Vieux et le Nouveau Testament depuis Moïse jusques au dernier des Prophètes, qui a traité ouvertement Jésus Christ comme un charlatan, vient de communier à son château de Ferney, et de faire un sermon à ses habitans sur l'ivrognerie et la friponnerie: il est vrai que quelques jours avant il avoit été volé, et qu'il avoit fait un rêve où le Diable l'emportoit avec tout son monde. Que Mr. Wilks, proscrit, et ayant manqué de respect à son Roi, parvienne à faire trembler vos ministres et à se faire recevoir membre du Parlement! Je ne vois que lui et le Roi de Prusse pour prendre des mesures aussi justes.

Mon ami, présentez mon respect et mes amitiés à Madame Garrick. Répondez à tous les articles de ma lettre; et aimez-moi toujours.

Monnet

The Curé at Thurins

Anthoine Peysal begins to appear in the registers as Curé at Thurins in 1673. He continued to follow his calling there until just before he was put to rest on 11 June 1721 at the age of 78. The Curés of the Lyonnais gathered to witness his funeral at the church.
 

For almost fifty years he witnessed the sadness and joys of everyday life; he baptised, married and buried the vast extended Rat family. He was clearly very much a part of family life as he travelled into Lyon to attend ceremonies and maybe celebrations although he is not recorded as a witness at the marriage of Pierre Gravillon and Jeanne Rat (the grandparents of Sophia d'Aigueville).

Neither did he perform the burial service for his sister, Catherine Peysal, on the 17 October 1712 shortly after she died at the age of 72. Catherine had married Philibert Rat, a merchant, and they were Sophia's great grandparents. Consequently, the Père Anthoine is Sophia's great great uncle.

Anthoine's church remains in Thurins although the tower has grown over the years.

The commune is thirty kilometres to the west of Lyon in the Monts du Lyonnais.

View Thurins en Lyonnais in a larger map

More for Your Bookshelves

The price tag of this book must be attached to a rocket. I bought it a couple of years ago and I can't have paid anything like this sum as my pockets aren't this deep.

Luckily, a preview is available of this book. If you pull down the 'more' menu on the Google search page, then select 'Books' and enter the search term 'Italian opera in 18th century London' this book will be top of the list.

On navigating to the book you can replace the search term with 'd'egville' and then follow the links to some of the pages which are freely accessible.

Ian Woodfield's Opera and Drama in Eighteenth Century London (Cambridge University Press, 2006) is more within reach at £34.85. This book doesn't have a preview available to Google but does refer to Pierre and Sophia d'Aigueville and their earnings at the King's Theatre.