^{Note 1 in page 395} Thanks to the generosity of the Conseil d'Administration of the Comédie-Française and the courtesy of M. Jean Monval, librarian and keeper of the archives, I was allowed to secure a photographic copy of Le Registre d'Hubert, subsequently deposited in the Stanford University Library. A description of the extant Registres of Molière's theater for 1663 and 1664, and a comprehensive investigation of the latter, will be found in my paper, “Light on Molière in 1664, from Le Second Registre de La Thorillière,” published in PMLA, liii, iv (1938), 1058–75.

^{Note 2 in page 395} Cf. Ed. Thierry, Documents sur le Malade imaginaire, p. 40 and G. Monval, Premier Registre de La Thorillière, pp. iii–iv.

^{Note 3 in page 397} Despois, loc. cit., reports 944 spectators on November 20. However, this total is erroneous, though the correct figure of 514 is quoted for the parterre.

^{Note 4 in page 397} These reports of tickets sold may correspond closely to the actual number of spectators in the audience, since Hubert's accounts indicate that members of the company could not give passes to their friends. At least, I find on December 23 (p. 97): “Billets de la troupe, 1 livre, 10s,”; December 27 (p. 98): “Billets D'acteurs ... 6¹¹ 10s,” and a charge against La Thorillière for the full price of three best seats; March 19 (p. 130): “Deub trois places par M^r Dela Thorilliere de 16¹¹ 10s.” But authors were admitted free to the stage.

^{Note 5 in page 399} Ticket sales, column I, stage seats; II, private boxes; III, lower box seats; IV, parterre; V, total, estimating eight in each private box. I have no room to give figures for the amphitheater, loges hautes and loges du 3^e rang, the middle group of Molière's patrons. Femmes Savantes (13 perfs. in all)

Cf. also, for attendance at two later revivals, notes 47 and 60.

^{Note 6 in page 400} Magne, Images de Paris sous Louis XIV, p. 46: “Ce compte, ou plutôt, comme on disait alors, ces ”parties,“ arrêtées, signées et réglées le 1^er février 1672 montaient à 33 livres, 12 sols 6 deniers, soit à environ 500 francs de notre monnaie.” In 1936, P. Mélèse assigned a lower value to our franc: “La livre valait approximativement 26 franc actuels.” Donneau de Visé, p. 51n.

^{Note 7 in page 401} Premier Registre de La Thorilliere, p. vi—Of course, the item pauures is not a tax, it covers charities. In Le Registre d'Hubert there are no gifts reported to the Capucins, the firemen of the period, common as such payments are in the accounts of 1663–64.

^{Note 8 in page 401} May 31, p. 15, Hubert writes: “Raporté dix huict liures que jauois a la Compagnie qui ont esté donnez a Crosnier pour recompense des peines qu'il a prises a Psiché et de sa Chandelle.” On October 4, the company helped him to settle a very old debt for a suit of clothes. Hubert's entry reads: “Raporté dix liures dix solz que jauois a la Compagnie auec cent quinze solz qui ont esté donnez a François pour acheuer de payer lhabit quil a liuré a Crosnier dez lannée passée 1671.”

^{Note 9 in page 402} Hubert's accounts preserve the names of other actors who adopted this means of saving or repaying debts:

May 10, p. 6: M^r De Beauual a retiré cinq parts pour M^r De Moliere.

May 20, p. 10: Commencé a retirer Vne demie par sur Mademoiselle De la Villaubrun ... pour Mons^r De Moliere.—These savings began three days after the death of Geneviève Béjart's first husband and were perhaps intended to repay some expenses of the funeral.

June 17, p. 20: Monsieur De la Thorilliere a commancé a retirer aujourdhuy pour M^r De Villiers.

June 26, p. 25: M^r Baron a commancé ce jourdhuy a retirer sa part entiere.—This item is misinterpreted in Monval's Chronologie, p. 238, where it becomes:

“Baron à part entière.”

July 12, p. 32: Retiré aujourdhuy pour Mll^e Delagrange dix liures dix sols.

January 10, p. 104: Mademoiselle Aubry (i.e. Geneviève Bejart) a commancé aujourdhuy a retirer sa part entiere.

¹⁰ According to Thierry's Documents sur le Malade imaginaire, p. 67, he was 28 in 1672. In Molière's first years at Paris, as we know from La Grange, the company performed occasionally at his mother's mansion. Soulié found that she was a customer of Molière's father.

¹¹ La Grange, Registre, p. 129.

^{Note 12 in page 404} Tartufe, four performances in all, see note 24.

^{Note 13 in page 406} Bourgeois Gentilhomme, ten performances, see notes 30, 43.

^{Note 14 in page 406} Pourceaugnac, June 7–12, 3 nights, Escarbagnas & Mariage forcé, 14 nights, July 8–August 7, Bourgeois Gentilhomme, 4, August 14–21, Fâcheux, 3, August 30–September 4, Pourceaugnac, 2, September 9 & 11, Bourgeois Gentilhomme, 3, September 27–October 2, Fâcheux, October 4.

^{Note 15 in page 405} Cf. Thierry's Documents, p. 271, where Barbier's bill for supplies to the value of 95 livres will be found.

^{Note 16 in page 405} L'Avare, billed five times for eight performances, see notes 23, 32, 40, 46.

^{Note 17 in page 406} Little is known about the veteran Chasteauneuf. He and his small daughter are mentioned in La Thorillière's Registres of '63 and '64, and he was cast as Lycas at Court in Psyché. Hubert's other entries which concern Chasteauneuf show him as a trustworthy messenger, familiar with the use of arms. Cf. p. 9: “a Chasteau neuf pour Vn Voyage a S^t Germain ... 4¹¹ 10s,” p. 36: “Pour Vne lame despée a Chasteauneuf ... 4¹¹ 10s,” p. 68: “A Chasteau neuf pour Vn Voyage a S' Germain ... 6¹¹,” p. 100: “a M^r de Chasteauneuf Pour Vn pistolet ... 3¹¹.”

^{Note 18 in page 407} Monsieur de Pourceaugnac was played five times, see n. 36.

^{Note 19 in page 407} Le Misanthrope had seven performances, see notes 45, 49, 51, 63.

^{Note 20 in page 407} This double bill was only offered three times, see note 38.

^{Note 21 in page 407} Amphitryon, six performances, see note 41.

^{Note 22 in page 408} Sganarelle was given once with L'Ecole des Maris, see note 33.

^{Note 25 in page 408} La Comtesse had 19 performances as a double bill, see notes 44, 50, 64. Le Manage forcé was not played again.

^{Note 26 in page 410} Forestier is mentioned by La Grange, in his statement concerning the production of Psyché in 1671, as having sung: “sur le Theatre à visage descouuert, habillez comme les Comediens.” I have seen no other mention of Le Roy.

^{Note 27 in page 410} It is clear from the “Mémoire de la besogne de serrurie of Jacques du Rivet,” published in Thierry's Documents, pp. 121–135, that this kind of smith specialized in the forging of bolts, hinges, angle irons, and even gratings.

^{Note 28 in page 411} Thierry lists a Mme. Vagnard among the creditors paid by La Grange at the liquidation of the Palais Royal, but her receipted bill had been lost. See Documents, p. 57.

^{Note 29 in page 411} G. Monval, Premier Registre de La Thorillière, p. 53, suggested that this person was Daniel Mallet, a dancer engaged by the Illustre Théâtre, June 28, 1644.

^{Note 31 in page 412} The name of Romain Toubel, bourgeois de Paris, appears in Soulié's Recherches sur Molière, pp. 254–255, as that of an agent of Madeleine Béjart in a loan transaction, dated August 16, 1671. It is he, I presume, who is named on February 5, 1673, on p. 115 of Hubert's Registre: “Donné a Toubel pour aller a St Germain ... 3¹¹.”

^{Note 34 in page 413} Les Fâcheux had five performances, including one with La Comtesse d'Escarbagnas, see n. 44 and 64.

^{Note 35 in page 413} L'Etourdi, two performances, see n. 39.

^{Note 37 in page 413} The singer is named twice in the accounts of Psyché, November 11, January 6; p. 79: “Frais extraordinaires a M^lle Turpin ... 2^ll 5s,” p. 102: “Pour Vne coeffure a la petite Turpin du Mariage forcé ... 7^ll 10s.”

^{Note 42 in page 414} Georges Monval, op. cit. p. 242 entered this item from Hubert as follows: “V. 23 (septembre). A Versailles: l'Avare,” but the proposed date conflicts with p. 60 of the book of accounts.

^{Note 48 in page 416} These savings were apparently discontinued during the profitable run of Psyché, on January 15. See p. 106.

^{Note 53 in page 419} Despois, Le Théâtre Français sous Louis XIV, Livre ii ch. iv, seems to imply that spectators enjoyed stage seats at “machine” plays until Thomas Corneille's Circé was presented, 1675. Lancaster appropriately remarks that no new “machine” plays were produced during this season at the Palais Royal and that it is impossible to make a general rule without knowing what was done at the Marais, far more important in this connection than the Palais Royal.

^{Note 54 in page 419} Le Theâtre et le public sous Louis XIV, p. 209.

^{Note 55 in page 420} Thierry, Documents, pp. 233–240, shows that Lalouette was a skilled metal worker, capable of repairing chandeliers or of supplying “six coliers de mores.”

^{Note 56 in page 420} François Lorian or Loriau, according to Thierry, Documents, p. 119, was a garçon d'atelier at the Palais Royal. A François is mentioned 10 times in the Premier Registre de La Thorillière, 1663. Among Hubert's payments, an item for the Malade imaginaire, p. 119: “A François pour trois jours de jeu ... 3^ll,” shows that Molière's handyman was sometimes asked to tread the boards.

^{Note 57 in page 422} Thierry's Documents, pp. 241–243, reproduce the receipted bill of Angélique Bourdon' the “Mémoire des estancilles que j'ay fourny pour le palais royal,” from which I quote: “plus six mortier peinds et argentés auec six mortiers de bois dedans, à un escus pièce ... 18¹¹.”

^{Note 59 in page 422} Note the wording of the title in the accounts. Hubert used the conjunction et where La Grange wrote ou in his book. The heading for De Vise's play used on pp. 111–113 is shortened to Aux Maris infidelles. The frères Parfaict who examined Hubert's Registre were led by his error to suppose that two plays were billed on the 24th, and that L'Amy de tout le monde was an unsuccessful work by an anonymous writer, Histoire générale, xi, 242 and 274. Their error was first noticed by E. Thierry, Documents, p. 153. G. Monval showed that La Grange's Registre remained in the possession of his family until 1785 (Moliériste, vi, p. 3–9), which makes it probable that the Parfaicts were unable to consult that record.

^{Note 61 in page 423} Thirteen performances, all “au double.”

^{Note 62 in page 424} Théâtre Français sous Louis XIV, p. 363n.

^{Note 65 in page 426} Three of the bills preserved in Thierry's Documents, pp. 171–198, concern refreshments supplied at rehearsals.