Anne-Louise-Germaine de Staël-Holstein's impact on nineteenth-century theater comes above all from De l'Allemagne (1810-1813; translated as Germany, 1813), to which later Romantic drama theory (Stendhal's Racine et Shakspeare [1823] and Victor Hugo's Préface de Cromwell [1827]) owes profound debts. Other intellectual sources for Romantic theater, Benjamin Constant, A. W. Schlegel, and J. C. L. Simonde de Sismondi, wrote under Staël's roof at Coppet, her home in Switzerland, and indeed, almost the entire intellectual framework of French Romantic theater may be found in the works of this group Staël led. The translators for Jean-Baptiste Ladvocat's Chefs-d'oeuvre des théâtres étrangers (Masterpieces of Foreign Theaters, 1822-1825) were Coppet intimates, and their enterprise answers the call of De l'Allemagne to renovate French literature by translating nonclassical drama. Romantic France's pantheon of German models again follows Staël's lead: Friedrich von Schiller, Zacharias...