It was in the autumn of 1795 when Madame Chevalier was first heard of in the North of Europe, where her arrival occasioned a kind of theatrical war between the French, American, and Hamburg Jacobins on one side, and the English and emigrant loyalists on the other.  Having no money to continue her pretended journey to Sweden, she asked the manager of the French theatre at Hamburg to allow her a benefit, and permission to play on that night.  She selected, of course, a part in which she could appear to the most advantage, and was deservedly applauded.  The very next evening the Jacobin cabal called the manager upon the stage, and insisted that Madame Chevalier should be given a regular engagement.  He replied that no place suitable to her talents was vacant, and that it would be ungenerous to turn away for her sake another actress with whom the public had hitherto declared their satisfaction.  The Jacobins continued inflexible, and here, as well as everywhere else, supported injustice by violence.  As the patriotism of the husband, more than the charms of the wife, was known to have produced this indecent fracas, which for upwards of a week interrupted the plays, all anti-Jacobins united to restore order.  In this they would, perhaps, have finally succeeded, had not the bayonets of the Hamburg soldiers interfered, and forced this precious piece of revolutionary furniture upon the manager and upon the stage.

After displaying her gratitude in her own way to each individual of the Jacobin levy en masse in her favour, she was taken into keeping by a then rich and married Hamburg merchant, who made her a present of a richly and elegantly furnished house, and expended besides ten thousand louis d’or on her, before he had a mortifying conviction that some other had partaken of those favours for which he had so dearly paid.  A countryman of yours then showed himself with more noise than honour upon the scene, and made his debut with a phaeton and four, which he presented to his theatrical goddess, together with his own dear portrait, set round with large and valuable diamonds.  Madame Chevalier, however, soon afterwards hearing that her English gallant had come over to Germany for economy, and that his credit with his banker was nearly exhausted, had his portrait changed for that of another and richer lover, preserving, however, the diamonds; and she exposed this inconstancy even upon the stage, by suspending, as if in triumph, the new portrait fastened on her bosom.  The Englishman, wishing to retrieve his phaeton and horses, which he protested only to have lent his belle, found that she had put the whole equipage into a kind of lottery, or raffle, to which all her numerous friends had subscribed, and that an Altona Jew had won it.