he gradually distanced himself from the movement. In 1666 Mlle de Guise chose Goibaut to be the preceptor (other sources say the “governor”) of her sixteen-year-old nephew, Louis-Joseph de Lorraine|Louis Joseph, Duke of Guise. Indeed, Goibaut had earned respect for his theories about how best to educate princes. Upon his arrival at the “Hôtel de Guise”, Goibaut set about ghost-writing the memoirs of Mlle de Guise's late brother, Henry, Duke of Guise, who had died in 1664. The memoirs were published under Henry's name in 1668. Mlle de Guise lodged her protégé in an apartment in the newly renovated stable wing of her splendid urban palace. There Goibaut regularly entertained one or another of the “pascalins.” One of his neighbors was Roger de Gaignières, who was amassing a collection of historical documents and images. A few years later, the princess also offered her protection to a young composer named Marc-Antoine Charpentier, to whom she granted an apartment adjacent to Goibaut's. After the Duke's death in 1672, both Mlle de Guise and the Duke's widow, “Mme de Guise” continued their protection of Goibaut and Charpentier. For seventeen years the two men — joined by an ever-increasing number of singers and instrumentalists — performed religious and secular music for the two Guise princesses, not only in their private residences and chapels but also at the royal court and in select Parisian venues. To be precise, Goibaut conducted and Charpentier composed. Goibaut may occasionally have played with the ensemble, just as Charpentier sometimes sang with it. Indeed, when Goibaut died, he still owned his viol, plus fifty-six volumes of music by a variety of composers. For some of these volumes he had badgered the resident in Paris for Cosimo III de' Medici, Grand Duke of Tuscany, to ship Italian songbooks to Paris for the enjoyment of Mlle de Guise. A neo-Latinist who probably wrote most, if not all the libretti for Charpentier's oratorios, Goibaut was respected for his ability to set Latin texts to plainsong. After the death of the Duke of Guise in 1672, Goibaut began translating Latin texts into French: Thomas à Kempis's Imitation of Christ, two volumes of Cicero and eight volumes of St. Augustine. For his point of departure he used the recent Latin editions done by the scholarly Benedictines of Saint-Maur. Always keeping the lay reader in mind, he worked to present not only the author's ideas but