Most of what is known about Pauline Séraphin comes from Charles Magnin (Histoire de marionnettes en Europe,1852, p.182), who wrote that she was “from the family of the founder” of the Théâtre Séraphin, Dominique-Séraphin François, known as Séraphin (1747-1800). According to Magnin, Pauline Séraphin wrote “a rather large number of short féerie-plays and scenes with silhouettes, Le Talisman aux enfers, La Perruque de Cassandre, Gilles et son parrain, Le Génie de la sagesse, La Jument grise and Le Pêcheur de Bagdad”.

In the second edition of his book (1862, p.167), Magnin only writes that she is the author of “many scenes with silhouettes and puppet plays, the number of which she increases everyday”. The great-niece of the founder of the theatre, Pauline-Antoinette François, known as Pauline Séraphin, studied at the Conservatoire de musique de Paris (Paris Conservatory) where she obtained a certificate of merit in music theory in 1833. The daughter of Joseph François (also known as Séraphin, 1769-1844), she became the last director of the theatre created by her great-uncle, from the death of Paul Royer in 1859 until its closing in 1870. She was buried in the Montmartre Cemetery in 1905.

The anonymous work Feu Séraphin (Lyon: N.. Scheuring, 1875, pp.27-28) adds to the plays already mentioned by Magnin Madelon, L’Âne au salon, L’Écolier paresseux, Le Royaume des grosses têtes, Le Déménagement de Polichinelle, Les Mensonges de Paillasse, Les Deux Tirelires and La Sortie de pension.