one of these theatres obtained
leave to give musical performances. This was the origin of the Opera
Comique, which, forty years later, was amalgamated with the Italian
comedy at the Hotel de Bourgogne, whence, in 1783, the united companies
transferred themselves to the Salle Favart. To the four theatres above
enumerated, a few others were added during the reigns of Louis XV. and
his successor, but they were of little note, and the increase in the
number of theatrical establishments was unimportant until the
revolution. Then license was universal, and no special one was required
to open theatres. In 1791 a prodigious number were established, and, for
some years afterwards, nearly fifty, large and small, existed in Paris.
In the time of the empire twenty-eight of these remained, until Napoleon
issued an edict reducing them to ten. At the present day the French
capital contains twenty-two theatres, including the new Theatre
Montpensier, the privilege for which was conceded to Alexandre Dumas at
the request of the prince whose name it bears. Besides these there are a
number of petty playhouses outside the barriers, at Batignolles,
Belleville, and similar places, and Mr. Hervey informs us that a license
has just been granted for a third French opera-house. Play-loving as the
population of Paris undoubtedly is, it must be admitted that ample
provision is made for its gratification.

The natural classification of the more important of the Parisian
theatres, about fifteen in number, is under four heads: opera--tragedy,
comedy, and drama--vaudeville--melodrama. The first division includes
the French opera, the Italians, the Opera Comique; the second, the
Francais and the Odeon; at the Porte St. Martin and Ambigu Comique,
melodrama is the staple commodity, varied, however, with performances of
a lighter kind; whilst vaudevilles, broad farces, and short comedies
constitute the chief stock in trade of the remainder. At many of the
theatres an entire change in the style of the performances is of no
unfrequent occurrence. We have known the Gaite in the dolefuls, and the
Porte St. Martin abandoning its scaffolds, trap-doors, and other
melodramatic horrors, for fun, farce, and ballet. As a regular thing,
dancing is only to be seen at the Grand Opera. The license of each
theatre specifies the nature of the performances allowed it, but this
is a matter difficult exactly to define, and the rule is easy of
evasion. A better check, perhaps,