is the jealousy with which one theatre
beholds another infringing on its attributes. Thus, some years ago, at
the Francais, where the performances should be confined to tragedy, high
comedy, and drama, a play interspersed with songs was brought out. The
Vaudeville viewed this as a usurpation of its privileges, and forthwith
produced a piece called "La Tragedie au Vaudeville," saying that if the
Francais sang vaudevilles, the Vaudeville was justified in singing
tragedy.

There are in Paris four Theatres Royal, subsidised by the French
government to the extent of about twelve hundred thousand francs, or
nearly L50,000. Rather more than the half of this sum goes to the Grand
Opera, nor is it too much, if we consider the enormous salaries paid to
the singers and dancers at that theatre, and the low prices of
admission; the best place in the house costing less than a pit-ticket at
the Italian opera in London. The Opera Comique receives nearly ten
thousand pounds a-year, the Francais eight, the Odeon four. The other
theatres do as well as they can without subsidies, and, as in this
country, are losing or profitable concerns according to the skill of the
manager, to the merits of the actors and plays produced; and, oftener
still, according to the caprice and good pleasure of the public. Their
prices of admission are generally higher in proportion than those of the
larger theatres. It must be admitted that their performances are often
more amusing.

Although one or two attempts were made at earlier periods, the permanent
establishment of the opera in France cannot be traced further back than
the reign of Louis XIV., when Cardinal Mazarine had the happy idea of
introducing it, in hopes of amusing that most unamuseable of monarchs.
The novelty found great favour, both with sovereign and courtiers.
Performances took place in the king's private apartments; the Marquis of
Sourdeac, a man of immense wealth and considerable mechanical skill,
constructed a theatre in his Norman castle, and brought out the "Toison
d'Or," with words by Corneille. At last an opera company was regularly
installed in a building in the Rue Vaugirard, and here, upon one
occasion, when the King was present, the Prince of Conde, and other
great nobles, danced upon the stage amongst the actors. "The first opera
in which female dancers were introduced was the Triumph of Love, played
at St. Germains before Louis XIV. On the occasion of this brilliant
_fete_, se