The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-01-15
PARIS THE CAPITAL OF PLEASURE.
Napoleon the Third as Patron OF Uni.
yerSal Art.
The German Indemnity Paid by
French Plays.
RELATIVE SIZE OF EUROPEAN THEATRES.


countries and IN all ages taking probably its first
form OF representation in the dancing girl and its
latest in the parliament ary assembly. There have
always been and there always viii be some people
who are actors on the stage OF lie and Others who
are fond of looking at them and listening 10 Them
Theatres have been equally condemned by the
Roman Catholic and by the Puritan clergy. There
are many worthy persons who consider they are
an invention OF the devil. Ii makes no sort OF
difference; the passion for them is so deeply rooted
in the heart OF man that they never can be put
down by the most violent opposition. and the best
thing that any government can do, il 1t NEEDLES
with the subject at all, to satisfy the desire Tor
them and to give dramatists and managers the
means OF producing their WORKS in 50 noble
manner TO inspire respect rather than condem
nation. and 10 make them a part OF rational
education and the worthy school OF national arr.
1t Is clear that, in order to give theatrical repre-
sensations all the charm ana value which may be-
long 10 them, they must be produced under con-
dIsions favorable to their development.
This cannot be done If the actor is
placed on mean stage and amidst surround
ings where he cannot be conveniently heard
or seen. The principle OF good theatre. there
FORE is 10 have commodous scenes and comforta-
Bile seats Herein hes the first secret Of the archi-
tect who builds a theatre; and when he has pro-
vided Tor actors and audience 1t is still necessary
snat the building should be so constructed that
the seats shal, be divided in manner to yield
satisfactory pecuniary returns by their sale.
Light, heat. ventilation and, finally, beauty,
are all to be considered before tue structure is
complete. The reason why we have many bad
theatres in the world is that they have been gen.
orally built by spectators who were DESTROYS Of
getting large return for very little money, and
therefore they boxed up actors and audience in a
confined space in order that they might nave
large gains at small expense. Until very recently
no KIND OF speculation was more hazardous than
that connected with theatrical entertainments,
and the practice OF risking lavish outlay upon
them is quite new. Indeed, there public
to remunerate investments OF this kind till very
recently. because it was an enterprise OF consid-
cradle difficulty and not devoid OF danger TO wan
der about ill-lighted streets at midnight
In bad weather TO search for amusement,
and even the men and women OF the last generation
preferred their own fresides, and playgoers were
either very young very rich. There lew
theatres even III such places as Pans, London and
Vienna, while Of the largest provincial cities
In Europe had none at all. The immense au-
diences which now fill every well conducted house
OF en- entertainment, and many which are not well
conducted were created when gas, cheap public
carriages and an efficient police became the rule
rather than the exception in every large town.
theatre win always count on large and quick re-
turns FOR his investment, and thus the artistic
proportions OF the building and the comfort, If
the safety, of both actors and audience likely
TO be sacrificed. When therefore, Napoleon Ill
decreed that the building OF national opera
house in Paris was a work OF public utility in
which speculation and profit should have no part
ne simply gave expression to an obvious truth
No private person or mere public company, intent
site or the new opera house, had it been for SALE
ana built the magnificent edIhce which M. GARNER
has raised upon it, with the prospect OF getting
one per cent upon the investment. 1t required
the peremptory voice OF imperial authority and
the treasury OF great people 10 call 1T into being
PARIS THE CAPITAL OF PLEASURE.
1t has been a common practice amocg the oppo-
nents OF the Second Empire TO tax 1t with an ex-
travacant waste OF public money, and among the
large sums said to have been thrown away on the
useless embellishments OF Parts none have been
more severely criticised than those which were
awarded for the building Of the new opera house.
But perhaps not one OF the charges against Napo-
leon III. was unjust. Paris is the capital OF
pleasure whittier all the world resorts Tor amuse-
ment Rich idiers from ali countries go TO Paris,
because they can there purchase pleasure, not
only oil better quality, but much cheaper than
elsewhere and any French government which is
not wllfIllly obstinate and short-sighted should
hardly grudge any cost which enables Paris to
attract visitors and to MAINTAIN It's supremacy
over all the world in the matter OF public enter
tainments The greater the funds employed Tor
this purpose may be the greater win assuredly
be the profits arising from them. over and over
again parsimorious and silly administrators have
desired 70 withdraw the subsidies allowed to the
Opera, the Theatre Francois and the Odeon. For
tunateiy for Paris they have never been able to
carry their purpose into effect, and now, under a
Republic, while there is a loud outcry everywhere
for economy the subsidy given to the opera Is 10
be largely Increased.
GOVERNMENT SUBSIDIES TO THEATRES
n the three national theatres in France were
not subsidized every playhouse in the country
would be given over TO buriesque and extrava-
CANA, not even so noble piece as NJ. Sardou's
ala Hainen having paid It's expenses 1t was
Brlllat-savarin who said that French cooks and
foreign epcures had paid the cost OF the Napoeonc
wars which ended at Waterloo. Certainly French
cooks and their customers have nad no small part
IN Iauldatng the enormous indemnity lately de-
mapded by Germany. and of which not one cent
now remains due. French actors and actresses,
mnIfners and dressmaKers have done the rest,
and the stupeLuous task mas all been accomplished
An three years France Is now richer than ever,
while there has been monetary panic In Ger.
many Gold has again come into circulation here,
and the twenty franc notes have been called IN,
while notes OF less than dollar in value sul cir
culate in Germany. German paper can only be
casned at a heavy discount abroad. French paper
bears premium in Belgium and Berlin, waile
even In England IL is quoted mere traction DC
low par II pleasures, rightly controlled and
administered, can work such wonders az this, II
m certain that they form the chief part OF French
national wealth and deserve all the care and
attention which can possibly be paid to them.
RELATIVE SIZE OF EUROPEAN THEATRES.
II may be worth while 20 compare the new
Erencn opera House with the principal theatres
IN Europe. TIE Royal Theatre, at Antwerp, con-
tans 1880 places and the maximum OF its receipts
nightly IL $1,000. The Royal opera, at Berlin, con-
tains l. 1870 places maximum receipts, sl-4oo. The
Grand Theatre, at Bordeaux l,So0 places; maxi
-,u,n roce,nls ssau Tup Theatre ROYAL. Conan