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The Phantom of the Opera by Gaston Leroux

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not kill herself. It was a bargain....Half a minute later,
all the water was back in the lake; and I had a hard job with you,
daroga, for, upon my honor, I thought you were done for!...
However!...There you were!...It was understood that I was
to take you both up to the surface of the earth. When, at last,
I cleared the Louis-Philippe room of you, I came back alone...."

"What have you done with the Vicomte de Chagny?" asked the Persian,
interrupting him.

"Ah, you see, daroga, I couldn't carry HIM up like that, at once.
...He was a hostage....But I could not keep him in the house on
the lake, either, because of Christine; so I locked him up comfortably,
I chained him up nicely--a whiff of the Mazenderan scent had left him
as limp as a rag--in the Communists' dungeon, which is in the most
deserted and remote part of the Opera, below the fifth cellar,
where no one ever comes, and where no one ever hears you.
Then I came back to Christine, she was waiting for me."

Erik here rose solemnly. Then he continued, but, as he spoke,
he was overcome by all his former emotion and began to tremble
like a leaf:

"Yes, she was waiting for me...waiting for me erect and alive,
a real, living bride...as she hoped to be saved....And,
when I...came forward, more timid than...a little child,
she did not run away...no, no...she stayed...she waited
for me....I even believe...daroga...that she put out
her forehead...a little...oh, not much...just a little...
like a living bride....And...and...I...kissed her!...
I!...I!...I!...And she did not die!...Oh, how good it is,
daroga, to kiss somebody on the forehead!...You can't tell!...
But I! I!...My mother, daroga, my poor, unhappy mother would never
...let me kiss her....She used to run away...and throw me my mask!
...Nor any other woman...ever, ever!...Ah, you can understand,
my happiness was so great, I cried. And I fell at her feet, crying
...and I kissed her feet...her little feet...crying. You're crying, too,
daroga...and she cried also...the angel cried!..." Erik
sobbed aloud and the Persian himself could not retain his tears
in the presence of that masked man, who, with his shoulders shaking
and his hands clutched at his chest, was moaning with pain and love
by turns.

"Yes, daroga...I felt her tears flow on my forehead...on mine,
mine!...They were soft...they were sweet!...They trickled
under my mask...they mingled with my tears in my eyes...yes
...they flowed between my lips....Listen, daroga, listen to
what I did....I tore off my mask so as not to lose one of her
tears...and she did not run away!...And she did not die!...
She remained alive, weeping over me, with me. We cried together!
I have tasted all the happiness the world can offer!"

And Erik fell into a chair, choking for breath:

"Ah, I am not going to die yet...presently I shall...but let
me cry!...Listen, daroga...listen to this....While
I was at her feet...I heard her say, `Poor, unhappy Erik!'
... AND SHE TOOK MY HAND!...I had become no more, you know,
than a poor dog ready to die for her....I mean it, daroga!...
I held in my hand a ring, a plain gold ring which I had given her
...which she had lost...and which I had found again...
a wedding-ring, you know....I slipped it into her little hand
and said, `There!...Take it!...Take it for you...and him!
...It shall be my wedding-present a present from your poor,
unhappy Erik.....I know you love the boy...don't cry any more!
...She asked me, in a very soft voice, what I meant....
Then I made her understand that, where she was concerned,
I was only a poor dog, ready to die for her...but that she could
marry the young man when she pleased, because she had cried with me
and mingled her tears with mine!..."

Erik's emotion was so great that he had to tell the Persian not
to look at him, for he was choking and must take off his mask.
The daroga went to the window and opened it. His heart was full
of pity, but he took care to keep his eyes fixed on the trees in
the Tuileries gardens, lest he should see the monster's face.

"I went and released the young man," Erik continued, "and told
him to come with me to Christine....They kissed before me
in the Louis-Philippe room....Christine had my ring....
I made Christine swear to come back, one night, when I was dead,
crossing the lake from the Rue-Scribe side, and bury me in the greatest
secrecy with the gold ring, which she was to wear until that moment.
...I told her where she would find my body and what to do with it.
...Then Christine kissed me, for the first time, herself, here,
on the forehead--don't look, daroga!--here, on the forehead...on
my forehead, mine--don't look, daroga!--and they went off together.
...Christine had stopped crying....I alone cried....Daroga, daroga,
if Christine keeps her promise, she will come back soon!..."

The Persian asked him no questions. He was quite reassured
as to the fate of Raoul Chagny and Christine Daae; no one could
have doubted the word of the weeping Erik that night.

The monster resumed his mask and collected his strength to leave
the daroga. He told him that, when he felt his end to be very
near at hand, he would send him, in gratitude for the kindness
which the Persian had once shown him, that which he held dearest
in the world: all Christine Daae's papers, which she had written
for Raoul's benefit and left with Erik, together with a few
objects belonging to her, such as a pair of gloves, a shoe-buckle
and two pocket-handkerchiefs. In reply to the Persian's questions,
Erik told him that the two young people, at soon as they found
themselves free, had resolved to go and look for a priest in some
lonely spot where they could hide their happiness and that,
with this object in view, they had started from "the northern
railway station of the world." Lastly, Erik relied on the Persian,
as soon as he received the promised relics and papers, to inform
the young couple of his death and to advertise it in the EPOQUE.

That was all. The Persian saw Erik to the door of his flat,
and Darius helped him down to the street. A cab was waiting for him.
Erik stepped in; and the Persian, who had gone back to the window,
heard him say to the driver:

"Go to the Opera."

And the cab drove off into the night.

The Persian had seen the poor, unfortunate Erik for the last time.
Three weeks later, the Epoque published this advertisement:

"Erik is dead."


I have now told the singular, but veracious story of the Opera ghost.
As I declared on the first page of this work, it is no longer possible
to deny that Erik really lived. There are to-day so many proofs
of his existence within the reach of everybody that we can follow
Erik's actions logically through the whole tragedy of the Chagnys.

There is no need to repeat here how greatly the case excited the capital.
The kidnapping of the artist, the death of the Comte de Chagny
under such exceptional conditions, the disappearance of his brother,
the drugging of the gas-man at the Opera and of his two assistants:
what tragedies, what passions, what crimes had surrounded the idyll
of Raoul and the sweet and charming Christine!...What had become
of that wonderful, mysterious artist of whom the world was never,
never to hear again?...She was represented as the victim of a
rivalry between the two brothers; and nobody suspected what had
really happened, nobody understood that, as Raoul and Christine
had both disappeared, both had withdrawn far from the world to
enjoy a happiness which they would not have cared to make public
after the inexplicable death of Count Philippe....They took
the train one day from "the northern railway station of the world."
...Possibly, I too shall take the train at that station, one day,
and go and seek around thy lakes, O Norway, O silent Scandinavia,
for the perhaps still living traces of Raoul and Christine and also
of Mamma Valerius, who disappeared at the same time!...Possibly,
some day, I shall hear the lonely echoes of the North repeat
the singing of her who knew the Angel of Music!...

Long after the case was pigeonholed by the unintelligent care
of M. le Juge d'Instruction Faure, the newspapers made efforts,
at intervals, to fathom the mystery. One evening paper alone,
which knew all the gossip of the theaters, said:

"We recognize the touch of the Opera ghost."

And even that was written by way of irony.

The Persian alone knew the whole truth and held the main proofs,
which came to him with the pious relics promised by the ghost. It fell
to my lot to complete those proofs with the aid of the daroga himself.
Day by day, I kept him informed of the progress of my inquiries;
and he directed them. He had not been to the Opera for years and years,
but he had preserved the most accurate recollection of the building,
and there was no better guide than he possible to help me discover
its most secret recesses. He also told me where to gather further
information, whom to ask; and he sent me to call on M. Poligny,
at a moment when the poor man was nearly drawing his last breath.
I had no idea that he was so very ill, and I shall never forget
the effect which my questions about the ghost produced upon him.
He looked at me as if I were the devil and answered only in a few
incoherent sentences, which showed, however--and that was the main thing--
the extent of the perturbation which O. G., in his time, had brought
into that already very restless life (for M. Poligny was what people
call a man of pleasure).

When I came and told the Persian of the poor result of my visit
to M. Poligny, the daroga gave a faint smile and said:

"Poligny never knew how far that extraordinary blackguard of an Erik
humbugged him."--The Persian, by the way, spoke of Erik sometimes
as a demigod and sometimes as the lowest of the low--"Poligny
was superstitious and Erik knew it. Erik knew most things about
the public and private affairs of the Opera. When M. Poligny heard
a mysterious voice tell him, in Box Five, of the manner in which he
used to spend his time and abuse his partner's confidence, he did
not wait to hear any more. Thinking at first that it was a voice
from Heaven, he believed himself damned; and then, when the voice
began to ask for money, he saw that he was being victimized by a
shrewd blackmailer to whom Debienne himself had fallen a prey.
Both of them, already tired of management for various reasons,
went away without trying to investigate further into the personality
of that curious O. G., who had forced such a singular memorandum-book
upon them. They bequeathed the whole mystery to their successors
and heaved a sigh of relief when they were rid of a business
that had puzzled them without amusing them in the least."

I then spoke of the two successors and expressed my surprise that,
in his Memoirs of a Manager, M. Moncharmin should describe the Opera
ghost's behavior at such length in the first part of the book and hardly
mention it at all in the second. In reply to this, the Persian,
who knew the MEMOIRS as thoroughly as if he had written them himself,
observed that I should find the explanation of the whole business
if I would just recollect the few lines which Moncharmin devotes
to the ghost in the second part aforesaid. I quote these lines,
which are particularly interesting because they describe the very
simple manner in which the famous incident of the twenty-thousand
francs was closed:

"As for O. G., some of whose curious tricks I have related in the
first part of my Memoirs, I will only say that he redeemed by one
spontaneous fine action all the worry which he had caused my dear
friend and partner and, I am bound to say, myself. He felt, no doubt,
that there are limits to a joke, especially when it is so expensive
and when the commissary of police has been informed, for, at the moment
when we had made an appointment in our office with M. Mifroid to tell him
the whole story, a few days after the disappearance of Christine Daae,
we found, on Richard's table, a large envelope, inscribed, in red ink,
"WITH O. G.'S COMPLIMENTS." It contained the large sum of money
which he had succeeded in playfully extracting, for the time being,
from the treasury. Richard was at once of the opinion that we must
be content with that and drop the business. I agreed with Richard.
All's well that ends well. What do you say, O. G.?"

Of course, Moncharmin, especially after the money had been restored,
continued to believe that he had, for a short while, been the butt
of Richard's sense of humor, whereas Richard, on his side,
was convinced that Moncharmin had amused himself by inventing
the whole of the affair of the Opera ghost, in order to revenge
himself for a few jokes.

I asked the Persian to tell me by what trick the ghost had taken
twenty-thousand francs from Richard's pocket in spite of the
safety-pin. He replied that he had not gone into this little detail,
but that, if I myself cared to make an investigation on the spot,
I should certainly find the solution to the riddle in the managers'
office by remembering that Erik had not been nicknamed the trap-door
lover for nothing. I promised the Persian to do so as soon as I
had time, and I may as well tell the reader at once that the results
of my investigation were perfectly satisfactory; and I hardly
believed that I should ever discover so many undeniable proofs
of the authenticity of the feats ascribed to the ghost.

The Persian's manuscript, Christine Daae's papers, the statements made
to me by the people who used to work under MM. Richard and Moncharmin,
by little Meg herself (the worthy Madame Giry, I am sorry to say, is no more)
and by Sorelli, who is now living in retirement at Louveciennes:
all the documents relating to the existence of the ghost, which I
propose to deposit in the archives of the Opera, have been checked
and confirmed by a number of important discoveries of which I am
justly proud. I have not been able to find the house on the lake,
Erik having blocked up all the secret entrances.[12] On the other hand,
I have discovered the secret passage of the Communists, the planking
of which is falling to pieces in parts, and also the trap-door
through which Raoul and the Persian penetrated into the cellars
of the opera-house. In the Communists' dungeon, I noticed numbers of
initials traced on the walls by the unfortunate people confined in it;
and among these were an "R" and a "C." R. C.: Raoul de Chagny.
The letters are there to this day.

[12] Even so, I am convinced that it would be easy to reach it
by draining the lake, as I have repeatedly requested the Ministry
of Fine Arts to do. I was speaking about it to M. Dujardin-Beaumetz,
the under-secretary for fine arts, only forty-eight hours before
the publication of this book. Who knows but that the score of DON
JUAN TRIUMPHANT might yet be discovered in the house on the lake?

If the reader will visit the Opera one morning and ask leave to stroll
where he pleases, without being accompanied by a stupid guide,
let him go to Box Five and knock with his fist or stick on
the enormous column that separates this from the stage-box. He
will find that the column sounds hollow. After that, do not be
astonished by the suggestion that it was occupied by the voice
of the ghost: there is room inside the column for two men.
If you are surprised that, when the various incidents occurred,
no one turned round to look at the column, you must remember
that it presented the appearance of solid marble, and that
the voice contained in it seemed rather to come from the opposite
side, for, as we have seen, the ghost was an expert ventriloquist.

The column was elaborately carved and decorated with the sculptor's
chisel; and I do not despair of one day discovering the ornament that
could be raised or lowered at will, so as to admit of the ghost's
mysterious correspondence with Mme. Giry and of his generosity.

However, all these discoveries are nothing, to my mind, compared with
that which I was able to make, in the presence of the acting-manager,
in the managers' office, within a couple of inches from the desk-chair,
and which consisted of a trap-door, the width of a board in the flooring
and the length of a man's fore-arm and no longer; a trap-door that
falls back like the lid of a box; a trap-door through which I can
see a hand come and dexterously fumble at the pocket of a swallow-tail coat.

That is the way the forty-thousand francs went!.... And that also
is the way by which, through some trick or other, they were returned.

Speaking about this to the Persian, I said:

"So we may take it, as the forty-thousand francs were returned,
that Erik was simply amusing himself with that memorandum-book
of his?"

"Don't you believe it!" he replied. "Erik wanted money. Thinking himself
without the pale of humanity, he was restrained by no scruples and
he employed his extraordinary gifts of dexterity and imagination,
which he had received by way of compensation for his extraordinary
uglinesss, to prey upon his fellow-men. His reason for restoring
the forty-thousand francs, of his own accord, was that he no longer
wanted it. He had relinquished his marriage with Christine Daae.
He had relinquished everything above the surface of the earth."

According to the Persian's account, Erik was born in a small town
not far from Rouen. He was the son of a master-mason. He ran away at
an early age from his father's house, where his ugliness was a subject
of horror and terror to his parents. For a time, he frequented
the fairs, where a showman exhibited him as the "living corpse."
He seems to have crossed the whole of Europe, from fair to fair,
and to have completed his strange education as an artist and magician
at the very fountain-head of art and magic, among the Gipsies.
A period of Erik's life remained quite obscure. He was seen at the fair
of Nijni-Novgorod, where he displayed himself in all his hideous glory.
He already sang as nobody on this earth had ever sung before; he practised
ventriloquism and gave displays of legerdemain so extraordinary
that the caravans returning to Asia talked about it during the whole
length of their journey. In this way, his reputation penetrated
the walls of the palace at Mazenderan, where the little sultana,
the favorite of the Shah-in-Shah, was boring herself to death.
A dealer in furs, returning to Samarkand from Nijni-Novgorod,
told of the marvels which he had seen performed in Erik's tent.
The trader was summoned to the palace and the daroga of Mazenderan
was told to question him. Next the daroga was instructed to go
and find Erik. He brought him to Persia, where for some months
Erik's will was law. He was guilty of not a few horrors, for he
seemed not to know the difference between good and evil. He took
part calmly in a number of political assassinations; and he turned
his diabolical inventive powers against the Emir of Afghanistan,
who was at war with the Persian empire. The Shah took a liking
to him.

This was the time of the rosy hours of Mazenderan, of which the daroga's
narrative has given us a glimpse. Erik had very original ideas on
the subject of architecture and thought out a palace much as a conjuror
contrives a trick-casket. The Shah ordered him to construct an edifice
of this kind. Erik did so; and the building appears to have been
so ingenious that His Majesty was able to move about in it unseen and
to disappear without a possibility of the trick's being discovered.
When the Shah-in-Shah found himself the possessor of this gem,
he ordered Erik's yellow eyes to be put out. But he reflected that,
even when blind, Erik would still be able to build so remarkable
a house for another sovereign; and also that, as long as Erik
was alive, some one would know the secret of the wonderful palace.
Erik's death was decided upon, together with that of all the laborers
who had worked under his orders. The execution of this abominable
decree devolved upon the daroga of Mazenderan. Erik had shown
him some slight services and procured him many a hearty laugh.
He saved Erik by providing him with the means of escape, but nearly
paid with his head for his generous indulgence.

Fortunately for the daroga, a corpse, half-eaten by the birds
of prey, was found on the shore of the Caspian Sea, and was taken
for Erik's body, because the daroga's friends had dressed the remains
in clothing that belonged to Erik. The daroga was let off with
the loss of the imperial favor, the confiscation of his property
and an order of perpetual banishment. As a member of the Royal House,
however, he continued to receive a monthly pension of a few hundred
francs from the Persian treasury; and on this he came to live in Paris.

As for Erik, he went to Asia Minor and thence to Constantinople,
where he entered the Sultan's employment. In explanation of the services
which he was able to render a monarch haunted by perpetual terrors,
I need only say that it was Erik who constructed all the famous trap-doors
and secret chambers and mysterious strong-boxes which were found
at Yildiz-Kiosk after the last Turkish revolution. He also invented
those automata, dressed like the Sultan and resembling the Sultan in
all respects,[13] which made people believe that the Commander of the
Faithful was awake at one place, when, in reality, he was asleep elsewhere.

[13] See the interview of the special correspondent of the MATIN,
with Mohammed-Ali Bey, on the day after the entry of the Salonika
troops into Constantinople.

Of course, he had to leave the Sultan's service for the same reasons
that made him fly from Persia: he knew too much. Then, tired of
his adventurous, formidable and monstrous life, he longed to be some
one "like everybody else." And he became a contractor, like any
ordinary contractor, building ordinary houses with ordinary bricks.
He tendered for part of the foundations in the Opera.
His estimate was accepted. When he found himself in the cellars
of the enormous playhouse, his artistic, fantastic, wizard nature
resumed the upper hand. Besides, was he not as ugly as ever?
He dreamed of creating for his own use a dwelling unknown
to the rest of the earth, where he could hide from men's eyes for all time.

The reader knows and guesses the rest. It is all in keeping with
this incredible and yet veracious story. Poor, unhappy Erik!
Shall we pity him? Shall we curse him? He asked only to be "some one,"
like everybody else. But he was too ugly! And he had to hide his
genius OR USE IT TO PLAY TRICKS WITH, when, with an ordinary face,
he would have been one of the most distinguished of mankind! He had
a heart that could have held the empire of the world; and, in the end,
he had to content himself with a cellar. Ah, yes, we must needs
pity the Opera ghost.

I have prayed over his mortal remains, that God might show him
mercy notwithstanding his crimes. Yes, I am sure, quite sure
that I prayed beside his body, the other day, when they took it
from the spot where they were burying the phonographic records.
It was his skeleton. I did not recognize it by the ugliness of the head,
for all men are ugly when they have been dead as long as that,
but by the plain gold ring which he wore and which Christine Daae
had certainly slipped on his finger, when she came to bury him
in accordance with her promise.

The skeleton was lying near the little well, in the place where the Angel
of Music first held Christine Daae fainting in his trembling arms,
on the night when he carried her down to the cellars of the opera-house.

And, now, what do they mean to do with that skeleton? Surely they
will not bury it in the common grave!...I say that the place
of the skeleton of the Opera ghost is in the archives of the National
Academy of Music. It is no ordinary skeleton.


The Paris Opera House


That Mr. Leroux has used, for the scene of his story, the Paris
Opera House as it really is and has not created a building out
of his imagination, is shown by this interesting description of it
taken from an article which appeared in Scribner's Magazine in 1879,
a short time after the building was completed:

"The new Opera House, commenced under the Empire and finished under
the Republic, is the most complete building of the kind in the world
and in many respects the most beautiful. No European capital
possesses an opera house so comprehensive in plan and execution,
and none can boast an edifice equally vast and splendid.

"The site of the Opera House was chosen in 1861. It was determined
to lay the foundation exceptionally deep and strong. It was
well known that water would be met with, but it was impossible
to foresee at what depth or in what quantity it would be found.
Exceptional depth also was necessary, as the stage arrangements
were to be such as to admit a scene fifty feet high to be lowered
on its frame. It was therefore necessary to lay a foundation
in a soil soaked with water which should be sufficiently solid
to sustain a weight of 22,000,000 pounds, and at the same time to be
perfectly dry, as the cellars were intended for the storage
of scenery and properties. While the work was in progress,
the excavation was kept free from water by means of eight pumps,
worked by steam power, and in operation, without interruption,
day and night, from March second to October thirteenth. The floor
of the cellar was covered with a layer of concrete, then with two
coats of cement, another layer of concrete and a coat of bitumen.
The wall includes an outer wall built as a coffer-dam, a brick wall,
a coat of cement, and a wall proper, a little over a yard thick.
After all this was done the whole was filled with water, in order
that the fluid, by penetrating into the most minute interstices,
might deposit a sediment which would close them more surely and
perfectly than it would be possible to do by hand. Twelve years
elapsed before the completion of the building, and during that time
it was demonstrated that the precautions taken secured absolute
impermeability and solidity.

"The events of 1870 interrupted work just as it was about to be
prosecuted most vigorously, and the new Opera House was put
to new and unexpected uses. During the siege, it was converted
into a vast military storehouse and filled with a heterogeneous
mass of goods. After the siege the building fell into the hands
of the Commune and the roof was turned into a balloon station.
The damage done, however, was slight.

"The fine stone employed in the construction was brought from
quarries in Sweden, Scotland, Italy, Algeria, Finland, Spain,
Belgium and France. While work on the exterior was in progress,
the building was covered in by a wooden shell, rendered transparent
by thousands of small panes of glass. In 1867 a swarm of men,
supplied with hammers and axes, stripped the house of its habit,
and showed in all its splendor the great structure. No picture can
do justice to the rich colors of the edifice or to the harmonious
tone resulting from the skilful use of many diverse materials.
The effect of the frontage is completed by the cupola of the auditorium,
topped with a cap of bronze sparingly adorned with gilding.
Farther on, on a level with the towers of Notre-Dame, is the gable
end of the roof of the stage, a `Pegasus', by M. Lequesne,
rising at either end of the roof, and a bronze group by M. Millet,
representing `Apollo lifting his golden lyre', commanding the apex.
Apollo, it may here be mentioned, is useful as well as ornamental,
for his lyre is tipped with a metal point which does duty as a
lightning-rod, and conducts the fluid to the body and down the nether
limbs of the god.

"The spectator, having climbed ten steps and left behind him a gateway,
reaches a vestibule in which are statues of Lully, Rameau, Gluck,
and Handel. Ten steps of green Swedish marble lead to a second vestibule
for ticket-sellers. Visitors who enter by the pavilion reserved for
carriages pass through a hallway where ticket offices are situated.
The larger number of the audience, before entering the auditorium,
traverse a large circular vestibule located exactly beneath it.
The ceiling of this portion of the building is upheld by sixteen fluted
columns of Jura stone, with white marble capitals, forming a portico.
Here servants are to await their masters, and spectators may remain
until their carriages are summoned. The third entrance, which is
quite distinct from the others, is reserved for the Executive.
The section of the building set aside for the use of the Emperor
Napoleon was to have included an antechamber for the bodyguards;
a salon for the aides-de-camp; a large salon and a smaller one
for the Empress; hat and cloak rooms, etc. Moreover, there were
to be in close proximity to the entrance, stables for three coaches,
for the outriders' horses, and for the twenty-one horsemen acting
as an escort; a station for a squad of infantry of thirty-one men
and ten cent-gardes, and a stable for the horses of the latter;
and, besides, a salon for fifteen or twenty domestics. Thus arrangements
had to be made to accommodate in this part of the building about
one hundred persons, fifty horses, and half-a-dozen carriages.
The fall of the Empire suggested some changes, but ample provision
still exists for emergencies.

"Its novel conception, perfect fitness, and rare splendor of material,
make the grand stairway unquestionably one of the most remarkable
features of the building. It presents to the spectator, who has
just passed through the subscribers' pavilion, a gorgeous picture.
From this point he beholds the ceiling formed by the central landing;
this and the columns sustaining it, built of Echaillon stone,
are honeycombed with arabesques and heavy with ornaments;
the steps are of white marble, and antique red marble balusters
rest on green marble sockets and support a balustrade of onyx.
To the right and to the left of this landing are stairways to the floor,
on a plane with the first row of boxes. On this floor stand thirty
monolith columns of Sarrancolin marble, with white marble bases
and capitals. Pilasters of peach-blossom and violet stone are against
the corresponding walls. More than fifty blocks had to be extracted
from the quarry to find thirty perfect monoliths.

"The foyer de la danse has particular interest for the habitues
of the Opera. It is a place of reunion to which subscribers to three
performances a week are admitted between the acts in accordance
with a usage established in 1870. Three immense looking-glasses
cover the back wall of the FOYER, and a chandelier with one
hundred and seven burners supplies it with light. The paintings
include twenty oval medallions, in which are portrayed the twenty
danseuses of most celebrity since the opera has existed in France,
and four panels by M. Boulanger, typifying `The War Dance', `The
Rustic Dance', `The Dance of Love' and `The Bacchic Dance.'
While the ladies of the ballet receive their admirers in this foyer,
they can practise their steps. Velvet-cushioned bars have to this
end been secured at convenient points, and the floor has been given
the same slope as that of the stage, so that the labor expended
may be thoroughly profitable to the performance. The singers' foyer,
on the same floor, is a much less lively resort than the
foyer de la danse, as vocalists rarely leave their dressing-rooms
before they are summoned to the stage. Thirty panels with portraits
of the artists of repute in the annals of the Opera adorn this foyer.

"Some estimate...may be arrived at by sitting before the concierge
an hour or so before the representation commences. First appear
the stage carpenters, who are always seventy, and sometimes,
when L'Africaine, for example, with its ship scene, is the opera,
one hundred and ten strong. Then come stage upholsterers,
whose sole duty is to lay carpets, hang curtains, etc.; gas-men, and
a squad of firemen. Claqueurs, call-boys, property-men, dressers,
coiffeurs, supernumeraries, and artists, follow. The supernumeraries
number about one hundred; some are hired by the year, but the
`masses' are generally recruited at the last minute and are
generally working-men who seek to add to their meagre earnings.
There are about a hundred choristers, and about eighty musicians.

"Next we behold equeries, whose horses are hoisted on the stage by means
of an elevator; electricians who manage the light-producing batteries;
hydrauliciens to take charge of the water-works in ballets like La Source;
artificers who prepare the conflagration in Le Profeta; florists who
make ready Margarita's garden, and a host of minor employees.
This personnel is provided for as follows: Eighty dressing-rooms
are reserved for the artists, each including a small antechamber,
the dressing-room proper, and a little closet. Besides these apartments,
the Opera has a dressing-room for sixty male, and another for
fifty female choristers; a third for thirty-four male dancers;
four dressing-rooms for twenty female dancers of different grades;
a dressing-room for one hundred and ninety supernumeraries, etc."

A few figures taken from the article will suggest the enormous
capacity and the perfect convenience of the house. "There are
2,531 doors and 7,593 keys; 14 furnaces and grates heat the house;
the gaspipes if connected would form a pipe almost 16 miles long;
9 reservoirs, and two tanks hold 22,222 gallons of water and
distribute their contents through 22,829 2-5 feet of piping;
538 persons have places assigned wherein to change their attire.
The musicians have a foyer with 100 closets for their instruments."

The author remarks of his visit to the Opera House that it "was
almost as bewildering as it was agreeable. Giant stairways and
colossal halls, huge frescoes and enormous mirrors, gold and marble,
satin and velvet, met the eye at every turn."

In a recent letter Mr. Andre Castaigne, whose remarkable pictures
illustrate the text, speaks of a river or lake under the Opera House
and mentions the fact that there are now also three metropolitan
railway tunnels, one on top of the other.

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