Mademoiselle Noblet's benefit having taken place, the subscribers, horrified at the notion that they had now, perhaps, seen her for the last time, determined, in spite of all obstacles, in spite even of the very explicit agreement between the director of the King's Theatre and the administration of the Académie Royale, that she should remain in London. The _danseuse_ was willing enough to prolong her stay, but the authorities at the French Opera protested. The Academy of Music was not going to be deprived in this way of one of the greatest ornaments of its ballet, and the Count de Caraman, on behalf of the Academy, called on the committee to direct Mr. Ebers to send over to Paris, without delay, the performers whose _congés_ were now at an end. The members of the committee replied that they had only power to interfere as regarded the choice of operas and ballets, and that they had nothing to do with agreements between the manager and the performers. They added, "that they had certainly employed their influence with the English ambassador at Paris at the commencement of the season, to obtain the best artists from that city; but it appearing that the Academy was not disposed to grant _congés_ for London, even to artists, for whose services the Academy had no occasion, the committee had determined not again to meddle in that branch of the management." [Sidenote: TERPSICHOREAN TREATY.] The French now sent over an ambassador extraordinary, the Baron de la Ferté himself, to negotiate for the restoration of the deserters. It was decided, however, that they should be permitted to remain until the end of the season; and, moreover, that two first and two second dancers should be allowed annually to come to London, but only under the precise stipulations contained in the following treaty, which was signed between Mr. Ebers, on the one hand, and M. Duplantys on the part of Viscount de la Rochefoucault, on the other. "The administration of the Theatre of the Royal Academy of Music, wishing to facilitate to the administration of the theatre of London, the means of making known the French artists of the ballet without this advantage being prejudicial to the Opera of Paris; "Consents to grant to Mr. Ebers for each season, the first commencing on the 10th of January, and ending the 20th of April, and the second ending the 1st of August, two first dancers, two _figurants_, and two _figurantes_; but in making this concession, the administration of the Royal Academy of Music reserves the right of only allowing those dancers to leave Paris to whom it may be convenient to grant a _congé_; this rule applies equally to the _figurants_ and _figurantes_. None of them can leave the Paris theatre except by the formal permission of the authorities.