In the meantime the Astor Place Opera House was leased to William Niblo, the backer of Señor Francesco Marty y Tollens. Niblo's idea in leasing the opera house was to eliminate it as a competitor. In pursuance of this idea he engaged one Signor Donetti, and his troupe of performing dogs and monkeys, whom he presented to the aristocratic patrons of the institution. The patrons obtained an injunction against Niblo on the ground that the exhibition was not respectable within the meaning of the terms upon which the house was leased. 'On the hearing to show cause for this injunction,' says Maretzek, 'Mr. Niblo called upon Donetti or some of his friends who testified that his aforesaid dogs and monkeys had in their younger days appeared before princes and princesses and kings and queens. Moreover, witnesses were called who declared under oath that the previously mentioned dogs and monkeys behaved behind the scenes more quietly and respectably than many Italian singers. This fact I feel that I am not called upon to dispute.' Thus the ambitions and exclusive Astor Place Opera House ended as a joke. The building was used later as a library. There is a peculiar resemblance between opera houses and human beings. High hopes and ambitions mark the beginnings of both; but the corrosive influences of life's practical everyday soon tarnish the shining metal of their ideals until finally they are reduced to the dull commonplace that marks the end of all created things. And, it may be added, in the majority of cases the most powerfully corrosive influence is money. An instance in point occurred in New York in 1852. It was another dream of democratic opera--or rather, democratic music--a dream of a great new institution adapted to American conditions wherein would germinate and grow to a brilliant flowering the seeds of a national musical art. Truly a beautiful dream, and one which, it might seem, should easily materialize in a country so rich, so young, so eager, so progressive. A charter was obtained from the state of New York authorizing the establishment of an 'Academy of Music for the purpose of cultivating a taste for music by concerts, operas, and other entertainments, which shall be accessible to the public at a moderate charge; by furnishing facilities for instruction in music, and by rewards of prizes for the best musical compositions.' American music-lovers were naturally gratified and Mr. D. H. Fry, a prominent musical critic, ventured to hope that it might 'yet come to pass that art, in all its verifications,' would 'be as much esteemed as politics, commerce, or the military profession. The dignity of American artists lies in their hands'--meaning, we presume, the hands of the Academy promoters.