being played. We purchase tickets at the popular price of one ruble per seat, whereby we secure a place at about the middle of the extensive parterre, and are enabled to look over the public in front and at back of us; and this is not less interesting than the play on the stage. The seats in the rows ahead of us cost up to two rubles; in the rows at the back of us up to sixty kopeks. On either side are galleries and standing room that cost "only" from thirty to seventy kopeks. In comparison with the prices in the other St. Petersburg theatres those of the "Narodni Dom" must be considered decidedly popular, even though it is a peculiar class of people that can spare thirty kopeks to two rubles for an evening at the theatre, quite aside from the incidental expenses of an evening drive, of admission, and of wardrobe. But of that later. We follow the play. The performance is decidedly respectable, from the leader to the chorus. The setting is quite brilliant, and true to style, the orchestra well trained, with some very excellent performers among the soloists. We forget, for the time being, that we are in Russia, notwithstanding the Russian language and the Russian music. It is Schiller's heroic composition which has inspired the composer. Dunoi's Lahire, Lionel, Raymond, Bertram, Agnes Sorel, Charles, the cardinal appear before us in familiar scenes, and we experience at times quite peculiar sensations when we again come across this northern night, the images, the glowing rhetoric of which in the dear tongue of our own poet had given us the first intoxication of patriotic enthusiasm. The passionately warm music of Tschaikowski, and the swing of his choruses intensify the effect of those reminiscences.