The State does not interfere in any way with Italian theatres, and such help as these receive comes either from municipalities, or especially formed associations of institutions linked by common interest with the working of a theatre. But the principle of such help is always that of an act performed for the public good, or, as it is officially termed, _per ragioni di pubblica utilita_, and it naturally takes the form of a monetary subsidy. This suesidy varies according to the importance of the theatre, the rank of the city, the prospects of the season, and its grant is altogether opportunistic and at times arbitrary. In the majority of Italian theatres boxes are proprietary, and the _palchettisti_ (box-holders) have a direct interest and a vote of some weight in the prospective arrangements of a season. The _impressario_ desirous of running an operatic theatre must submit his prospectus to the box-holders at the same time he submits it to the municipality from which he wishes to obtain his contract, and of course, his subsidy. A theatrical board (_Commissione Teatrale_), composed of local authorities, and box-holders examines the prospectus, and if the decision is unfavourable another plan has to be submitted by the same man, or another aspirant, or perhaps the _Commissione_ has a scheme of its own. As a rule, stipulations comprise either a novelty or a favourite opera, called in this case "obligatory" (_opera d'obbligo_), a ballet, or simply a specified number of performances. The length of the season varies from eight days (_stagione di fiera_) to two months, the repertory may consist of one opera or twenty, whilst the figure of the subsidy is anything between L20 and L8000. The average, however, is three operas for a medium season of one month--one obligatory, one _di repiego_ (for a change) and another, _da de Stinarsi_ (to be selected), at the choice of the _impressario_ or in accord with the _Commissione_. Five performances weekly are the orthodox number, Mondays and Fridays being recognised as days of rest. If an agreement is arrived at, the _impressario_ is put in possession of the theatre for the period stipulated, and sets about running his season. He is given but the bare building and seats; he has to provide scenery, costumes, orchestra and chorus in addition to his company of artists. Sometimes orchestra and chorus are local institutions, and there are small places in which the conductor is an _employe_ of the municipality engaged for a period of years to play the organ in church, teach music at schools, conduct open-air concerts and also the operatic season. In such a case a part of the subsidy, equivalent to all the salaries, is retained to guard against accidents, or else a sum is set apart for that purpose out of a deposit lodged by the _impressario_ with the _Commissione_ or the municipality.