The music publisher in Italy has a unique position amongst publishers, but quite apart from this, he enjoys so many prerogatives as to be almost master of the operatic situation in that country. He can put what value he pleases on the letting of the score he owns, and has the absolute right over the heads of the Theatrical Board to reject artists already engaged, including the conductor. He can take exception to costumes and scenery and withdraw his score as late as the dress rehearsal. This is called the right of _protesta_. It does not follow that such right is exercised indiscriminately, spitefully or frequently, but it is sufficient that it exists, and what between the _Commissione Teatrale_, the _palchettisti_ and the publisher, the _impressario_ in Italy is not precisely on a bed of roses. Still, in spite of such impedimenta, Italian opera flourished for well-nigh two centuries, and Italian singers, repertory and language were considered all but synonymous with every operatic enterprise, during that period. This ascendency lasted as long as proper incentives for development of the art were steadily provided by responsible bodies; in other words, so long as the great theatres of Italy--La Scala at Milan, San Carlo at Naples, Communale at Bologna, Apollo at Rome, Fenice at Venice, Carlo Felice at Genoa, Raggio [transcriber: Regio?] at Turin, Pergola at Florence, etc.--were in receipt of regular subventions. But political and economical changes in the country turned the attention of public bodies towards other channels, and the radical tendencies of most municipalities went dead against the artistic interests of the country. In spite of warnings from most authoritative quarters, the opposition, towards subsidising what was wrongly considered the plaything of the aristocracy grew apace, and the cry became common that if dukes and counts, and other nobles wanted their opera, they should pay for it. Subsidies were withdrawn here, suspended there, cut short in another place, and altogether municipal administration of theatres entered upon a period the activity of which I have already qualified, as opportunistic and arbitrary. In vain did a great statesman, Camillo Cavour, argue the necessity of maintaining at all costs, the time-honoured encouragement, and help to pioneers of the Italian opera, bringing the discussion to an absolutely practical, if not downright commercial, level. "I do not understand a note of music," said he, "and could not distinguish between a drum and a violin, but I understand very well that for the Italian nation, the art of music is not only a source of glory, but also the primary cause of an enormous commerce, which has ramifications in the whole world. I believe therefore that it is the duty of the Government to help so important an industry." The municipalities remained obdurate, and the start of their short-sighted policy coincided with the gradual decadence of Italian