(3.) From benefit concerts and performances. (4.) From all kinds of donations, legacies, fines, etc. At Stuttgart the King takes charge of all the pensions, except of those of widows and orphans, who are provided for from another fund. At Munich the King furnishes the original capital with a sum of 200,000 marks (L10,000), and to-day the fund has over 1,000,000 marks at its disposal. Eight years' service entitles a member to a full pension. At Prague six years' service gains a pension, but the average period throughout Germany is ten years. There are scores of additional points of great interest, in connection with the working of German subsidised theatres. The above suffices, however, for the purpose of showing the immense advantage of a system of State-aided Art, a system that might serve as a model to a country about to embark on similar enterprises. I will add one detail more. There being no author's society in Germany, as in France, the theatrical managers treat with music publishers direct for the performing rights of scores which they own. The old repertory costs, as a rule, very little, and the rights of new works are charged generally from 5 per cent. to 7 per cent. on the gross receipts. Moreover, band parts and scores are not hired, as in Italy, but bought outright, and remain in the library of the theatre. France In France the State intervenes directly in theatrical matters in Paris only, subsidising the four chief theatres of the capital--to wit, the Opera, the Opera Comique, the Comedie Francaise and the Odeon. In the provinces theatres are subsidised by municipal councils, who vote each year a certain sum for the purpose. The manager is appointed for one year only, subject to his acceptance of the _cahier des charges_, a contract embodying a scheme of stipulations devised by the council, and imposed in return for the subsidy granted. The least infraction of the conditions laid therein brings its penalty either in the way of a fine or the forfeit of the contract. The subsidies vary according to the importance of the town, the theatres of Lyons, Bordeaux and Marseilles being the three best endowed. Less favoured are places like Rouen, Lille, Nantes, Dijon, Nancy, Angers, Reims, Toulouse, etc., and, though the Chamber of Deputies votes every year in the Budget of Fine Arts a considerable sum for the provinces, the subsidy is not allotted to theatres, but to conservatoires, symphonic concerts and orpheonic societies. Two years ago a Deputy, M. Goujon, obtained in the Chamber the vote of a special grant for such provincial theatres as had distinguished themselves by producing novelties. But the Senate threw out the proposal.