The Paris Opera House, like all other theatres in France, and for the matter of that all institutions in the domain of Art in that country, is under the direct control and dependence of the Minister of Fine Arts, who has absolute power in appointing a director, in drawing up the _cahier des charges_, in imposing certain conditions and even in interfering with the administration of the theatre. The appointment, called also the granting of the _privilege_, is for a number of years, generally seven, and can be renewed or not at the wish or whim of the Minister. The _cahier des charges_, as already stated, is a contract embodying the conditions under which the _privilege_ is granted. Some of these are at times very casuistic. As regards interference, one can easily understand how a chief can lord it over his subordinate if so minded. It is sufficient to point out the anomaly of the director's position who is considered at the same time a Government official and a tradesman--a dualism that compels him to conciliate the attitude of a disinterested standard-bearer of national art with the natural desire of an administrator to run his enterprise for profit. Let me cite a typical instance. Of all the works in the repertory of the opera, Gounod's _Faust_ still holds the first place in the favour of the public, and is invariably played to full or, at least, very excellent houses, so that whenever business is getting slack _Faust_ is trotted out as a trump card.[C] Another sure attraction is Wagner's _Walkuere_. On the other hand, a good many operas by native composers have failed to take the public fancy, and have had to be abandoned before they reached a minimum of, say, twenty performances in one year. Now, when the director sees that his novelty is played to empty houses he hastens to put on _Faust_ or the _Walkuere_, but the moment he does it up goes a cry of complaint, and a reproof follows--"You are not subsidised to play _Faust_ or operas by foreign composers, but to produce and uphold the works of native musicians; you are not a tradesman, but a high dignitary in the Ministry of Fine Arts," and so on. At other times, when in a case of litigation, the director wishes to avail himself of the prerogatives of this dignity, he is simply referred to the Tribunal de Commerce, as any tradesman. Ministerial interference is exercised, however, only in cases of flagrant maladministration, and then there are, of course, directors and directors, just the same as there are Ministers and Ministers.