Plans have been put forward more than once,--discussed, and discarded. This means little. Any child can pick a plan to pieces, and prove its unworthiness. Goodwill means everything, and a firm conviction that in the performance of certain acts the community does its duty for reasons of public welfare. I put more trust in these than in the actual merit of my scheme, but, such as it is, I submit it for consideration, which, I hope, will be as seriously sincere, as the spirit in which it is courted. I would suggest that the interests of the National Opera House in London, should be looked after by a Board under the supervision of the Education Department, the members of the Board being selected from among the County Councillors, the Department itself, and some musicians of acknowledged authority. The enlisting of the interest of the Educational Department would sanction the theory of the educational mission of the venture; the County Council comes into the scheme, for financial and administrative purposes; the selection of musicians needs no explanation, but a proviso should be made that the gentlemen chosen, have no personal interest at stake. As I said before, we have to begin at the beginning, and so the duties of the Board would be:-- 1. The building of a National Opera House in London. 2. The drawing up of a schedule of stipulations on the lines of the French _cahier des charges_ regulating the work of the theatre. 3. The appointment of a manager. 4. The supervision of the execution of the stipulations embodied in the schedule. 5. The provision of funds for the subsidy. As to the first of these points, I do not at all agree with those who wish every new opera house constructed in servile imitation of the Bayreuth model. Such a theatre would only be available for operatic performances of a special kind, but the structure of the auditorium would result in the uniformity of prices which goes dead against the principle of a theatre meant for the masses as well as for the classes. All that I need say here is, that our National Opera House should be built in London, and according to the newest inventions, appliances and most modern requirements. As regards the second point, enough has been said about describing foreign systems to show how a schedule of stipulations should be drawn up, when the time comes. Concerning the appointment of a manager, it goes without saying that the director of our National Opera House must be an Englishman born and bred, and a man of unimpeachable commercial integrity and acknowledged theatrical experience. Such a selection will make the task of the Board in supervising the work an extremely easy one.