Very nearly a million and a half sterling turned over in operatic, business in one city. And there are scores of minor items, all sources of profit, that have to be neglected. But I must point out that no less than 1745 families derive employment and a regular income from the theatrical industry of Milan. It is quite true that the capital of Lombardy enjoys a position which is unique not only in Italy but in the whole world, as the chief operatic market, and there is nothing that indicates this artistic centre is likely to be shifted, much less to London than anywhere else. But it would be interesting to know how much English money goes towards the fine total of the Milanese operatic turn-over. There is no reason why we should not have our twenty odd trades, as in Milan, and at least 1745 households whose material existence would be definitely secured through their association with a National Opera House. If I am not writing in vain, our results should be infinitely greater, differing from continental ones as a franc or a mark differs from a pound sterling. And should the great provincial towns follow the lead of London, entrusting their municipalities with the creation and organisation of opera houses, if Manchester, Liverpool, Birmingham, Leeds, Glasgow, Sheffield, Bradford, Dublin, Hull, Southampton, Plymouth, Wolverhampton, etc., will turn a part of their wealth towards promoting a scheme of the greatest importance to the art of the nation; if all that goes to foreign pockets for foreign art is used for patriotic purposes--then England will be able to show an operatic turn-over worthy of her supremacy in other spheres. For every Italian household living on opera we will have ten, and prosperity will reign where, so far, art and an artistic education have brought only bitter disappointment. I am writing of "Music as a profession" in England. The multiplication of our music schools seems to be accepted as a great matter of congratulation, and we are perpetually hearing the big drum beaten over the increasing number of students to whom a thorough musical education has been given; but who asks what becomes of them all? Oft-met advertisements offering music lessons at 6d. an hour are perhaps an answer. It would be profitless to pursue this topic, but all will agree that it is far better to sing in an operatic chorus at 30s. or L2 per week than be one of the items in a panorama of vanished illusions and struggling poverty, the true spectacle of the singing world in London.