Therein "Louis par la grace de Dieu," etc., concedes to his "ame et feal Pierre Perrin" the exclusive rights of operatic performances throughout France, not only that they should contribute to his own recreation, or that of the public in general, but chiefly in the hope that his subjects, "getting accustomed to the taste of music, would be led all but unconsciously to perfect themselves in this the most noble of liberal arts." (Que nos sujets s'accoustumant au goust de la musique, se porteroient insensiblement a se perfectionner en cet art, l'un des plus nobles de liberaux.) These Royal letters-patent were dated 1669, demonstrating that two hundred and thirty-two years ago France recognised the educational mission of the art of music, and its accessibility by the means of opera. The taste for this new entertainment grew and spread throughout Europe, and it is a matter of common knowledge that everywhere the encouragement and support came from the highest quarters, always having for its object the benefit of the masses. Thus Italy, France, Germany, Austria, Spain, Russia, Sweden, Norway, Denmark, Greece have their endowed or subsidised theatres; they can boast of an artistic musical past and operatic tradition, and make a proud show of creative and interpreting talent for over two centuries. It is equally well known that the patronage thus accorded, always took the form of a monetary subsidy granted either by a Sovereign or by a municipality--at times for a period of years, at others for a specified occasion, sometimes unconditionally, sometimes under certain restrictions, now limited to a given figure, then giving the manager _carte blanche_. The solicitude and favour shown by the State went at times the length of taking a direct interest in the management of an opera house, as was the case for a certain period in France.