People in some numbers watch this vile massacre from the terrace, but their concern—almost to a man—is with the pigeon. If the pigeon escapes unharmed, as occasionally happens, there is a gasp of relief and gratification. The bird so saved generally alights on the Casino roof and, in course of time, no doubt joins the fearless crowd of pigeons who haunt the roadway and strut among the out-of-door tables of the Café de Paris. There is a curious bond uniting this community of birds, the common tie of having been condemned to death and of having been by accident reprieved. In pigeon shooting from traps there is not the faintest element of sport. It is merely an exhibition of mean brutality which is totally opposed to the British conception of sport and it is gratifying to note that among the competitors in this contemptible game an English name is uncommon. The terrified pigeon pegged out to be shot at has practically no chance, while the skill displayed by the most apt of the pseudo-sportsmen is of a paltry order. To realise a turning of the tables it should happen one day that the sides of the trap would drop and reveal, not a shivering pigeon, but a live man-eating tiger who, with his yellow and black stripes showing well against the green, would stalk, snarling, towards the firing party. It would be interesting to see these deadly marksmen bolt screaming right and left and throw themselves into the sea to be picked up by the boatmen on the look-out for wounded pigeons. _The Theatre._—The opera, the concerts and the minor entertainments at Monte Carlo are famous and are allowed to be of very high order. A series of ballets also occupies the season and these too are approved by heads of families. It is to be owned that in most of the ballets a love element is prominent, but the love-making is conducted on such formal and gymnastic lines that it is not likely to encourage imitators. The young man, according to accepted practice, pursues the lady. In doing so he revolves like a top, while she also gyrates after the manner of that toy. He rubs his chest with his hand to show that his heart is affected. She then lifts her foot above her head to show that she is unmoved by the information. He pursues her again but this time with bounds. She retreats with tiny steps and ultimately takes refuge in the extreme corner of the stage by the footlights. Here she wriggles her shoulders and puts a forefinger in the corner of her mouth. He is much encouraged by these evidences of a dawning amiability and leaps repeatedly into the air. They then dance together with some exuberance and finally he grasps her by the waist and turns her upside down, so that her head rests on the boards. This shows that they are engaged; a conclusion which is approved by a sudden crowd of lightly clad villagers in antics of bewildering violence.