In England we stand, so far as operatic enterprise is concerned, on a different footing to most of the Continental nations, in so far as there is no Government support nor State aid to Opera. It is a care in the economy of most of the European Governments that an annual grant should be made towards the expenses of the Opera House. The subsidies so granted vary in different countries and in different towns, but the main idea in all cases is the same, to provide a certain amount of money so that there may be an opera-house more or less always open, to which the people may go on payment of quite small sums and witness really good performances. [Sidenote: =Opera an Educative Quantity=] In such countries as these, Opera is looked upon not so much as a luxurious amusement as an educational factor, capable of instilling artistic ideas into the plebeian mind, and in common with picture galleries, public statues, and beautifully kept gardens, inculcating an appreciation of the beautiful in art. In Paris, for example, a sum of £32,000 is given annually for the support of the Grand Opera House, while a further sum of £12,000 is granted for the Opera Comique, the deficit arising from the numerous expenses incurred for singers, orchestra, stage hands, etc., being met by these grants. As a _quid pro quo_ the Government demands the distribution of free seats to certain persons and societies to a very large proportion of its subsidy. This may or may not represent a hardship to the management, for whereas the seats thus given might possibly have been all sold, it is more than probable that on the majority of occasions there would have been much spare room which is thus filled. [Sidenote: =Objections to Subsidized Opera=] Besides the objections that returns in the shape of gratuitous entrances must be allowed there is the further and more serious one, that the reins of power sometimes fall into the hands of inartistic and unmusical persons. This is less likely to happen in a city of culture, such as Paris, than in some of the smaller German towns, when the control of such matters is left to the Intendant of the place, who holds despotic sway and works matters according to his own sweet will. So that it often happens that a certain class of opera, or a certain little particular clique of singers, obtains a hearing to the exclusion of almost all else. [Sidenote: =Advantages=]