It was in May 1872 that the foundation-stone was laid, and celebrated with a performance of Beethoven’s _Choral Symphony_, and the completion of the building, delayed by lack of funds, took place in 1876, when the _Ring_ was performed; since then performances have taken place on a grand scale at intervals of a year or two years in the summer. Seats, which are the same price all over the house, cost £1 for each performance; a feature in the construction was that an equally good view should be obtained from every point of view (hence the equality of prices); this was done by raising every seat a little above the one immediately in front of it, and by putting each spectator where he could see between the heads of the two persons before him. Another feature was the submerged orchestra—_i.e._, below the level of the floor of the house; even the conductor, although he has the stage in view, cannot be seen by the audience, and part of the orchestra (the brass) is actually under the stage—an experiment which seemed doubtful at first, but which has on the whole proved successful. The machinery and scenery were as good as could possibly be obtained, and the management still keeps up to date in this respect. Although open to competition both from New York and from Munich, Bayreuth seems likely to hold its own for some years to come, whenever it may choose to open its doors. [Sidenote: =Russia=] In Russia, and more especially at Petersburg and Moscow, theatrical attendance is looked upon as an educational matter, and therefore it is possible to see opera for fivepence! (Happy people—in that respect!) Of course this means very large Imperial help, information as to the exact amount of which is not forthcoming; but the two capitals have fine houses, with interest for us in that they have witnessed the production of most of the operas of the young Russian school; the ballet is much beloved in Russia, and forms one of the regular objects of representation. [Sidenote: =Other European Countries=] Space forbids us to go into detail as to the opera houses of Sweden (Royal Theatre of Stockholm), Norway (National Theatre, Christiania), Spain, Holland, Belgium (Brussels, Théâtre de la Monnaie), Denmark (Copenhagen, Royal Theatre), or Portugal (Lisbon, San Carlos). The latter is, however, of special interest in being one of the oldest houses of its kind, having been erected in 1793. Information as to the subsidies received by these and other theatres will be found in Appendix B. [Sidenote: =Egypt=] [Sidenote: =America=] Of opera houses outside Europe it will be perhaps sufficient to mention those of Cairo and Alexandria (the former of which saw the production of Verdi’s _Aïda_ in 1871), and the American houses (New York, Boston, Philadelphia). The New York, the Metropolitan, and the Manhattan opera houses witness very magnificent performances, and command the best and most expensive talent in the world. CHAPTER XVIII. OFFSHOOTS AND CURIOSITIES OF OPERA.