The chief item in expenditure is, of course, the enormous amount swallowed up in the fees paid to the singers; Handel paid Senesino 1,400 guineas for the season in 1731, and even allowing for the greater value of money in those days, that is a comparatively small amount. Here, for example, is the contract made by Jenny Lind with Mr. Lumley in 1846. Far less liberal, by the way, than such a singer would receive to-day:— [Sidenote: =J. Lind’s Contract=] “1. An honorarium of 120,000 francs (£4,800) for the season (April 14th-August 20th, 1847). “2. A furnished house, carriage, and pair of horses. “3. A sum of £300 should she desire to have a preliminary holiday in Italy. “4. Liberty to cancel the engagement should she feel dissatisfied after her first appearance. “5. An agreement not to sing elsewhere for her own emolument.” It generally happens that a singer commands higher fees for private than for public singing, the advantage of the latter being as a rule a guaranteed number of appearances; Farinelli, for example, the chief singer engaged by the noble faction that set up in opposition to Handel in 1734 received only £1,500 per annum, but his private engagements made up his income to £5,000 a year—a large one at that date. This singer afterwards visited the court of Philip V. of Spain; that monarch was suffering from mental depression, from which nothing aroused him until the advent of Farinelli. The Queen was so delighted to see her royal spouse once more interested in anything that she engaged Farinelli at a salary of 50,000 francs to remain in Madrid; this he did, singing the _same four songs to the King every night for ten years_! Eventually Philip V. succumbed, but he must have been a patient monarch. It does not always happen that singers of equal merit receive the same payments, some being more fortunate than others; Catalani, for example, in 1807 received £5,000 for the season, and with her concerts and provincial tours netted a profit for the year of £16,700. A more famous singer, Lablache, in 1828 could only command £1,600 for four months; while Malibran in 1835 received £2,755 for twenty-four appearances in London, and 45,000 francs for one hundred and eighty-five performances a few years later at La Scala. [Sidenote: =Modern Fees=]