In this most cosmopolitan of cities the foreigners foregather in little worlds of their own. Most are represented by newspapers published in their own languages, most have clubhouses, more or less pretentious. On the same evening one season recently “The Merry Widow” was produced in Spanish, French, and Italian in as many different theaters; and there are all sorts of places of amusement where foreigners can enjoy themselves, each after his own fashion—from an immense artificial ice skating rink (a very fashionable resort, by the way) to a tropical coffee house, from a golf or race course to a pool room or bowling alley, from the most attractive and elegantly equipped of modern cafés to a little French domino parlor or German beer saloon, from a magnificent opera house to a cheap vaudeville or moving-picture theater. It is said that the foremost European artists are as likely to visit Argentina as the United States, and often do, and that many, of all but the first rank in their own countries and who do not come to North America at all, visit Buenos Aires regularly and present European successes long before they are seen in New York. Their great opera house, the Colón, that cost $10,000,000 and occupies a whole square, is one of the most beautiful in the world. There is none in New York or Chicago, or any of our cities, to compare with it. It is of French design and built of stone, and the interior is finished in white marble, gold-bronze ornamentations and rich red drapery and upholstery. It is not quite as large as the Metropolitan in New York, but, as in the Metropolitan, the two lower tiers of boxes are occupied by the families of the “Four Hundred,” for their _grand_ opera down there is just as much of a social function with them as it is with the smart set in our greatest city; and, as their season is in July and August—winter months with them—not a few of the singers that are heard at the Metropolitan later on are heard there in their season. Above the boxes are two balconies and a gallery where the gods congregate and howl for _encores_ for all the world like our own. It appears that they are not very fond of Wagner and the German music, these Bonarenses, but are keen for the Italian and French; so, aside from _the_ opera, competent French and Italian companies are brought over every year for long engagements at other theaters. Also there are French opera comique, Italian farce, and English musical comedy companies, French _café chantant_, English music hall and our own vaudeville entertainers without end, and dramas, even Shakespearean occasionally, and the other classes of performances, following each other at the many theaters continually.