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 And so one understands how the entire world was affected by the dreadful catastrophe not long ago in the burning of this great old house. Neither M. Claretie, with his eyes full of tears, nor any of the distracted company was bemoaning a personal loss, was thinking of private interests in sight of the devastating flames; but all were throbbing, as one heart, before a national calamity. The civilised world felt it had lost a precious and a unique thing. The new building will contain most of the rescued works of art, but the figures of Rachel, of Delaunay, of so many shades of departed dramatic glory, have gone. The new theatre will probably be handsomer than the old one, and it could easily be that; it will also be more modern, more comfortable; it may even be fitted up with luxury, and, Heaven permit it! that horrid national institution, the ouvreuse, may be abolished. Blessed changes! but we of our generation will ever be grateful that it was on the old stage we saw Got and Reichemberg, Worms, Barretta, and Bartet.

L'École des Beaux Arts is another national institution. In all things the French passion for art is visible. Art is the one thing the entire race takes seriously. The capital is laid out to please the eye and captivate the senses like a work of art. This School of Fine Arts itself is connected with one of the most radiant bits of of Paris. The bridge, called after it, seizes