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Rh corollaries of this. Plays performed before thousands of spectators must be adapted to the sight and hearing.

In his Essais sur la musique, Grètry draws an interesting sketch of a new theater wherein he attempts to reconcile his minor art of graceful sentiment with the democratic aspirations of his time. He gave proof of his common-sense in indicating the necessary relations existing between architecture and the drama. These pages are well known to musicians, but it will not be amiss to bring them to the attention of literary men:

"Why does one so often hear people coming from the theater say 'What a bore!' It is not always that the play bored them, or that the actors were poor, though they are invariably blamed; it is above all because there is very rarely established any true relation between the constituent elements of the performance, stage, and plays produced on the one hand, and the means of producing them on the