to be unseen, although the singers, wherever they may be placed, can see
the conductor. The improvements Wagner made on the stage have
themselves been improved on, and in this respect Bayreuth is no better
than many other theatres. At the beginning Wagner secured every possible
appliance, and then set to work to teach his men how to use them. And it
was just in this that he reformed the opera-house: he insisted on
everything being done artistically and with the utmost care. Nothing had
to be slurred over; every detail had to be carried out as
conscientiously as if the fate of empires depended on it. The idea was
novel in operatic circles. It aroused opposition; but in the end Wagner
got his way, and what was at first declared impossible, then difficult,
is now done as a matter of course in all the serious opera-houses. It is
in this very matter that Bayreuth has now fallen far behind other German
towns, and can no longer be regarded as a serious art centre. In another
respect it has departed from the original intention. That was to give
model representations of all the fine operas, with the best artists
obtainable. But, under the rule of the Wagner family, only Wagner's
works are played; while as for the artists, Mr. Siegfried
Wagner--Richard's son--often directs, although he is an inferior
conductor, and petty intrigues are allowed to prevent some of the
greatest singers singing there. Wagner's idea was magnificent, but it
needs a Wagner to execute it. However, Bayreuth has done a great
service, and now what becomes of it matters to no one.

Bayreuth was opened with performances of the _Ring_, that enormous
music-drama which consists of three huge music-dramas and a shorter one.
Now, it was the _Ring_ more than any other of Wagner's works which led
to him being misunderstood, and afforded opportunities for
misrepresentation. When the libretto was published, long before the
music was written, it was called a monstrosity, and one professor