the others. The relations between Mapleson and the stockholders of the
Academy were becoming strained, and in a speech which he made at his
annual benefit he remarked upon their absence sarcastically. It was
plain that their patience had given out and that they were weary of
extending to him the financial support which had helped him through
the season. In my review of the season I find this remark, which is
indicative of their indifference to the fate of their lessee: "The
condition of the house gives evidence of an unwillingness to sink money
in an unlucrative enterprise. It is somewhat discouraging to the patrons
of the house to sit in ramshackle chairs which threaten to deposit them
incontinently on the floor at any moment, and the collapse of a stall
has frequently accentuated a musical or dramatic climax in the season
just ended."

The season ended with many promises unfulfilled, for which the
impresario placed the blame upon the directors, who, he said, had not
given him sufficient use of the Academy stage. His explanations were not
always wholly ingenuous, however. Thus he had announced that "Lakmé"
would be given, with the composer, M. Delibes, in the conductor's
chair. Now, in the season before, Mme. Gerster had been so desirous to
create the part of the heroine in America (it being one which afforded
fine scope for her lovely powers, and which she had studied with the
composer) that she had bought the performing rights. But nothing came of
her ambition, and it was an open secret that Heugel, the publisher, had
quarreled with Mapleson because of unwarranted practices with his scores
in London. In the midst of his troubles Colonel Mapleson announced that
he had engaged Mme. Nilsson for the season of 1885-86. There was as
little foundation for this announcement as for the promise of "Lakmé."

With ruin staring him in the face, Mapleson concluded the season. He