The XVIIIth century; its institutions, customs, and costumes France, 1700-1789 . Fig. 268.—Mademoiselle Salk, .1 celebrated danseuse : after Lancret. ft It was necessary that the costumes should be made of brilliantcolours, and set off with spangles, as the stage, only lighted withtallow candles, which were snuffed between each act, was almost inobscurity. In 1784 the tallow candles were replaced by oil lampsand wax lights. This reform, long demanded, was accompanied by 4o6 THE EIGHTEENTH CENTURY. the largest increase in the prices of admission which had taken placeduring the century. In 1699,
The XVIIIth century; its institutions, customs, and costumes France, 1700-1789 . Fig. 268.—Mademoiselle Salk, .1 celebrated danseuse : after Lancret. ft It was necessary that the costumes should be made of brilliantcolours, and set off with spangles, as the stage, only lighted withtallow candles, which were snuffed between each act, was almost inobscurity. In 1784 the tallow candles were replaced by oil lampsand wax lights. This reform, long demanded, was accompanied by 4o6 THE EIGHTEENTH CENTURY. the largest increase in the prices of admission which had taken placeduring the century. In 1699, the price of admission to the pit ofthe Comedie-Franqaise cost eighteen sous, and up to 1782 it wasonly increased by two sous. A seat in the orchestra and first tierboxes cost four livres, in the amphitheatre and second boxes two. Fig. 269. -Piis dc Jeux, danced by Dauberval and Mile. Alard, in the opera of * Sylvie, 1766; after Carmontelle. livres, but in 1782 the prices were raised to forty-eight sous for thepit, six livres for the orchestra and first boxes, though no extracharge was made at the first representation of a new pla). More important reforms had been effected at the Royal Academyof Music, which, in the course of the i8th century, witnessed manychanges resulting from the increased expenditure, and not a fewrevolutions in the musical art. This great theatre, though it enjoyedcertain administrative privileges, was under the complete control ofthe Kings household, but as its expenses always exceeded its THE THEATRES. 407 receipts, the deficiencies had to be made good by the treasury. Asa rule, the management of the Opera was confided to financiers, itbeing thought that they were best able to bear the enormousexpenses, but the wealthiest and the most enterprising resigned aftera very few years, to avoi
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