es, in a most astonishing and wonderful way,
yet without impairing the musical flow of the work. The scores are
also extremely elaborate, from an orchestral point of view, requiring
a large number of instruments, most of them having a great deal to do.
This great trilogy, as Wagner called it, which was at first supposed
to be beyond the ability of the public to appreciate, has now been
given in all parts of Germany with great success, and it is no longer
beyond the ability of an audience to enjoy.

By the time he had completed this work, Wagner had conceived the idea
of a national theater, to be completed regardless of cost, and with
appointments permitting it to produce great works in a faultless
manner. At first he thought of building it at Munich, but the Munich
public proving fickle, he resolved to build it in an inland town,
where all his audience would be in the attitude of pilgrims, who would
have come from a distance to hear a great work with proper
surroundings. The sum required to complete this was about $500,000. It
is sufficient compliment to Wagner's ability to say that he secured
it, King Louis, of Bavaria, having contributed more than $100,000.
Large sums also were sent in by Wagner societies all over the world.
The house was completed at Bayreuth. It was a little theater holding
about 1,500 people, with a magnificent stage, which at that time was
far in advance of any other, but has since been surpassed by many,
notably by that of the Auditorium, in Chicago. Here he proposed to
have what he called a stage festival--the singers to contribute their
services gratuitously, the honor of being selected for this place, and
the advantage of the experience, being regarded as ample compensation.
The orchestra, likewise, in great part was to be composed of
virtuosi--also to play without pay. All these expectations were
realized. Leading the violins for several years was the famous
virtuoso, Wilhelmj, and the singers of the Bayreuth festival were the
best that the German stage possessed. The festival is now carried out
upon a more rational basis, the singers receiving something for their
services. Wagner completed his achievements by the opera of
"_Parsifal_"--a work nearly related to "_Lohengrin_"--in some respects
more beautiful. This is entirely like church music, and the whole
effect of the performance at Bayreuth,--for it has never been given
elsewhere--is noble and beautiful. It leaves an impression like a
ch