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moment, but they urged on the workmen, completed the delicate mechanism of the gasometer, fed day and night the immense piles which decomposed the water under the influence of a powerful electric current. Yes, the doctor was already making his gas, though the pipe-laying was not yet done; a fact which, between ourselves, might have seemed a little singular. But before long,--at least there was reason to hope so,--before long Doctor Ox would inaugurate the splendours of his invention in the theatre of the town.
    For Quiquendone possessed a theatre--a really fine edifice, in truth--the interior and exterior arrangement of which combined every style of architecture. It was at once Byzantine, Roman, Gothic, Renaissance, with semicircular doors, Pointed windows, Flamboyant rose-windows, fantastic bell-turrets,--in a word, a specimen of all sorts, half a Parthenon, half a Parisian Grand Café. Nor was this surprising, the theatre having been commenced under the burgomaster Ludwig Van Tricasse, in 1175, and only finished in 1837, under the burgomaster Natalis Van Tricasse. It had required seven hundred years to build it, and it had, been successively adapted to the architectural style in vogue in each period. But for all that it was an imposing structure; the Roman pillars and Byzantine arches of which would appear to advantage lit up by the oxyhydric gas.
    Pretty well everything was acted at the theatre of Quiquendone; but the opera and the opera comique were especially patronized. It must, however, be added that the composers would never have recognized their own works, so entirely changed were the "movements" of the music.
    In short, as nothing was done in a hurry at Quiquendone, the dramatic pieces had to be performed in harmony with the peculiar temperament of the Quiquendonians. Though the doors of the theatre were regularly thrown open at four o'clock and closed again at ten, it had never been known that more than two acts were played during the six intervening hours. "Robert le Diable," "Les Huguenots," or "Guillaume Tell" usually took up three evenings, so slow was the execution of these masterpieces. The vivaces , at the theatre of Quiquendone, lagged like real adagios . The allegros were "long-drawn out" indeed. The demisemiquavers were scarcely equal to the ordinary semibreves of other countries. The most rapid runs, performed according to Quiquendonian taste, had the solemn march of a chant. The gayest shakes were languishing and measured, that they might not shock the ears of the dilettanti . To give an example, the rapid air sung by Figaro, on his entrance in the first act of "Le Barbiér de Séville," lasted fifty-eight minutes--when the actor was particularly enthusiastic.
    Artists from abroad, as might be supposed, were forced to conform themselves to Quiquendonian fashions; but as they were well paid, they did not complain, and willingly obeyed the leader's baton, which never beat more than eight measures to the minute in the allegros .
    But what applause greeted these artists, who enchanted without ever wearying the audiences of Quiquendone! All hands clapped one after another at tolerably long intervals, which the papers characterized as "frantic applause;" and sometimes nothing but the lavish prodigality with which mortar and stone had been used in the twelfth century saved the roof of the hall from falling in.
    Besides, the theatre had only one performance a week, that these enthusiastic Flemish folk might not be too much excited; and this enabled the actors to study their parts more thoroughly, and the spectators to digest more at leisure the beauties of the masterpieces brought out.
    Such had long been the drama at Quiquendone. Foreign artists were in the habit of making engagements with the director of the town, when they wanted to rest after their exertions in other scenes; and it seemed as if nothing could ever change these inveterate customs, when, a fortnight after the Schut-Custos affair, an