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THE
END
The
Scene
Of
Gaston
Leroux
’
s
Novel
,
"
The
Phantom
Of
The
Opera
"
That
Mr
.
Leroux
has
used
,
for
the
scene
of
his
story
,
the
Paris
Opera
House
as
it
really
is
and
has
not
created
a
building
out
of
his
imagination
,
is
shown
by
this
interesting
description
of
it
taken
from
an
article
which
appeared
in
Scribner
’
s
Magazine
in
1879
,
a
short
time
after
the
building
was
completed
:
"
The
new
Opera
House
,
commenced
under
the
Empire
and
finished
under
the
Republic
,
is
the
most
complete
building
of
the
kind
in
the
world
and
in
many
respects
the
most
beautiful
.
No
European
capital
possesses
an
opera
house
so
comprehensive
in
plan
and
execution
,
and
none
can
boast
an
edifice
equally
vast
and
splendid
.
"
The
site
of
the
Opera
House
was
chosen
in
1861
.
It
was
determined
to
lay
the
foundation
exceptionally
deep
and
strong
.
It
was
well
known
that
water
would
be
met
with
,
but
it
was
impossible
to
foresee
at
what
depth
or
in
what
quantity
it
would
be
found
.
Exceptional
depth
also
was
necessary
,
as
the
stage
arrangements
were
to
be
such
as
to
admit
a
scene
fifty
feet
high
to
be
lowered
on
its
frame
.
It
was
therefore
necessary
to
lay
a
foundation
in
a
soil
soaked
with
water
which
should
be
sufficiently
solid
to
sustain
a
weight
of
22
,
000
,
000
pounds
,
and
at
the
same
time
to
be
perfectly
dry
,
as
the
cellars
were
intended
for
the
storage
of
scenery
and
properties
.
While
the
work
was
in
progress
,
the
excavation
was
kept
free
from
water
by
means
of
eight
pumps
,
worked
by
steam
power
,
and
in
operation
,
without
interruption
,
day
and
night
,
from
March
second
to
October
thirteenth
.
The
floor
of
the
cellar
was
covered
with
a
layer
of
concrete
,
then
with
two
coats
of
cement
,
another
layer
of
concrete
and
a
coat
of
bitumen
.
The
wall
includes
an
outer
wall
built
as
a
coffer
-
dam
,
a
brick
wall
,
a
coat
of
cement
,
and
a
wall
proper
,
a
little
over
a
yard
thick
.
After
all
this
was
done
the
whole
was
filled
with
water
,
in
order
that
the
fluid
,
by
penetrating
into
the
most
minute
interstices
,
might
deposit
a
sediment
which
would
close
them
more
surely
and
perfectly
than
it
would
be
possible
to
do
by
hand
.
Twelve
years
elapsed
before
the
completion
of
the
building
,
and
during
that
time
it
was
demonstrated
that
the
precautions
taken
secured
absolute
impermeability
and
solidity
.
"
The
events
of
1870
interrupted
work
just
as
it
was
about
to
be
prosecuted
most
vigorously
,
and
the
new
Opera
House
was
put
to
new
and
unexpected
uses
.
During
the
siege
,
it
was
converted
into
a
vast
military
storehouse
and
filled
with
a
heterogeneous
mass
of
goods
.
After
the
siege
the
building
fell
into
the
hands
of
the
Commune
and
the
roof
was
turned
into
a
balloon
station
.
The
damage
done
,
however
,
was
slight
.
"
The
fine
stone
employed
in
the
construction
was
brought
from
quarries
in
Sweden
,
Scotland
,
Italy
,
Algeria
,
Finland
,
Spain
,
Belgium
and
France
.
While
work
on
the
exterior
was
in
progress
,
the
building
was
covered
in
by
a
wooden
shell
,
rendered
transparent
by
thousands
of
small
panes
of
glass
.
In
1867
a
swarm
of
men
,
supplied
with
hammers
and
axes
,
stripped
the
house
of
its
habit
,
and
showed
in
all
its
splendor
the
great
structure
.
No
picture
can
do
justice
to
the
rich
colors
of
the
edifice
or
to
the
harmonious
tone
resulting
from
the
skilful
use
of
many
diverse
materials
.
The
effect
of
the
frontage
is
completed
by
the
cupola
of
the
auditorium
,
topped
with
a
cap
of
bronze
sparingly
adorned
with
gilding
.
Farther
on
,
on
a
level
with
the
towers
of
Notre
-
Dame
,
is
the
gable
end
of
the
roof
of
the
stage
,
a
’
Pegasus
’
,
by
M
.
Lequesne
,
rising
at
either
end
of
the
roof
,
and
a
bronze
group
by
M
.
Millet
,
representing
’
Apollo
lifting
his
golden
lyre
’
,
commanding
the
apex
.
Apollo
,
it
may
here
be
mentioned
,
is
useful
as
well
as
ornamental
,
for
his
lyre
is
tipped
with
a
metal
point
which
does
duty
as
a
lightning
-
rod
,
and
conducts
the
fluid
to
the
body
and
down
the
nether
limbs
of
the
god
.
"
The
spectator
,
having
climbed
ten
steps
and
left
behind
him
a
gateway
,
reaches
a
vestibule
in
which
are
statues
of
Lully
,
Rameau
,
Gluck
,
and
Handel
.
Ten
steps
of
green
Swedish
marble
lead
to
a
second
vestibule
for
ticket
-
sellers
.
Visitors
who
enter
by
the
pavilion
reserved
for
carriages
pass
through
a
hallway
where
ticket
offices
are
situated
.
The
larger
number
of
the
audience
,
before
entering
the
auditorium
,
traverse
a
large
circular
vestibule
located
exactly
beneath
it
.
The
ceiling
of
this
portion
of
the
building
is
upheld
by
sixteen
fluted
columns
of
Jura
stone
,
with
white
marble
capitals
,
forming
a
portico
.
Here
servants
are
to
await
their
masters
,
and
spectators
may
remain
until
their
carriages
are
summoned
.
The
third
entrance
,
which
is
quite
distinct
from
the
others
,
is
reserved
for
the
Executive
.
