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- Гастон Леру
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- Призрак Оперы
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- Стр. 257/258
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The
section
of
the
building
set
aside
for
the
use
of
the
Emperor
Napoleon
was
to
have
included
an
antechamber
for
the
bodyguards
;
a
salon
for
the
aides
-
de
-
camp
;
a
large
salon
and
a
smaller
one
for
the
Empress
;
hat
and
cloak
rooms
,
etc
.
Moreover
,
there
were
to
be
in
close
proximity
to
the
entrance
,
stables
for
three
coaches
,
for
the
outriders
’
horses
,
and
for
the
twenty
-
one
horsemen
acting
as
an
escort
;
a
station
for
a
squad
of
infantry
of
thirty
-
one
men
and
ten
cent
-
gardes
,
and
a
stable
for
the
horses
of
the
latter
;
and
,
besides
,
a
salon
for
fifteen
or
twenty
domestics
.
Thus
arrangements
had
to
be
made
to
accommodate
in
this
part
of
the
building
about
one
hundred
persons
,
fifty
horses
,
and
half
-
a
-
dozen
carriages
.
The
fall
of
the
Empire
suggested
some
changes
,
but
ample
provision
still
exists
for
emergencies
.
"
Its
novel
conception
,
perfect
fitness
,
and
rare
splendor
of
material
,
make
the
grand
stairway
unquestionably
one
of
the
most
remarkable
features
of
the
building
.
It
presents
to
the
spectator
,
who
has
just
passed
through
the
subscribers
’
pavilion
,
a
gorgeous
picture
.
From
this
point
he
beholds
the
ceiling
formed
by
the
central
landing
;
this
and
the
columns
sustaining
it
,
built
of
Echaillon
stone
,
are
honeycombed
with
arabesques
and
heavy
with
ornaments
;
the
steps
are
of
white
marble
,
and
antique
red
marble
balusters
rest
on
green
marble
sockets
and
support
a
balustrade
of
onyx
.
To
the
right
and
to
the
left
of
this
landing
are
stairways
to
the
floor
,
on
a
plane
with
the
first
row
of
boxes
.
On
this
floor
stand
thirty
monolith
columns
of
Sarrancolin
marble
,
with
white
marble
bases
and
capitals
.
Pilasters
of
peach
-
blossom
and
violet
stone
are
against
the
corresponding
walls
.
More
than
fifty
blocks
had
to
be
extracted
from
the
quarry
to
find
thirty
perfect
monoliths
.
"
The
foyer
de
la
danse
has
particular
interest
for
the
habitues
of
the
Opera
.
It
is
a
place
of
reunion
to
which
subscribers
to
three
performances
a
week
are
admitted
between
the
acts
in
accordance
with
a
usage
established
in
1870
.
Three
immense
looking
-
glasses
cover
the
back
wall
of
the
FOYER
,
and
a
chandelier
with
one
hundred
and
seven
burners
supplies
it
with
light
.
The
paintings
include
twenty
oval
medallions
,
in
which
are
portrayed
the
twenty
danseuses
of
most
celebrity
since
the
opera
has
existed
in
France
,
and
four
panels
by
M
.
Boulanger
,
typifying
’
The
War
Dance
’
,
’
The
Rustic
Dance
’
,
’
The
Dance
of
Love
’
and
’
The
Bacchic
Dance
.
’
While
the
ladies
of
the
ballet
receive
their
admirers
in
this
foyer
,
they
can
practise
their
steps
.
Velvet
-
cushioned
bars
have
to
this
end
been
secured
at
convenient
points
,
and
the
floor
has
been
given
the
same
slope
as
that
of
the
stage
,
so
that
the
labor
expended
may
be
thoroughly
profitable
to
the
performance
.
The
singers
’
foyer
,
on
the
same
floor
,
is
a
much
less
lively
resort
than
the
foyer
de
la
danse
,
as
vocalists
rarely
leave
their
dressing
-
rooms
before
they
are
summoned
to
the
stage
.
Thirty
panels
with
portraits
of
the
artists
of
repute
in
the
annals
of
the
Opera
adorn
this
foyer
.
"
Some
estimate
.
.
.
may
be
arrived
at
by
sitting
before
the
concierge
an
hour
or
so
before
the
representation
commences
.
First
appear
the
stage
carpenters
,
who
are
always
seventy
,
and
sometimes
,
when
L
’
Africaine
,
for
example
,
with
its
ship
scene
,
is
the
opera
,
one
hundred
and
ten
strong
.
Then
come
stage
upholsterers
,
whose
sole
duty
is
to
lay
carpets
,
hang
curtains
,
etc
.
;
gas
-
men
,
and
a
squad
of
firemen
.
Claqueurs
,
call
-
boys
,
property
-
men
,
dressers
,
coiffeurs
,
supernumeraries
,
and
artists
,
follow
.
The
supernumeraries
number
about
one
hundred
;
some
are
hired
by
the
year
,
but
the
’
masses
’
are
generally
recruited
at
the
last
minute
and
are
generally
working
-
men
who
seek
to
add
to
their
meagre
earnings
.
There
are
about
a
hundred
choristers
,
and
about
eighty
musicians
.
"
Next
we
behold
equeries
,
whose
horses
are
hoisted
on
the
stage
by
means
of
an
elevator
;
electricians
who
manage
the
light
-
producing
batteries
;
hydrauliciens
to
take
charge
of
the
water
-
works
in
ballets
like
La
Source
;
artificers
who
prepare
the
conflagration
in
Le
Profeta
;
florists
who
make
ready
Margarita
’
s
garden
,
and
a
host
of
minor
employees
.
This
personnel
is
provided
for
as
follows
:
Eighty
dressing
-
rooms
are
reserved
for
the
artists
,
each
including
a
small
antechamber
,
the
dressing
-
room
proper
,
and
a
little
closet
.
Besides
these
apartments
,
the
Opera
has
a
dressing
-
room
for
sixty
male
,
and
another
for
fifty
female
choristers
;
a
third
for
thirty
-
four
male
dancers
;
four
dressing
-
rooms
for
twenty
female
dancers
of
different
grades
;
a
dressing
-
room
for
one
hundred
and
ninety
supernumeraries
,
etc
.
"
A
few
figures
taken
from
the
article
will
suggest
the
enormous
capacity
and
the
perfect
convenience
of
the
house
"
There
are
2
,
531
doors
and
7
,
593
keys
;
14
furnaces
and
grates
heat
the
house
;
the
gaspipes
if
connected
would
form
a
pipe
almost
16
miles
long
;
9
reservoirs
,
and
two
tanks
hold
22
,
222
gallons
of
water
and
distribute
their
contents
through
22
,
829
2
-
5
feet
of
piping
;
538
persons
have
places
assigned
wherein
to
change
their
attire
.
The
musicians
have
a
foyer
with
100
closets
for
their
instruments
.
"
The
author
remarks
of
his
visit
to
the
Opera
House
that
it
"
was
almost
as
bewildering
as
it
was
agreeable
.
Giant
stairways
and
colossal
halls
,
huge
frescoes
and
enormous
mirrors
,
gold
and
marble
,
satin
and
velvet
,
met
the
eye
at
every
turn
.
"
