Baireuth, August 14.

It is said that Wagner, for his “work of art of the future,” demands the co-operation of all the sister arts; but architecture on the present occasion has been of little assistance to him. Externally, at least, his theatre is anything but imposing, and the harmony of the design is somewhat impaired by the enormous elevations of the back of the building, required, it is said, for the complicated machinery of the stage. But this unfavourable impression changes as soon as one enters the house. The auditorium is arranged in the manner of the Greek Koilon; rows of steps rise amphitheatrically, and from every seat in the house a full view of the stage may be obtained. Side-boxes have been entirely dispensed with, a “ Fürstenloge ” at the back only being retained for the Emperors of Germany and Brazil, and numerous minor potentates who have honoured the performance with their illustrious presence, and thrown this quiet little country town into a fever of excitement. The King of Bavaria, by the way, Wagner's protector and friend, is conspicuous by his absence. He came to hear the last rehearsal, and left immediately afterwards, avoiding, it is said, the presence of his imperial overlord. Political complications, you perceive, are not altogether absent from this artistic gathering.