FRENCH TIES AND DYNAS-TIES.
The Grand Opéra at Paris has just re-opened, after a perfect "restoration" made by order of the Emperor, who is more favourable to a "restoration" in affairs of the drama than in affairs of politics. The theatre has been gorgeously re-decorated and overlaid with a profusion of gold, which stands out in all the bold effrontery of gilt beneath the blaze of a thousand gaslights. Even the members of the orchestra are elaborately got up, and though not absolutely bound hand and foot at the will of the Emperor, they are literally taken by the throat, for they are compelled to appear in white neckcloths. Every instrumental performer must become a member of the stiff-necked fraternity if he wishes to be engaged at the Grand Opéra; and it matters little what may be his reputation, or how illustrious may be the stock to which he belongs, if he refuses to bind himself to the tie prescribed by the French Government. Such is the pliancy with which all classes now bow their necks to the ruling power, that we have not heard of one instance in which the forced application of the starched cravat has roused any artist's choler. It is, however, feared that in a very heavy and fatiguing opera the time of some of the pieces will have to be changed, in order that the orchestra may get a few bars' rest to adjust their neck-ties, which some of the tremendous crescendo movements of Meyerbeer will be likely to derange. We tremble to think of the consequences of the "Blessing of the Poignards" on the cravats of the poor fiddlers.