"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. 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."
