mental, professional or amateur, is enormous. In this trait, music is a huge sexual republic. Conductors, accompanyists, singers, pianists, violinists, 'cellists, organists, associates of the orchestras of the world, now here, now there, are well-known (at least in confidential circles of uranism) for homosexual lives. Their adventures are the subjects of a thousand and one racontars. Not long ago, a homosexual singer was seated one evening with a dionian friend in a leading lyric theater, and pointed the attention of his companion to the fact that the composer of the opera, the conductor, the tenor, the baritone, the assistant stage-manager of the performance, and the secretary of the establishment were "all Uranians." The singers in question were the objects of unlimited female admirations and aspirations. Just then, there entered a box near by a distinguished pianist of the day and a violinist famed in two hemispheres. "Those two also!" exclaimed the companion; and then in a burst of naive confidence—quite unsolicited—he added "And—and—so am I!"
In amateur musical life, the cultivated and aesthetic classes constantly present the homosexual male. The type inclines to effeminacy of at least psychic sort; but the exceptions, as to that are legion, and disprove most rules.
The Actor.
The dramatic stage would yield almost an equal census, especially in particular nationalities and localities. It has always done so from the days of Nero, of Paris and of Mnester till now. It always will do so. The fact is interesting that many actors who are most the subjects of sentimental admiration from women, on account of manly beauty, are uranistic. They cultivate a wide female-worship, for advertising or social convenience. Homosexual prostitution, the actor as entretenu, are by no means rare among the more mercenary adonises of the theater. Young actors often profit by the passions of rich male adorers. A notable scandal in a large European city,
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