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1863 may be concluded without reserve. Herr Joachim, having created a new and universal taste for the music of Bach, has imposed upon himself the honourable duty of standing forth as modern champion to the greatest and most profound of the elder German masters. He is now Bach's apostle no less than Beethoven's, and, happily, quite equal to the task of representing both with dignity. The other players in the quartet were MM. Ries, H. Webb and Piatti; the other singer was Madame Florence Lancia; the pianist, Mr. Charles Hallé. We append the programme, which yielded in interest to none of its 111 precursors:

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There was not a flaw in the entire performance. No more perfect quartet-playing than that of Schubert's" D minor" (the most imaginative and admirable, perhaps, of all his instrumental compositions) has been listened to, even at the Monday Popular Concerts; Mr. Hallé has never displayed more consummate ability than in the romantic and truly beautiful sonata of Weber; Mr. Sims Reeves threw a world of feeling into the graceful songs of Herr Molique (from a set of six, dedicated to himself), and was compelled to repeat M. Blumenthal's pretty Message; and Herr Joachim in the " Sarabande" and "Bourrée," from Bach's second solo sonata, produced the accustomed extraordinary sensation. Being, as a matter of course, unanimously called upon to produce some other movement from the same source, Herr Joachim did so with the heartiest goodwill. About to take leave for so long a period of one of the most thoroughly musical audiences before whom he had probably ever appeared, the gifted Hungarian violinist played as though he felt it, and created an impression not easy to be effaced. Madame Lancia, too, seemed inspired by the occasion, imparting more than ordinary expression to the prayer and barcarole from Meyerbeer's opera, and more than ordinary spirit to Mr. Osborne's lively little song. About the "Kreutzer" duet of Beethoven-the executants being MM. Hallé and Joachim-we need say no more than that it was the culminating point of one of the most stirring and exciting concerts ever held in St. James's Hall. The crowd was so enormous that several hundreds of persons were sent away for whom it was impossible to find even standing room; and, though the rows of stalls were very considerably increased in number, the extra chairs, placed in every direction, to accommodate late comers, almost choked up the avenues. And this, too, at a concert exclusively devoted to quartets, sonatas, and solo songs, the 112th in the space of little more than three years! The Monday Popular Concerts are to be resumed on the 12th of January, 1863.

HANOVER SQUARE ROOMS.

A well-known entrepreneur, Mr. J. Russell, has advertised for some days past a series of three miscellaneous concerts in the Hanover Square Rooms-the first of which took place on Wednesday night. The programme was on this occasion just of that character most likely to attract the visitors to London at this particular period, and the singers and players were numerous and strong enough to give it due effect. The direction being vested in Mr. Land was a sufficient guarantee that the entertainment would be excellent of its kind; and by no means its least agreeable features were two familiar glees by Horsley and Webbe, in the first of which (encored) Mr. Land was associated with Messrs. Baxter, Cumming, and Winn; in the second, by the same gentlemen, with the addition of Miss Wells. The solo Fingers included Madame Gassier, so long famed as a vocalist of the florid and brilliant type; Mdlle. Marie Cruvelli, the contralto, whose improvement in voice, style, and execution was noted last season at more than one concert in Exeter Hall and elsewhere; Herr Hermanns, whose loud-toned "bass" has on several occasions, at Her Majesty's Theatre, given sonority to the sepulchral music of the Commendatore; Mr. Swift, one of our most genuine English tenors, with a voice that alone should make his fortune; and last, not least, Mdlle. Amelia Corbari, known and esteemed by all frequenters of the Royal Italian Opera, and who now by her thoroughly artistic rendering of the great soprano scene from Der Freischutz showed herself mistress of a style for which she had not previously obtained credit. To each of these Mr. Swift suffering from hoarseness, excepted-was allotted a solo air; two or three concerted pieces being also set down in which their respective talents were combined. The vocal music, unacccompanied by anything else, would have made a capital entertainment of the

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sort, more especially at this busy time. But Mr. Land-or Mr. J. Russell (to whichever of the two we are indebted for this musical feast) was lavish in providing for the gratification of his patrons. A Polish pianist of the "bravura" school, M. Frederic Boscovitch by name, at three different intervals, gave no less than seven of his own compositions "Songs of Sirens," "Prières," Mameluke dances," "Amazons' Marches," &c.,-which he played con amore and to the evident satisfaction of his hearers, who recalled him at the end of the first "service." Better (far better), M. Sainton, the genuine Emperor" of French violinists, played one of his own admirable fantasias in his own admirable manner, and (which was the inost extraordinary display of the evening) a duet for violin and doublebass, with Signor Bottesini-incomparable master of the last-named, in most other hands, ungrateful instrument (that is, of course, away from its proper place in the orchestra). This duet from the pen of Signor Bottesini himself is an extremely clever, ingenious, and effective composition, exhibiting to eminent advantage the capabilities of both instruments, and revealing a talent for combination which belongs only to the highest musicianship. The execution on either hand was really wonderful, the surprise and delight of the audience being manifested in repeated bursts of applause and a loud "recall" for the performers. Notwithstanding his lond absence it was clear that Signor Bottesini had not been forgotten. When we left there was still more music, both vocal and instrumental, to follow; but enough has been said to give some idea of the varied attractions of the programme. The accompar ists were Messrs. Land, Hargitt, O. Williams, and Bottesini. with a selection from Beethoven, which included the canon (quartet) The second concert took place on Thursday afternoon, and began from Fidelio; the violion romance in F (played to perfection by M. Sainton); "In questa tomba" (extremely well suited to the voice of Malle. Marie Cruvelli); the "Savoyard" and "The stolen kiss" (which Mr. Sims Reeves has made famous at the Monday Popular Concerts, and in which Mr. Swift by no means unworthily emulated his preposterous contemporary); an air to Italian words, "Dimme ben mio," which fell upon Mdme. Gassier; and the Moonlight Sonata, upon which M. Boscovitch fell diagonally. The Pesthian pianist is less at home in Beethoven, although it was his second appearance in London, and at his first he was styled wrongly, it would appear, Polish instead of Pesthian. The second part comprises another fantasia for the double-bass (Sonnambula-the night before it was Lucia), miraculously manipulated by Signor Bottesini, who was recalled; a German song (von Schaffer), attributed to Herr Hermanns, whose voice has occasionally the Formesian tone; some pianoforte solos by M. Boscovitch, composed by M. Boscovitch, who was more at home in Boscovitch; Lieders Le Dessauer and Schubert attributed to Mdlle. Cruvelli; the drinking song from Macbeth, to Mdme. Gassier; the "Carnaval de Venise' on the double-bass, "by desire," and Signor Bottesini. The accompaniments were as on the preceding evening.

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The third and last concert took place on the same evening with a miscellaneous programme. The same singers and players took part, with the exception of M. Boscavitch (who was at home). The pianist never was one of a more serious cast, namely, Herr Ernst Pauer, who, united with M. Sainton, gave a superb performance of the Kreutzer Sonata, and played two graceful pieces of his own ("La Cascade" and Galop de Concert") in most brilliant style. M. Sainton also charmed the audience with his capital fantasia or airs from Rigoletto; Signor Bottesini gave another of his wonderful solos, and (by desire) his duet for violin and double-bass was repeated. Mdlle. Corbari appeared for the second time, and made as favorable an impression as before with the Cavatini from Maria de Rohan; while to the singers we have already named were allotted a well-varied selection of pieces from Italian and German composers, which were all executed more or less to the satisfaction of the audience.

Such varied attraction as these concerts presented, would, one might have thought, have drawn more numerous audiences to the elegant rooms in Hanover Square.

CONCERTS OF NATIONAL MELODIES.-The concert given on Thursday--a consequence of the success of the preceding concert-attracted even a larger audience, in spite of the very indifferent state of the weather? The addition of Mr. Sims Reeves's name, we may presume, made all the difference. The programme was, so to speak, milder and brief-r than the former, and the Irish element was not so much in excess. Mr. Reeves, we need hardly say, was the special feature. He gave My own, my guiding star," "My pretty Jane," and, with the chorus, Purcell's "Come, if you dare." He was in splendid voice, and sang with immense effect, all his pieces being encored. He, however, only consented to repeat the song from Robin Hood. Miss Banks was encored in the old ballad "On the banks of Allan Water,” and Miss Palmer is "Terence's Farewell"- both well sung. The choir were applauded in the "Blue bells of Scotland" (arranged by Neithard "The Minstrel Boy," (with accompaniments of the twenty harps), and

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"Rule Britannia," the first two being enthusiastically redemanded.

Mr. Aptommas was encored in his harp fantasia on Scotch Melodies, TSEASON, 1983. Tickets and Reserved Seat Vouchers for 1863 are now ready

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when he played his Welsh Solo Ar Hyd y nos." These concerts appear to have strong fascinations for a certain class of the public, and, with a little more care and judgment in the management, promise to restore themselves into a special attraction.

EGYPTIAN HALL.

The large room in which the late Mr. Albert Smith so often recorded his Ascent of Mont Blanc has been restored to brilliant condition by Mr. Edmund Yates, who has opened it for a new entertainment, given by

HE MUSICAL SOCIETY OF LONDON, FIFTH
for delivery to Members, by Messrs. CRAMER & Co., No. 201 Regent Street, where
Prospectuses and the Scheme for 1863 may be had.
CHARLES SALAMAN, Hon. Sec.,

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himself and Mr. Harold Power. Under the superintendence of Mr. W. INS

Beverley the portion of the room occupied by the audience has been transformed into the semblance of a spacious conservatory, profusely adorned with artificial flowers. A servant in livery attends to direct the visitors to their places, and every detail in the arrangement is marked by an appearance of elegance and comfort. The stage remains in its former place, and has been furnished by Mr. W. Beverley with two beautiful scenes, one representing a drawing-room and the other a sea-side view with moveable billows, respectively illustrating the two sections of the entertainment, which goes by the general name, "Mr. Yates's Invitations."

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The first section of the entertainment is entitled the Evening Party. Mr. Yates, who appears in propriâ personâ, is awaiting the arrival of his guests, and is soon joined by Mr. Harold Power, with whom a discussion ensues as to the sort of recreation which is to be provided. Next arrive several musical amateurs, Dr. Dobell Dee, Baron Yödell, and Mr. D. Tweedle; but these are all outshone by a Mr. Goodrych, strong in the possession of an "ut de poitrine." In spite of his transcendant genius Mr. Goodrych is interrupted by Jack Bagot, a professed "funny vocalist, who sings a description of "London Society." What is called "A quiet evening with a little music" being thus illustrated, Mr. Yates proceeds to the description of the "Regular Evening Party," and recounts a contest between Paterfamilias and the female members of his household, the latter of whom are resolved on giving an evening party, while the former is strongly opposed to everything of the sort. The ladies are triumphant, and the festivity takes place. Prominent among the guests are Miss Ferrers, the belle of the ball, and a bashful young gentleman, and the arrival of a number of theatrical notables allows Mr. Power an opportunity of displaying his imitative talent. Jack Bagot, the funny man, again makes his appearance, and the evening terminates with a song about "London Bandits" of the present day.

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In the second portion of the entertainment, which is entitled the Sea-side," Messrs. Yates and Power are supposed to retire to an imaginary watering place, and don a costume suitable to the sands. Their emigration gives occasion for a description of two doctors of opposite schools, one of the bluff, grumpy type associated with the

memory of Abernethy; the other, the mincing, insinuating gentleman,

who is supposed to be particularly adapted to ladies and children. Jack Bagot, of facetious celebrity, and Miss Ferrers, the beauty, and the bashful young man are shown under the influence of sea breezes, and a song entitled "Bubbles of the Day" concludes the whole. The verbal description of the several personages is greatly enlivened by an admirable series of sketches by Messrs. John Leech, Frith, and Marcus Stone, and are exhibited in a portfolio.

The labours of Mr. Edmund Yates and Mr. Harold Power are

NSTRUCTIONS ON THE GUITAR, GERMAN LANGUAGE, and SINGING, are given by an eminent Professor of Music, at present settled in London, attending Pupils at their own Residences. For Cards of Address and Terms, apply to Messrs. Boosey and Sons, Holles Street, Oxford Street.

ASHDOWN & PARRY (successors to Wessel & Co.)

beg to inform the Profession that they forward Parcels on Sale upon receipt o references in town. Returns to be made at Midsummer and Christmas. Their Catalogues, which contain a great variety of Music calculated for teaching purposes, may be had, post-free, on application. London: 18 Hanover Square.

NEW SONG.

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generally so divided that the task of impersonating and describing falls LIST OF MUSICAL

to the lot of the former, while the songs are awarded to the latter. This division is not strictly followed throughout, for Mr. Harold Power not only gives some imitations of London actors, but occasionally delivers part of the lecture. He shines most in his comic songs and imitations, while Mr. Yates is a finished illustrator of life and character, firmly adhering to the principle of Mr. Albert Smith, in presenting various types of character to his audience without becoming an actor. There is no change of dress, save from the costume of an evening party to that of the sea-side; but the various personages are vividly shown, and it is doubtful whether Mr. Yates deserves most praise for the literary composition of his entertainment, or his skill in embodying his own creations,

Advertisements.

PRESENTS,

GRATIS AND POST FREE.

No other House in Europe can offer so large a collection of valuable Musical Works
at once suitable for presents and invaluable to Students and Professors of Music and
Amateurs. No library can be made up without careful consultation of this unique
List, which contains works as remarkable for elegance of appearance as for intrinsic
excellence.
HAMILTON'S

MODERN INSTRUCTIONS FOR
PIANO. 357th Edition, 4s.

"Great pains were evidently bestowed in the production of this work by Mr. Hamilton, whose indefatigable exertions resulted in giving to the musical world one of the best elementary works ever published. To all who will make use of it, it will prove invaluable; for it will facilitate the pupil's progress, and relieve the teacher of much labour."—Vide Christian News, October 23.

PIANOFORTES.

"A good instrument is a valuable desideratum, and Messrs. Cocks and Co. of New Burlington Street have conferred a boon on the public in the production of the Universal Piano. The price is only £25, and is quite a marvel of cheapness, combined with excellence of quality. It may be had in rosewood, or walnut case, with ogee fall, silk front, and full fret, at the above moderate price. This is worthy of consideration by all who are contemplating making a purchase.-Vide Christian

PRIZE MEDAL FOR BOOSEY & SONS' MILITARY Herald, October 10.

BAND INSTRUMENTS, CORNETS, &c.-BOOSEY & SONS have much pleasure in announcing that these instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, Boosey & Sons, 24, Holles Street, W.

London: Published by ROBERT COCKS and Co., New Burlington Street, where the Hanover Square Rooms may be engaged. To be had of all Musicsellers and Booksellers.

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JOSEPH GODDARD'S PHILOSOPHY OF MUSIC.

Now ready. Price 5s.

"In conclusion, this book is well worth perusing systematically from beginning to end. It is a contribution to a class of literature which numbers very few specimens. We have plenty of books in which the authors treat of composers, singers, and musi cians, but very few in which music itself is made the subject."-Literary Budget. BOOSEY and SONS, Holles Street.

25 COMIC SONGS in BOOSEY'S MUSICAL CABI

NET, No. 64. All with Pianoforte Accompaniments. Price One Shilling. An admirable book for the present Season.

100

BOOSEY and SONS, Holles-street.

REELS, JIGS, STRATHSPEYS, and every description of Country Dance, in BOOSEY'S MUSICAL CABINEŤ, No. 65. Price One Shilling. BOOSEY and SONS, Holles Street.

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BOOSEY'S SIXSIX CHRISTMAONG CAROLS, price

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EDITION of the MESSIAH.

BOOSEY & SONS beg to announce that, regarding Handel's chef d'avert as the most appropriate musical work that could be selected as a gift for Christmas, they have prepared a very beautiful edition expressly for the present season. It is printed on fine-toned paper, royal 4to (the size of "Mendelssohn's Songs without Words"), and contains an interesting Memoir of Handel, and a Portrait copied from the painting at Windsor. It is very superbly bound, gilt edges, price 7s. 6d. As a prize, a more suitable volume could not be found.

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HE ST. JAMES'S ALBUM for 1863. Messrs. which, for variety of contents, beauty of Illustrations, and richness of binding, quite unequalled by any other annual ever published. The contributors to the "St. James's Album are M. W. Balfe, Brinley Richards, W. Kuhe, Henry Smart, Laurent, Claribel, Musgrave, Berger, Wagner, Elliott, and Gollmick. The Illstrations are by Brandard, Packer, W. Boosey, Concannen, and Lee. "The St James's Album" is now ready, price one guinea, post-free.

"

BOOSEY & SONS, Holles Street.

BOOSEY'S GUINEA BEETHOVEN.-Now Ready, in

one volume, superbly bound in half morocco, gilt edges, price 21s., Boosey & Sons' new and complete edition of Beethoven's 32 Sonatas, for the Pianoforte, edited by W. Dorrell, with Biography by G. A. Macfarren, and Portrait by Lynch. The Daily News says: "There is not one edition (English, German, and French) that we have seen from which, taking all things into account, correctness, cleartens, elegance, and price, we have derived so much satisfaction as the edition before us." BOOSEY & SONS, Holles Street.

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PRICE 48.

THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly Revised and partly Re-written.

“An exquisite Romance, which no imitator, however ingenious, Published under the immediate superintendence of the Composer. could have written as quaint, as fascinating, and at the same time as Thalbergian as anything of the kind that has been produced for years." -The Times.

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OZART'S

MOZA

BOOSEY & SONS, Holles Street.

JUAN.

DON 98. BOOSEY & SONS' Edition, complete, for Voice and Pianoforte, with English and Italian words. The whole of the Recitatives and Notes of the Author's Instrumentation. Price 9s. In cloth (400 pages).

This splendid Edition, the best and cheapest ever published, of Mozart's great work, should be in the hands of every professor of music. Also Figaro, 9s. Zauberflöte, 5s.

BOOSEY & SONxs, Holles Street.

FIFTEEN BOOKS, PRICE SIX SHILLINGS EACH.

MUSICAL WORLD, Nov. 8.

"Graceful and vigorous in turn, highly finished, and thoroughly original, as are the larger number of M. Stephen Heller's compositions, it is probable that his Studies are destined to achieve the widest and most lasting popularity of any of them. These combine in a very eminent degree the useful with the beautiful; while, in every instance, they reveal, not only genuine qualities of workmanship, but serious thought and a mind that soars above common-place. Their purely aesthetic merits, however, have been very unanimously admitted, by the world of musicians and cultivated amateurs, as well as their admirable adaptibility, not merely to impart those subtle requisites the acquisition and spontaneous application of which alone can give to the performer a legitimate style and natural expression, but also to form the mechanism of the fingers. To the first desideratum M. Stephen Heller, in his brief, unassuming, and thoroughly sensible preface frankly lays claim; indeed, he specifies it as the immediate object towards the facilitation of which he has dedicated his labor. The last, on the other hand, he has though perhaps unconsciously and without premeditation—simultaneously and with no less entire success accomplished. The publication of a complete edition of the Studies is therefore likely to be hailed with universal satisfaction-alike by professors and teachers, who are able to put them to such excellent uses, and by amateurs, who pursue the study of music mainly for the delight and recreation it affords them."

ATHENEUM, Nov. 22.

"Messrs Ashdown & Parry have just published a new edition of M. Stephen Heller's ‘Studies,' in all fifteen books. This, moreover, is what it professes to be—a work revised, and, in places, re-written by its author. M. Heller has amplified and extended some of the Studies, and introduced entirely new matter, to what extent we will not attempt to specify. The collection, as it stands, is unique in modern music- -one not to be studied without profit, and pleasure to boot. No tremendous difficulty of any kind is attempted, and the student who wishes to command the exaggerations of the modern florid school must be referred to such writers as MM. Henselt and Thalberg, and Dr. Liszt.

OZART'S JUPITER SYMPHONY for Pianoforte, Yet, no one can play M. Heller's more arduous Studies without having that

MOZA

size.

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mastery over the instrument which enables him to render as well as relish the best classical authors. Again, the wealth of real musical idea contained in these fifteen books is something rare and precious. Besides being useful, these Studies are beautiful. They may rank, in short, with Cramer's Studies-with those by Prof. Moscheles,-widely differing from both; and it may be said, without strain of the truth, that there is no living composer who could produce a volume comparable to this. A more interesting and permanently attractive Christmas present could hardly be found for musician, be he old or young."

LONDON:

ASHDOWN and PARRY,

18 HANOVER SQUARE.

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NEW AND

(Soprano and Tenor) Four-part Song

decks the well. Song (Soprano) Complete Pianoforte Score, bound, 12s. Separate Vocal Parts, 3d. per page.

METZLER & CO'S.

LIST OF

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Chappell's Favourite Airs in the "Lily of Killarney."

Chappell's Edition of Verdi's "Un Ballo in Maschera."

Chappell's Edition of Mozart's "Don Giovanni," easily arranged in a complete form.

Chappell's Favourite Airs in "Lurline, and "Victorine.' Chappell's 100 Irish Airs. Chappell's 100 Scotch Airs. Chappell's 100 Christy Minstrel Melodies. Chappell's Favourite Airs in "Il Trovatore," and "La Traviata."

POPULAR WORKS FOR THE PIANOFORTE. Chappell's Edition of Rossini's "Stabat Chappell's 100 Dances (principally D'Al

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Mater," do.

Chappell's 100 Dances (Second Series). Chappell's Favourite Airs in the "Queen Topaze," and in the "Rose of Castille." Chappell's 100 Sacred Songs, Anthems, Psalms, and Hymns.

Chappell's Favourite Airs in "Robin Hood."

bert's.) Second Violin and Bass Part to Ditto.

Chappell's 100 Operatic Airs. Chappell's 100 Popular Songs. Chappell's 100 Hornpipes, Reels, Jigs, &c.

Chappell's Eighteen Airs, with Easy Variations.

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Chappell's 100 Dances (Second Series).
Chappell's Favourite Airs in the "Queen
Topaze," and in the "Rose of Castille."

80 Chappell's 100 Sacred Songs, Anthems,

Psalms, and Hymns.

Hood."

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Chappell's 100 Christy Minstrel Melodies. Chappell's 100 Popular Songs.

Jessie the Flower of Dumblane

Fantaisie

Mes Souvenirs d'Ecosse. No. 2.

Do.

Castles in the Air. Scotch Melody

BRINLEY RICHARDS. Fantaisie

ASCHER.

Chappell's 100 Irish Airs.

Melodie

Chappell's 100 Scotch Airs.

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CLARIONET.

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Printed by HENDERSON, RAIT, and FENTON, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex.
Published by JOHN BOOSEY, at the Office of BOOSEY & SONS, 28 Holles Street.—Saturday, December 13, 1862.

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