Catholic and Evangelical Protestant church absolution was now obtained, in return for the benefit granted the church from the fact that religion, as had previously been the case with the masses, was to retain consistently the expression of German criticism-emancipated through opera.

Thus did the operatic composer become completely the saviour of the world; and in the profoundly inspired Meyerbeer, irresistibly carried away by his self-lacerating, enthusiastic zeal, have we to acknowledge, in every case, the modern redeemer, the lamb of God that taketh away the sins of the world.

But this sin-purging "emancipation of the Church" could only be carried out conditionally by the musician. If religion wished to be blessed by means of opera, she must reasonably content herself with her proper place among the other emancipated personages and things. Opera, as the liberator of the world, must rule religion, and not religion opera; if opera should become the church, religion would not be emancipated by opera, but opera by religion. For the purity of the musicohistorical costume, it would certainly have been desirable for opera only to have to do with religion, for the sole available historical music was to be found nowhere but in the music of the church. But to have to do with monks and priests would have sensibly affected the gaiety of opera; for that which was to be glorified by the emancipation of religion was, properly speaking, nothing but the operatic air, that voluptuously developed primitive germ of the whole system of opera, which by no means shot out its roots in search of devout meditation, but of amusing recreation. Strictly speaking, religion was to be employed simply to give the whole a flavour, just as it is a well-regulated State; the principal seasoning remained of necessity, the "Prince and Princess," with the requisite garnishing of villains, chorus of courtiers, and chorus of people, coulisses, and clothes.

But how was the whole of this right reverend operatic community to be metamorphosed into historical music. At this point, the musician beheld opened to him the boundless, grey, misty realms of absolute invention; the challenge to create something out of nothing. Behold, how quickly he made up his mind! All he had to do was to take care that the music was always a little different from what custom must lead us to suppose it would be. Thus kis music would, at any rate, sound strange, and a right cut on the part of the theatrical tailor would be sufficient to make it completely "historical."

Music, the richest means of expression, had now a new and uncommonly piquant task, namely, once again to overthrow expression, through itself, which she had, as a general rule, previously made the object of expression; expression, which, without an object worth expressing, was, of itself, null, became, in the endeavour to be itself that object, again negatived, so that the result of our world-creation theories, according to which, out of two negatives something was produced, must now be completely attained by the operatic composer. We recommend to German critics the operatic style which sprang from this as "emancipated metaphysics."

Let us consider this mode of proceeding a little more closely. If the composer was desirous of giving an immediately suitable, naked expression, he could, with the best will in the world, only do so in the musical mode of speech received by us at present as intelligible, musical expression; if he now wished to impart to this an historical colouring, which he could only, in reality, suppose attainable by embuing it with a strange, unusual sound, the first thing most certainly at his command was the mode of expression peculiar to a previous musical epoch, which mode of expression he might imitate as his fancy dictated, and from which he might borrow according to his own caprice. In this manner, then, has the composer, out of all the peculiarities of style, in the least palatable, of various periods, botched up a motley jargon, which, in itself, was not badly adapted to his straining after what was strange and unusual. Musical language, as soon as it is detached from an object worthy of being expressed, and attempts to speak quite alone, without substance, and according to the mere caprice of the operatic air, that is to say, would only prate in singing and whistling, is, in its constitution, so completely subjected to mere fashion, that it can only subordinate itself

to the fashion in question, or, if fortunate, simply rule it, that is to say, adopt the newest fashion. The jargon which the composer has invented, in order-for the sake of the historical end-to speak in strange accents, immediately becomes, if successful, the fashion, in its turn, and this fashion, once adopted, suddenly does not appear strange any longer, but is the dress we all wear, the language we all speak. The composer is necessarily in despair at seeing himself thus always thwarted through his own inventions, in his endeavours to appear strange, and is compelled to resort to some means of appearing so, once for all, directly he would fulfil his mission for "historical" music. He must, therefore, once for all, be intent on again distorting in itself the most distorted expression-because it has become fashionable and customary through his means he must resolve, strictly speaking, to say "No" where he really means "Yes;" to bear himself joyously when he would express grief, and to whimper piteously where he would give himself up to agreeable delight. In sober truth, thus, and not otherwise, is it possible for him always to appear strange and singular, as if he had come from heaven knows where; he must at once play the lunatic, in order to appear "historically characteristic." Here, then, a completely new element is obtained; the impulse for the "historical" has led to hysterical madness, and this madness, to our delight, is, when seen in the light, nothing more than-how shall we designate it ?—New Romanticism. (To be continued.)

ROBERT LINDLEY.

(From a Correspondent.)

THIS unrivalled performer on the violoncello died on the 13th of this month, in his eightieth year, having been born at Rotherham, in York. shire, in 1776. His reputation has been established, for the last sixty years, as a master of the difficult instrument on which he so excelled. succeeded by his able representative, Lucas, he held the responsible From the age of seventeen, until about three years since, when he was and distinguished position of first violoncello in the Opera orchestra. At about the same age, also, he was engaged in the same capacity in the country festivals, and at a still earlier age played as a solo performer, and otherwise, at the professional concerts. Even as a child his great musical talents appeared, and at the age of eight he might have been seen playing in the Margate Theatre, of which fact that establishment may now well boast. He was a pupil of the younger Cervetto, a player himself much esteemed for his sweetness of tone and expression, and whose father appears to have been one of the first to bring the violoncello into notice as a solo instrument-his coadjutors in this respect being Buononcini and Francischello, and his rival, probably, Caporale. Besides the advantage of Cervetto as a master, our departed friend, Lindley, had also the opportunity, in his youth, of hearing and playing with Crosdill, whose powerful tone excelled that of brilliancy of execution, who now living in the musical world, unless of any previous performer. Of his own power and sweetness of tone, and very recent date, can be ignorant? Whether as leading the basses at the Opera and the oratorios, with his admirable skill in accompanying recitative-whether as a player in quartets and other concerted music -whether as a solo or concerto player, or in the body of the orchestra he was always great and perfect; and, as he excelled in every branch, he was inimitable. Who that has had the delight-though now to be looked back upon as a sweet dream of the past-of hearing his accompaniments to "Alexis," "Gentle Airs," and others of that class, can ever forget the sensations produced? and, though not so strictly within the scope of the instrument, who can forget his celebrated golden trio of Corelli, and the ninth solo-where, using the subjects as themes, the exuberance of his fancy, and skill in his art, enabled him to produce effects that surprised as well as charmed his hearers? In private, amongst his friends, he would occasionally show his power in still greater difficulties though difficulties they were not to him-such as Beethoven trio. His upright conduct, punctuality, and kindness in playing on the violoncello the first violin part of a quartet, or of a his profession, were known to all-and they were many-who ever and honour, and a steady friend, which the deep regret of his family, came in contact with him. He was, indeed, a man of strict integrity and of those who enjoyed his intimacy, will testify.

STRASBURG.-The German operatic company, under the direction of Herr Röder, has commenced operations. Mdlie. Anna Zerr is engaged for a limited number of nights.

ORIGINAL CORRESPONDENCE.

THE MUSICAL DIRECTORY.
To the Editor of the Musical World.

MR. EDITOR,-Will you allow me to ask (through the medium of your valuable paper) the proprietors of "The Musical Directory," published by Messrs. Rudall and Co., if they are aware that several persons described as professors in the "Directory" list are not so.

I am induced to ask this question from the fact of my baker (who

is an amateur violoncello player) regularly receiving the private pricelists from the London music publishers and kindly informing his circle of acquaintances what my profit must be on any particular piece I may happen to teach any of my pupils.

May I venture to add that none but bond fide professors should be placed in the "Directory." I beg to remain, Mr. Editor, yours, very truly, Овов.

June 18th, 1855.

The "Musical Directory" is full of errors. Amateurs are described as professors-violinists as pianoforte players-sopranos as contraltos, etc. Wrong addresses are given, and well-known names are incorrectly spelt. It is to be regretted that a useful work should be spoilt by such careless editorship.-ED. M. W.

THE ARDWICK GLEE CLUB.

To the Editor of the Musical World. DEAR SIR,-In the above society's advertisement (about the beginning of the year) offering a prize of five guineas for the best cheerful glee, it was distinctly stated that all the competitors should receive notice of who was the winner, immediately on the decision being made.. In a subsequent advertisement it was announced, that a performance of all the glees sent in (twenty-seven in number) would take place on the 25th of last month, and the prize awarded on the spot. More than three weeks have elapsed since the above date, and I, one of the competitors, have heard nothing further of the matter. I conceive that this apparent breach of faith requires explanation. I am, dear sir, yours truly,

June 18th, 1855.

INQUIRENDO.

M. BERLIOZ AND THE NEW PHILHARMONIC. To the Editor of the Musical World. SIR,-In one of your leading articles of last week, noticing the fifth New Philharmonic performance, you complain of the society for not performing the vocal part of M. Berlioz's Symphony, and ask "Where was the chorus which in the performance of Beethoven's Choral Symphony under Dr. Wylde's bâton, drew forth our commendation?" Permit me to inform you, as a member of the chorus, that every one was in his place in the orchestra on that evening, both willing and ready to perform the choral parts of the symphony, had not M. Berlioz informed us that he desired its omission. I assure you, I, as well as every member of the chorus, felt no slight mortification at finding that our services, after attending six rehearsals and having learnt the music by heart, were so unceremoniously dispensed with; and we likewise regretted that the society should have been put to so much expense and trouble for no purpose. I agree with that some you explanation is required, and as we acted in accordance with M. Berlioz's expressed wishes we should be glad to hear some explanation from him. I am, Sir, your obedient servant, A MEMBER OF THE CHORUS.

June 22, 1855.

THE CHORUS AND M. BERLIOZ.

To the Editor of the Musical World.

SIR,-You allude to the choruses in Romeo and Juliet being omitted at the New Philharmonic Concert on Wednesday night last, as if the members ordinarily engaged could not attend. Such was not the case. The few professional choristers (about four to each part) who are engaged from night to night, were never offered any engagement. Whether this was purposely done to upset M. Berlioz's music, I cannot say, but as engagements have been sent on other occasions several days before, it seems probable. The amateurs could not sing the music at Tuesday night's rehearsal, and, after several trials, M. Berlioz decided on omitting the vocal portion. Now, Sir, I should not have troubled you with this statement, but, on the chorus taking their places in the orchestra on the concert night, they were told no music would be given them for Romeo and Juliet. Accordingly, on M. Berlioz entering the orchestra for the second part, they hissed him. The one great musician of the day can afford to laugh at the insult; but I trust, should this meet his

eye, that he will believe none of the professional chorus of 1852 were guilty of such conduct. M. Berlioz is respected and appreciated by the musical world, from the humblest to the highest professor; and, though the New Philharmonic may now be looked on as an amateur society, making its vocal and musical engagements through a gentleman (a tailor by trade) who cannot possibly know much about it; still the professional chorus singer (neither clerk nor shopman) feels it necessary to exonerate himself from any participation in an impertinence suggested only by the most ignorant inefficiency. Your obedient servant,

VOCE.

P.S.-I enclose my card, in obedience to the regulation you enforce. Tuesday, 19th June.

MR. SALAMAN, NOT MR. SLOPER, To the Editor of the Musical World. DEAR SIR,-Will you oblige me by correcting a mistake in the last number of your journal? The pianoforte part in the concerted piece at Mr. Benson's concert was played by Mr. Charles Salaman, and not by me; and this gentleman also assisted me in the accompaniments to the vocal music. I am sure you will be equally desirous with myself that your praise should be bestowed on the right person. I remain, dear Sir, yours faithfully,

LINDSAY SLOPER.

The

ST. MARTIN'S HALL.-The eighth and final concert this season, under the direction of Mr. John Hullah, came off on Wednesday evening last. The programme contained selections from the works of Sebastian Bach, Himmel, Mozart, Marcello, Croce, Donizetti, Mendelssohn, Bennett, Travers, Bishop, etc. principal performers were Miss Fanny Rowland, Miss Palmer, Mr. Montem Smith, and Mr. Thomas. Mr. Hopkins, organist of Temple Church, presided at the organ. The chorus, which consisted of the members of Mr. Hullah's first upper school, gained general applause, and were encored in the following pieces: "Thou art beautiful" (Croce); part song, "The Nightingale is gone away," and hunting song, "Now morning advances" (Mendelssohn.) Miss Palmer was encored, and deservedly, in "Partant pour la Syrie." With this exception, we can afford but little praise to the soloists. The singing of the "National Anthem" was by no means what might have been desired. The concert was well attended, and Mr. Hullah warmly received on his appearance in the orchestra.

MR. CHARLES SALAMAN commenced a course of four lectures, at the Royal Panopticon, on Wednesday, the 13th instant, on the History of the Pianoforte. The first lecture was restricted to the clavichord and virginal, the musical illustrations being given on the last-named instrument. Mr. Charles Salaman introduced, for the first time, two curious compositions-"The short measure of my Lady Wynkfield's rounde," composed in the early part of Henry the Eighth's reign, and some variations, by Henry Purcell, on an ancient English tune called "Old Simon." The lecture was well received. Mr. Charles Salaman continued the subject on Wednesday last.

PRESENTATION TO THE REV. W. H. BUCK.-The Sacred Harmonic Society in the parish of St. George the Martyr, Southwark, have presented Mr. Buck with an address and a silver salver, to mark their high sense of his untiring efforts to improve the music of the church, and to establish the society, which under his conductorship has made steady progress during the short space of eighteen months. On retiring from the curacy of the parish, Mr. Buck resigned his bâton to Mr. J. Rhodes, the organist, under whose guidance it is fully expected that the society will continue to prosper. We are glad to hear of another clergyman using his influence to reform the music of the Church. When shall we have a general move to effect so important an end?

WEIMAR According to report, Dr. Franz Liszt is about to resign his position of Kapellmeister, for the purpose of making a professional tour in the United States of America. The original mask of Beethoven, taken after death, is hanging in Dr. Liszt's music-room, over the piano presented to Beethoven by the Messrs. Broadwood, two years before his death. Some of the celebrated composer's hair is still sticking in the plaster of the mask.

TO CORRESPONDENTS.

The year 1832 was further memorable for the first visit to

C. H.-The Allegro alone.

THE

MUSICAL WORLD.

LONDON, SATURDAY, JUNE 23RD, 1855.

For the first time during three-and-twenty years, Meyerbeer has been induced to visit England, where his works have rendered his name famous for more than a quarter of a century. The composer of Il Crociato in Egitto, Robert le Diable, Les Huguenots, Le Prophète, L'Etoile du Nord, and so many other remarkable productions, arrived in London on Tuesday afternoon, and witnessed, in the evening, the performance of Verdi's Trovatore at the Royal Italian Opera. Meyerbeer has doubtless come to superintend the rehearsals of his last great opera, upon the success of which at Covent Garden so much depends. He will find in Mr. Costa all that a sensitive composer could possibly desire from a musical director. The same zeal, the same gentlemanly attentions which the popular chef-d'orchestre lavished upon Dr. Spohr, will, we are sure, be equally at the disposal of Meyerbeer. The principal singers, the members of the band and chorus, in short, the whole personnel of the Royal Italian Opera, from the manager to the scene-shifter, will hail the advent of the celebrated musician with enthusiasm, and do everything in their power to render his sojourn in this metropolis agreeable enough to tempt him here again when the long-expected Africaine shall be immediately on the tapis. And, after all, Africaine shall be immediately on the tapis. And, after all, the reception Meyerbeer is sure to experience is but a just return for the services he has indirectly conferred on the establishment. How many thousands upon thousands of pounds sterling have the Huguenots and the Prophète caused to flow into the Covent Garden treasury in the course of seven or eight years! And how many salaries, to rich and poor, have been paid through the medium of their attraction! These matters cannot be overlooked. They have nothing to do with the esteem which inevitably attaches to the composer of some of the most extraordinary operas that have enriched the modern lyric stage. That is a question apart-a question for musicians and amateurs who have been charmed by the music of the master, and for the theatrical public at large, who are not likely to be behind-hand in testifying their respect for one to whom they are indebted for so much gratification and

amusement.

When Meyerbeer was last in England (in 1832), he came to preside over the rehearsals of his Robert le Diable, on the occasion of that celebrated opera being produced, by Mr. Monck Mason, at Her Majesty's Theatre. Robert had already been played with distinguished success at Drury Lane and Covent Garden Theatres, in the English language, with Meyerbeer's music, but not with Meyerbeer's instrumentation. At the first theatre the pianoforte score was arranged for the orchestra by the late Sir Henry (then Mr.) Bishop; at Covent Garden the same operation was performed by the late Mr. Rophino Lacy. Mr. Monck Mason, however, invited over the French company, persuaded the composer to accompany them, and brought out the opera which had made so great a sensation at home and abroad, in the original (the French) language. Since then, as we all remember, it has been heard in German and Italian.

Bartholdy. What things have occurred since then! St. Paul and Elijah written, and their gifted composer departed to a place" where only his music can be excelled;" the Laporte and Lumley dynasties at the Opera; the secession of Costa, and the establishment of a rivalry so formidable as to cause the temporary suspension of the elder theatre; the Jenny Lind mania; the rise and fall of the ballet, with the Pas de Exeter Hall, Costa at the Birmingham Festival, Costa every Quatre as its apogee; Costa at the Philharmonic, Costa at where; the whole career in England of the magnificent Grisi; the Crystal Palace in Hyde Park, and the Crystal Palace at Sydenham; Jullien, and the musical conquest leaving the English stage without an actor; the triumph of the masses; the "Hullabaloo;" Macready's retirement, of humbug in the person of Mr. Barnum; the death of Malibran; the seventeen works of Balfe and the dissolution of English opera; the great bubble of the Royal Academy of Music, and its early bursting; the meteoric course of Rachel; the follies of Liszt, and the opposition by Richard Wagner, with "the books ;". -but we could go on for ever; all these, which we have named pell-mell, and a hundred other things we shall not name at all, have passed before us, like the vision of the has risen step by step to its present eminence. His coming kings before Macbeth. Meanwhile the fame of Meyerbeer among us, after so long an absence, to find boys men, and men dotards, the face of the city changed, and his own name spread out from a point into a sun, is "an event," both for Meyerbeer and for all of us who regard music as a great fact, and its best representatives as worthy to be honoured. and its best representatives as worthy to be honoured.

THE case of Mr. W. T. Best versus the Manager and Council of the Panopticon, does not seem to be fairly before the public. Mr. Best, having seceded from the post of organist (how and wherefore matters little), was perfectly entitled to advertise in the newspapers that he had no further connection with the institution. He availed himself of his right, as any other professional man would have done in a similar predicament. Because Mr. Best, who lives by the exercise of his talents, is no longer organist at the Panopticon, is that any reason why he should starve? The Manager and Council would seem to think so, if we may draw conclusions from a circular forwarded to the office of the Musical World, and which we subjoin:

Royal Panopticon of Science and Art, Leicester-square, 15th June, 1855.

The Secretary presents his compliments to the Editor of the Musical enclosed paragraph in an early number of that journal :World, and is directed to request the favour of the insertion of the

[PARAGRAPH.]

"THE ORGANIST AT THE ROYAL PANOPTICON.—An advertisement, headed Royal Panopticon,' having appeared in several journals, in which Mr. W. T. Best begs to inform his friends and the public that authorized to state that Mr. W. T. Best was dismissed from his situation he is no longer connected with this institution as organist,' we are for insubordination, and that on the day fixed for the election of bis successor a letter was received from him, making overtures for a reengagement, which the Council did not feel disposed to entertain."

This would appear grave enough at a first blush. "Dismissed" is an awkward word, and "insubordination" is another. Mr. Best depends as much upon private repute as upon professional ability for maintaining the position he enjoys; and the paragraph in question was likely to compromise both, through the medium of vague insinuation. The Editor of

John Bull (Dr. Biber) had already inserted it in the columns of that journal (our only motive for not rejecting it, or at least for publishing it otherwise than as an advertisement); and it was therefore natural that Mr. Best should step forward in his own defence. A careful perusal of the correspondence below-to which we are glad to afford all the publicity in our power-will, or we are much mistaken, exonerate Mr. Best altogether, and win him rather the approval than the condemnation of those who would not willingly see the art of music degraded in the person of one of its most eminent professors.

ROYAL PANOPTICON, LEICESTER SQUARE. To the Editor of the Musical World. SIR,-As your columns are always open to the exposure of injustice, I am induced to write a few lines respecting an authorized announcement in a weekly paper, to the effect that "Mr. W. T. Best was dismissed from his situation as organist to the Panopticon for insubordi nation, and that on the day fixed for the," etc. As regards the first part of the paragraph, the manager of this place of amusement (Rev. E. J. Biber) desired me, in addition to my duties, to play an organ piece each evening at ten o'clock, after the business of the programme had been concluded, and while visitors were leaving the building, suggesting, oddly enough, that Mendelssohn's "Wedding March" would be an appropriate piece. This derogatory and unreasonable service I declined to perform, thereby not suffering the art which I profess to be degraded, as well as preserving my own self respect. With regard to being dismissed, I have only to state that the Council are in possession of my letter of the month of May, in which I state "if you are, etc., I shall tender my resignation."

The concluding statement in the paragraph is false. I was requested by the Manager, and a highly influential member of the Council, through one of the shareholders (whose letter I append), to make over. tures for a re-engagement. I have only to add that, finding the Institution was encouraging the assumption that I was still engaged, by not announcing the change that had taken place, I thought it my duty to make the public, the profession, and my friends acquainted with the truth-the only way of doing which efficiently was that to which I resorted.

I am, Sir, your obedient servant,

W. T. BEST.

The above in every respect dignified and straightforward letter was accompanied by the following correspondence, which, at Mr. Best's desire, we lay before our readers :

[COPY.]

To the President and Members of Council

of the Royal Panopticon. London, April 25th, 1855. GENTLEMEN,-As the Rev. Dr. Biber, Manager of this Institution, has endeavoured to impose a duty upon me which I consider derogatory to myself, I beg to lay the matter before you. He wishes me to play an organ piece every night at ten o'clock, after the business of the programme is fulfilled, and while visitors are leaving the building. I have offered to play this music at any other time in the morning or evening programme that might be fixed upon, but the Rev. Dr. Biber would not hear of it, and persisted in his unreasonable request.

This "playing the people out" was to have commenced on Monday night, but I have refused to comply till your decision could be obtained, and I now leave the matter in your hands. Should, however, you decide that an organ piece be played at the time, and under the circumstances mentioned, I shall be compelled to place my resignation in your hands. I am, gentlemen, your obedient servant, W. T. BEST. Royal Panopticon of Science and Art, Leicester Square, 25th April, 1855. SIR,-In reply to your letter of yesterday, addressed to the President, I am directed to say that the Council entirely coincide with the orders given by the Rev. Dr. Biber, and alluded to therein, and it is their wish that the same should be carried out.

In regard to the leave of absence for Monday, Tuesday, and Wednesday, the Council see no objection, provided a fitting substitute be provided by you. I am, sir, your's obediently, W. T. Best, Esq.

T. J. BROWN, Secretary.

Royal Panopticon of Science and Art, Leicester Square, 27th April, 1855.

quiring you to play a piece of music at the close of the evening's enterSIR,-Dr. Biber desires I will call your attention to his order, retainment, and also to my letter of the 25th inst., in reply to your's addressed to the President. I am, sir, your's obediently, W. T. Best, Esq. T. J. BROWN, Secretary.

Royal Panopticon of Science and Art, Leicester Square, 3rd May, 1855. SIR,-I am directed to forward to you the enclosed minute of a meeting of Council held yesterday (May 2nd), and remain, sir, your's obediently, T. J. BROWN, Secretary.

Mr. W. T. Best. [COPY OF MINUTE.] "Ordered-That the Secretary write to Mr. Best, to the following effect, viz.: that as he had not performed on the organ at the times specified by Dr. Biber, and subsequently in two letters from the Council through the Secretary, or taken any notice of the said letters, his engagement be considered to terminate in a month from the 3rd May."

We have previously commented with some severity on the uses to which the superb instrument built by Messrs. Gray and Davison for the Panopticon was put, in obedience to the mistaken policy of managers. Here is another flagrant instance of how little account is set upon the most valuable object the institution can boast. Why not have a barrelorgan at once, and engage a Savoyard to grind it for the edification of visitors? We cannot but applaud Mr. Best for the independence he has shown; and we trust that his example may act beneficially elsewhere. It is too frequently the case to find the organist in more sacred edifices reduced to the condition of a menial, at the beck and call and caprice of various personages who, whatever their especial claims to respect, are ignorant of music and indifferent to its influence as a refined and civilising art. It is a matter for congratulation that, in another place, where the pretext of spiritual" office has no sway, a gentleman has been found sufficiently courageous to stand up for the honour of his calling and refuse to do anything unbecomingly subservient.

*

In his last letter from London, as yet unfettered by the Giacomo-ic influence, "**" deals out justice with an even. hand, and exposes what he maintains to be humbug with unsparing severity. He sneers (who can blame him?) at our miserable attempts in England towards the consolidation of a national opera. "Mad. Thillon," says he― "and the Crown Diamonds at the Lyceum, will not cause the foundation of a national opera; nor are Fra Diavolo, and similar novelties at the Haymarket, with Mr. and Mrs. Sims Reeves, worthy of detailed criticism, although that never fails them in certain quarters here, why and wherefore who can tell?”

This is a hard hit for The Morning Post, The Athenæum, and The Sunday Times, whose criticisms are highly favourable to Mr. and Mrs. Sims Reeves-" why and wherefore" (wherefore "why," if "wherefore," and why "wherefore,” if "why?") it is easy for anyone but a Wagnerite, who regards all legitimate successes with a yellow eye, to "tell." The meaning of "Haudegen," however, is clear enough. He intends to convey that Mr. and Mrs. Sims Reeves pay for their praises. Happily, the reputation of those distinguished