"Therefore observe the kindness of the Entr'Acte," interposed Panurge. "Though it wrongly ascribeth our talk to the influence of that base ribald, yet it lovingly saith that the pure ore and not the dross is imitated."

"Humph!" growled Epistemon, "then why doth it contain Latin that no one can read? Look here: Qui se ipse laudet, itoc derisiorem invenerit? What the devil doth that mean?"

"Hadst thou been as deeply versed in the sentences of Publius Syrus as beseemeth thy years," said Panurge, "thou wouldst know that the passage thou hast quoted is a misprint for

'Qui se ipsum laudat, cito derisorem invenit.''

"Five words wrong out of seven is a heavy proportion," murmured Epistemon.

"I know the saw right well," exclaimed Pantagruel, cheerfully. "Joseph Scaliger hath Hellenised it thus:

* Αινῶν ἑαυτὸν τάχα γελαστὴν περιέτυχε.

"It strikes me," remarked Epistemon, after a pause, during which he had carefully read the dialogue in the Entr'acte, "that thy pretended friend is only laughing at us, for he putteth all the commendation of our wit in the mouth of an individual, whom he afterwards representeth to be the author of our dialogues."

"And why, thou disagreeable curmudgeon," shouted Panurge, "why the devil should he not laugh?— Ridentim dicere verum Quid vetat.'"

"Is nobody to laugh but ourselves, thou cantankerous jobbernol? For my part, I am convinced that the Entr'Acte of the 14th meant kindly by us. He doth not sneer, as thou didst thyself, at my 'Propertius,' and he saith we do not want to satisfy the general reader, which I take as a high compliment, for I am like that exquisite mime, Arbuscula

'Satis est equitem mihi plaudere, ut audax, Contemptis aliis, explosa Arbuscula dixit.'"

At this juncture, a marvellously ill-favoured countenance popped up from an adjoining box, and said, in a coarse, ginny sort of voice

"I think you may render that :

'I'm not one of them tragic sticks,

As seeks the cry of Brayvo Hicks."" "Reserve thine elucidations till such times as they are required," said Pantagruel, with all the mild dignity of his race, and without even turning round to look at the intruder, who was immediately behind him.

"On microscopic observation," said Epistemon, looking long and earnestly at the intruder, through a glass of hot gin-and-water, "On microscopic observation, I should pronounce thee to be an unfortunate schoolmaster, decomposed by bad beer and frequent passages through the Insolvent Court, into thy constituent atoms, and then, by some mysterious process, recomposed into a sort of shabby 'fast man.'

Hereupon the intruder began to weep and wail, in maudlin style, declaring that no one loved him, and that he wished he had never been born,-in which latter sentiment, Pantagruel, Panurge and Epistemon, being all agreed, for the first time in their lives, most heartily concurred. Then he became frantically joyous, and sang out :

"Thus became Tom Tosspot rich,
Thus went through the tailor's stitch;
Thus did Bacchus conquer Indy,

Thus philosophy, Melindy."

Then he discoursed gravely, and said, "Qui feut premier, soif ou beuverye? Soif; car qui eust beu sans soif durant le temps d'innocence? Beuverye, car 'privatio præsupponit habitum.' Je suis clerc- Fecundi calices quem non fecere disertum.'"

Then he got back to his maudlin strain, and whimpered forth, while all stared at him with infinite disgust, "Nobody loves me; nobody drinks with me; nobody eats with me. I'll dine with the Saracen's Head."

"At the Saracen's Head," suggested Epistemon. "You're another! Who's your hatter? Does your mother know you're out?" retorted the intruder, using phrases not only in themselves unseemly, but rendered still more repulsive by the absence of all logical connection. "I mean what I say I will dine with the Saracen's Head; for I will order me a dish of boiled tripe, and the sign of the Saracen's Head shall be taken off the hinges, and placed on the table. Thus shall I dine with the Saracen's Head-as the lady dines with her mother, in that scintillating little piece called A Christmas Dinner. Then I will get drunk, very drunk, to a degree that even the great Robson shall not be able to imitate a grand, original drunkenness.

"Become inebriate as thou pleasest," observed Pantagruel with disdainful benignity, but still without turning round, "provided it be at thine own expense; nay, I extend my permission still further, thou mayest even intoxicate thyself at the expense of another, provided that other be not 1."

"Oblivious crew," shouted the intruder, "know, to your infinite shame and confusion, that I am your ancient friend, Carpimon." And with these words he fell senseless on the floor. Pantagruel looked at his face for the first time. "Yes, it is indeed Carpimon," he said, mournfully. "The Carpimon, whom we thought safe in New York?" asked Epistemon, sadly.

"The Carpimon, whom we hoped had hanged himself?" inquired Panurge, gloomily.

"The same," ejaculated Pantagruel, and he dashed a tear from his princely eye. "Alas! in this world, how may the fairest hopes be blighted!"

WE called attention last week, and, if we remember rightly, invited our readers to contribute, to a testimonial about to be presented to Mademoiselle Piccolomini, on the occasion of her retirement from the stage. We were not in a position to state what form the testimonial would take, for it is not often that any such honorific present is received by a singer, and we had no precedent to guide us. All we knew was that the offering was to be made, that some of the first music-publishers in London were ready to accept subscriptions, and that a certain sum of money had been already subscribed. How (after forwarding one cheque for a very respectable amount) we wondered whether it would be diamonds, emeralds or pearls, whether a brooch, a bracelet or a necklace, that the adorers of Mademoiselle Piccolomini, with ourselves foremost amongst the number, would present to their charming little idol! To a successful railway director, testimonialists, while things are still going on smoothly, give enough money to buy an estate. of the Scotsman, only the other day, was complimented with a silver tea-service and some sixteen hundred sovereigns. Mr. E. L. Blanchard, as it were the day before yesterday, had a silver claret jug given to him by Mr. Smith. Then who has not had an inkstand presented to him, and who has not wished that it had been anything else? However, there is something in an inkstand-there ought to be ink, but we

Mr. Russell

are speaking in a loftier sense; there is something in a claret-jug-there ought to be claret, but that is not precisely what we mean; and in sixteen hundred sovereigns there is eighty pounds a-year, at five per cent., supposing that the owner is weak enough not to break into the capital. But with neither and with none of these more or less valuable and appropriate gifts could we do homage to Mademoiselle Piccolomini. We should know what to give a fox-hunter or a proprietor of race-horses, and we have already told our readers what testimonials were justly considered appropriate to the editor of a Scotch newspaper and to the author of a hundred pantomimes; but this, after all, brings us no nearer to the solution of the great question-What testimonial shall be offered to Mademoiselle Piccolomini?

Let us begin, we thought, and reason from the beginning. Mademoiselle Piccolomini is a singer, therefore let us invite her acceptance of something that will be especially useful to a vocalist. That will, surely, be more reasonable than was the giving of a claret-jug to Mr. E. L. Blanchard, whose drink is pale ale at lunch and sherry at dinner; or of a teaservice to Mr. Russell, whose ordinary beverage is coffee; or of an inkstand to the present writer, to whom the sight of an inkstand happens to be a vision of terror.

Then what shall we lay at the feet of Mademoiselle Piccolomini, in her capacity of prima donna ?

A box of Stolberg's voice-lozenges? That would be too cheap, far too nasty, and not in any way complimentary. A tuning-fork of massive gold? That would be open to some of the same objections.

A piano? Every one has a piano. Music? Mademoiselle Piccolomini sings all kinds of music, and has already music of every kind.

But the music that is not yet written, that is still in the composer's brain, or that, at least, has not yet met the public ear. Would not that be a present to set before a lyric queen?

The very idea that had occurred to us, or, rather, at which we had arrived after prodigious mental labour, had also struck the originators of the Piccolomini testimonial; and people are now beginning to understand that this testimonial has been already presented in the shape of an opera by Signor Campana, at the public production of which the subscribers to the theatre as well as to the testimonialwere invited to be present last Thursday. We need not say here what opinion we have of Almina, except that we think that some excuse was needed for bringing it out. Perhaps we may be allowed to add, that if Almina is indeed the Piccolomini testimonial, of which we have heard so much, we are really very sorry that our popular little favourite has not received something a great deal more valuable.

THE FRENCH ORPHEONISTS IN ENGLAND. THE good musical understanding between ourselves and England progresses every day. We have been enabled to estimate and record its progress by our relations with London. This novel kind of understanding, which has for its ministers Mozart, Beethoven, Handel, Meyerbeer, Halévy, Ambroise Thomas, Mendelssohn, Kücken, and Kreutzer, and for its ambassadors, three thousand French Orphéonists, will be settled and consolidated to the benefit of the artistic future of these two great nations. The London Sacred Harmonic Society has already given the French choral societies the tone of the intellectual and moral concert which will gloriously complete this triple choral demonstration. Our readers have read in these columns the Society's address, which was the eloquent preface of the cordial welcome that awaits our legion of singers. The information we have received, from reliable sources, and the high opinion we entertain of the English character, enable us to foresee, for this harmonious expedition, days which will ever be recollected in the history of art and good brotherhood.

The

The English press has just officially announced the Festival. The Times, the Observer, the Daily News, the Morning Chronicle, and the other papers of all shades and opinions, have received the announcement with favour. Nor could it be otherwise. The fatidical voice of the Orphéon is understood in high quarters; its extent and vibrations are measured by the echoes it arouses in the human heart; by the profound and sudden metamorphoses it effects in the life of nations. London Festival will wipe out historical animosities. The historians of both countries should be present, in order to study together an event which cannot fail to leave behind it a deep impression on men's minds, and to act beneficially on our international relations. How do we outstrip, with our rolls of music, political economists, with their cold prose! How do we bequeath to the dust of libraries, and to the old remains of prejudices, the hateful legends of Pitt, of Chatham and of Jean Bart! What do we care about the politics of party, the ideal of sailors and of song-writers? The human dogma of progress, in the unity of language and of race, shines far above these rabid reminiscences, these monotonous couplets, and these sinister images of another epoch. The progress of our ideas has burst the chain of these blind, retrogressive or stationary principles. We do not think the renovation of international laws can be any longer stopped by the bitter dithyrambics of a few orators and poets, who rise in the morning, from their interviews with the god Mars, without seeing what is the hour by the dial of History. But who are we, that we should have dared, without consulting the augurs, to get up so imposing a musical demonstration, to organise the enlistment of three thousand singers-of three thousand voices, which will peal forth the hymn of brotherhood in the grand transept of the Palace at Sydenham ?* Whence have we derived such boldness and such strength? We have derived

superiority of our views on history and philosophy. We are simply men endowed with a good will and perseverance. We believe when others doubt. We watch when others sleep. We are, also, we must honestly confess, men frequently selected as the butt for sarcasm, calumny, abuse, and the insolent denials of that petty fry, who harass, with their squeaking voices, everyone who cannot behold them in their native dust, and who rises above them in heart and head. Art is not a vain ornament of youth! Art is, ‘after all,

Ah!

* More than four thousand Orphéonists have entered their names.

good for something in the life of nations! Artists are not so much out of place, in the philosophic and moral movements of society, as some people are pleased to affirm!

The days fixed on for the Festival of the French Orphéonists in London are Monday, the 25th; Tuesday, the 26th; and Thursday, the 28th of June next. A circular which M. Delaporte will send, this week, to the Societies which have signified their intention of taking part in the ceremony, will contain the complete programme of the Festival. We shall, in our next number, publish a list of all the choruses, which will be executed by the three thousand Orphéonists. Two months separate us from the solemnity. In two months' time, the steamers will carry the vocal legion to the shores of Albion. The Orphéonists must increase their exertions, and pay more attention than ever to their studies, in order to prove themselves worthy of France, and deserving the applause of England, for Great Britain will be represented by all classes at the Festival. The French Orphéonists must prepare themselves seriously to maintain their musical reputation before the people and aristocracy of the United Kingdom.

-From the Orphéon,

J. F. VAUDIN.

Alfonso (his first appearance in this country). Of this perform ance, we shall speak next week.

ROYAL ITALIAN OPERA,

Fidelio was repeated on Saturday, and attracted a much larger attendance than at the first performance. Madame Csillag more than confirmed the impression she made on Thursday. The indisposition of Signor Tagliafico necessitated the omission of Pizarro's only air. In other respects Beethoven's great masterpiece was given to perfection.

Grisi and Mario made their "rentrée" on Tuesday in La Favorita. Of course the theatre was crowded, the public being always desirous to hail the first appearance of these deservedly another attraction to the performance. Grisi still maintains admired performers. M. Faure, too, was Alfonso XI., and lent her place. Her upper notes may have lost some of their brilliancy, and her execution some of its fluency; but the voice still possesses the exquisite quality of old, and her style retains all its unrivalled charm. That Grisi should act still better and better, is a matter of course. In this respect, at all events, we and more finished, as, indeed, we were inclined to think on can discover no change, unless that she has become more subtle Tuesday evening, when she transcended her former achievements, especially in the last scene, which has never been surpassed for intensity and pathos. Mario, too, appeared to act better than ever, which a priori was all but an impossibility, and to sing as nobody else but he can sing, when in the vein. The great tenor was labouring under a slight cold, which at immediately after the repeat of the romanza, "Angiol d'amore" (unanimously encored), a slight hoarseness was evident, and the passionate duet, "Tutto m' obblio," was deprived of a portion of its wonted effect.

On Thursday, a new opera was produced, entitled Almina, composed by Sig. Fabio Campana, favourably known, in England, as the author of light vocal pieces for the drawing-room. Sig. Campana, too, we are informed, produced in Italy, some years ago, one or two operas, of which we know nothing. The story of Almina would not interest our readers if recounted in detail. Enough that the heroine loves one man and is married to another, that she is supposed to die of a broken heart, and is buried; that her lover, reported killed, returns from the wars and breaks open her tomb; that she is restored to life, and flies with her deliverer to a foreign land; that they revisit their native country; that the husband reclaims his wife, and that the lady takes poison, and dies. There are some good dramatic situations, of which such a composer as Signor Verdi would doubtless have made good use. Signor Campana, how ever, is wanting in dramatic fire, which, above all other qualities, Almina requires. Mdlle. Piccolomini was well suited in the part of Almina-being invariably earnest and passionate, and often real. The music, however, was not so suitable to her means, and her singing did not always produce its wonted effect. Signor Giuglini, as the lover, Blondello, on the other hand, sang better than ever, and carried away the vocal honours of the evening. He was encored twice, and was in finer voice than we have heard him for a long time. Signor Aldighieri sustained the part of Walter, the husband, with his customary vigour, and more than his customary judgment.

Taking applause as a criterion, the success of Almina was triumphant. After the first act, the principal singers were recalled, and then Signor Campana was compelled to appear, when he was not merely received with tumultuous acclamations, but feted with bouquets and laurel-wreaths. At the fall of the curtain, too, he was summoned to the foot-lights twice, when the demonstrations were renewed, and no doubt the composer left the theatre perfectly satisfied that his opera had achieved a great and legitimate triumph. First nights, however, are not always precedents-the Barbiere of Rossini to witness. The new divertissement, produced for Mdlle. Pocchini, is quite unworthy the great talents of the danseuse.

Last night Lucrezia Borgia was given, with Mdlle. Titiens as Lucrezia, Madame Borghi-Mamo as Maffeo Orsini (her first appearance in the part), Signor Mongini, Gennaro (his first appearance in the part), and Signor Sebastiano Ronconi, Duke

M. Faure impersonated the Castilian monarch with more grace and dignity than we remember in any of his predecessors. Moreover, he looked every inch a king, and was dressed to perfection. He sang, also, finely, although occasionally with too evident a desire to shine, his extreme high notes being employed more frequently than necessary. M. Faure was encored in A tanto amor," which he gave with irreproachable taste, showing by his manner to Leonora that, unlike many Alfonsos, he thoroughly appreciated the force of the words.

The opera was brought out with all that careful attention to detail which, among other things, has made the reputation of the theatre. The costumes were splendid and appropriate, and the scenery magnificent, the last scene-the cloisters in the monastery-almost rivalling the memorable tableau in the old house.

Fidelio was announced for repetition on Thursday, but, in consequence of the illness of Signor Tagliafico, Dinorah was substituted, the song of the Huntsman (Act III.) being omitted. On Tuesday, Fra Diavolo will bring back Signor Ronconi as Lord Allcash, and Madame Miolan-Carvalho will make her first appearance as Zerlina.

LEEDS TOWN HALL ORGANISTSHIP (From a Correspondent). -The conditions upon which the election of an organist for the Leeds Town Hall is to be conducted have just been issued by the Committee. From the applicants it is intended to select not fewer than three, nor more than seven, who will be submitted to the Town Council as the selected list. These gentlemen will then be invited to a competitive performance before three eminent organists, who will report on their comparative ability, as No. 1, 2, and 3; and the candidate standing No. 1 will be submitted to the Council for appointment. The selected candidates will be allowed fifteen hours each for practice on the organ. (At Newcastle, recently, we believe, only one hour's practice was allowed.) Considerable interest is already exhibited in the approaching election, and it is rumoured that some of the first organists of the day intend to seek the appointment. The salary is to be £200 per annum, and after 100 performances have been given by the organist, the sum of £2 23. will be paid for every extra performance.

Of the symphony of Spohr, we have more than once spoken at length. It is enough to say in this place, that it is not one of the most inspired works of the great master. In the movement illustrative of "Spring" there are many traces of his happiest manner and some of his brightest thoughts. The movement representing "Autumn," is everywhere spirited, graceful, and characteristic. "Summer," however, is depicted in too monotonous a tone, and "Winter"-with which, by the way, the symphony commences-is too uniformly sombre and monotonous. The execution, considering the difficulties presented, was marvellous, and Professor Bennett and his orchestra covered themselves with honour.

The violin concerto, as performed by Herr Becker, was in many respects entitled to the very highest commendation. Exceptions, nevertheless, might be taken in several instances; the reading generally was not in strict keeping with the directions of the composer. Herr Becker, nevertheless, played so splendidly,

that he was recalled at the end and received with enthusiasm.

The execution of Mozart's symphony and Beethoven's overture was inimitable in every way, both performances being received with tumultuous applause, and the overture to Oberon was a splendid finale.

creased effect. Mr. Wallace's brilliant and dramatic orchestral prelude to Lurline, too, was played with astonishing power and precision. Not so the overture to Auber's opera, in which the first movement was taken too quick, and the last too slowinnovations which, in both instances, were disastrous to the effect intended by the composer. The Symphony Concertante of Dussek-too rarely heard in public was acceptable on all accounts. The whole work is interesting; but the finale is an inspiration. Messrs. Charles Salaman and Lindsay Sloper were the pianists, and vied with each other and with the orchestra in zeal and energy.

The vocal music was excellent. Miss Augusta Thomson sang the very difficult air, from Hérold's opera, with great brilliancy; Mr. Santley gave a bold and vigorous reading of the masterly scena from Benedict's unpublished opera; and both artista gave the utmost capital effect to the admirable duet from Meyerbeer's Etoile du Nord.

The fourth concert is announced for the 9th of May, when Mr. G. A. Macfarren's new cantata, Christmas, will be given.

ADVERTISEMENTS.

LURLINE,

FOR VARIOUS INSTRUMENTS
(Just Published).

CHAPPELL'S OPERATIC SELECTIONS by W. Winterbottom. Nos. 1, and 2. for Cornet and Pianoforte, on airs from Wallace's Lurilne, price 38. 6d. each. BECHER'S TWO FANTASIAS, for Violin and Pianoforte, from Lurline, Brilliant and not difficult, price 3s. 6d. each.

RICHARDSON'S FANTASIA for Flute and Pianoforte, on Lurline, price 3s. 6d. All the Favovrite airs from LURLINE and VICTORINE, arranged for the Violin by Nava, price 1s. 6d.

Ditto ditto for the Flute, price 1s. 6d.

Ditto ditto for the Cornet, price 1s 6d.

In the Press. Arrangements from Lurline, for Harmonium and Harmonium and Pianoforte, by Rimbault and Engel. Chappell and Co., 50, New Bond-street,

CHAPPELL'S BRASS BAND JOURNAL,

for large or small bands, especially adapted for Rifle Corps and amateur bands.
Edited and arranged by Winterbottom.
Subscription £3 38. per annum,-1 number each month.
No. 1 contains a variety of Music; steps, marches, &c.
No. 2, A selection from Lucrezia Borgia.
No. 3, Ditto from Lurline.

50, New Bond-street.

CHEAP WORKS FOR VARIOUS INSTRUMENTS,

Price 1s. 6d. each, VIOLIN.

CHAPPELL'S 100 DANCES, including some of the most popular works of CHARLES D'ALBERT.

SECOND VIOLIN PART to Ditto.

BASS PART to Ditto.

CHAPPELL'S 18 AIRS WITH VARIATIONS.
CHAPPELL'S 100 OPERATIO MELODIES.
CHAPPELL'S 100 POPULAR SONGS,

CHAPPELL'S 100 SCOTCH, 100 IRISH, & 100 CHRISTY MINSTREL MELODIES.
FLUTE.

CHAPPELL'S 100 DANCES.

CHAPPELL'S 100 OPERATIC MELODIES.
CHAPPELL'S 100 POPULAR SONGS.

CHAPPELL'S 100 SCOTCH, 100 IRISH, & 100 CHRISTY MINSTREL MELODIES.
ENGLISH CONCERTINA.

CHAPPELL'S 100 DANCES.

CHAPPELL'S 100 OPERATIC AIRS.

Dussek.

J. Benedict. Vincent Wallace.

CHAPPELL'S 100 DANCES.

Beethoven.

Duo, "Di qual città seitu?" (L'Etoile du Nord) Meyerbeer. Overture, (Gustave)

Conductor-Mr. Alfred Mellon.

Auber.

The features of the performance were the Symphony and Mendelssohn's overture, neither of which we ever heard executed with grander effect. The overture, although holding by no means the enviable position of the first piece in the programme, was encored in a tumult of applause, and repeated with in

CHAPPELL'S 100 OPERATIC AIRS.

CHAPPELL'S 100 SCOTCH, 100 IRISH, and 100 CHRISTY MINSTREL MELODIES.

HARMONIUM.

CHAPPELL'S 50 SACRED MELODIES. CHAPPELL'S 50 SECULAR MELODIES.

CLARIONET,

CHAPPELL'S 100 SCOTCH, 100 IRISH, and 100 CHRISTY MINSTREL MELODIES.

CHAPPELL AND CO., 49 and 50, New Bond-street,

MESSRS. DUNCAN DAVISON & Co.'s

"ME

ERRY LITTLE MAUD," and "Under the Linden TREE," composed expressly for Mr. Elliot Galer by W. Meyer Lutz, are published, price 2s. 6d. each, by Duncan Davison and Co., 244, Regent-street, W.

"ARE THEY MEANT BUT TO DECEIVE ME,"

(On Kocka) Mazurka polonaise, sung with distinguished success by Herr Reichardt, is published by Duncan Davison and Co., 244, Regent-street, W. In the Press "Good Night," (Wiegenlied, cradle-song) composed and sung by Herr Reichart, will be published in a few days, price 2s. 6d.

"THE

THE

"THE

HE REINDEER GALOP," by Louis Diehl, is just published, beautifully illustrated in colours, price 3s., by Duncan Davison and Co., 244, Regent-street, W., where may be obtained, price 2s.. "Yet ere I seek a distant shore," composed by L. Diehl, and sung with great success by Mr. George Perren.

BELLA ADORATA," by Jules Brissac, Fantaisie

de Boudoir (on two favourite Italian airs), is just published, price 3s., by Duncan Davison and Co., 244, Regent-street, W., where the following compositions by Jules Brissac, may be obtained, "Bella Figlia" (Rigoletto), price 2s. 6d., and "Quando le sere" (Luisa Miller), price 38.

summer,

HE DEW-DROP AND THE ROSE," by G. A. Regent-street, W., where "Pauline," Nocturne, for the pianoforte, by G. A. Osborne, may be obtained, price 3s.

DENSEZ À MOI," révêrie by R. F. Harvey, is just published, price 3s., by Duncan Davison and Co., 244, Regent-street, W.

AULD LANG SYNE," by Albert Dawes, with

variations for the pianoforte, is just published, price 5s., by Duncan Davison and Co., 244, Regent-street, W.

"ANTONIO MINASI'S New Work on the Flute,

"PER SCALAS ASCENDIMUS," is published, price 7s. 6d, by Duncan Davison and Co., 244, Regent-street, W.; where the "Carnival of Venice," arranged with Variations for TWO FLUTES, (with pianoforte accompaniment) by Antonio Minasi, may be obtained, price 5s.

"I

WOULD I WERE A BUTTERFLY," by A. Schloesser, is just published, price 2s. 6d., by Duncan Davison aud Co. 244, Regent-street, W.

"FLOWERS! LOVELY FLOWERS," by Charles

McKorkell, is just published, price 2s. 6d., by Duncan Davison and Co., 244, Regent-street, W., where may be obtained "Souvenir de Gluck" (Armide), 38., and "La Joyeuse," Souvenir des Champs Elysees, 3s., composed for the pianoforte, by C. McKorkell.

"THE

THE STEPPING STONES," by Henry Baker, poetry by Charles Mackay, Esq., is published, price 28., by Duncan Davison and Co., 244, Regent-street, W.

"AWAKE, LITTLE PILGRIM," (poetry by the Rev.

D. T. K. Drummond, and "Look on the brightest side," composed by Maurice Cobham, price 2s. 6d. each, are published by Duncan Davison and Co., 244, Regent-street, W., where may be obtained "The Glory of Scotland," favourite national airs, for the pianoforte, arranged by Maurice Cobham, price 3s.

THE HREE FOUR-PART SONGS, by G. A. Macfarren, for two tenors and two basses. No. 1, "The fairies' even song," price 2s.; No. 2, "The world's festivals," price 38.; No. 3, "The arrow and the song." price 2s. The above have been sung with great success by Mr. Henry Leslie's Choir, Mr. Benedict's Vocal Association, and the Polyhymnian Choir. London: Published by Duncan Davison and Co., 244, Regent-street, W., where may be obtained the following vocal compositions of Mr. G. A. Macfarren, "Paquita," price 2s. 6d., and "The thoughts of youth," poetry by Longfellow, price 2s.

A COLLECTION OF

In Two Vols. Imp. 8vo., £2 8s.; or in 17 Parts, each 3s.

"The main body of the work consists of a mass of erudition, no less copious than well digested. Mr. Chappell's work is the only one of its kind."-Quarterly Review, July, '59.

"This book does every credit to the patience, intelligence, and modesty of its author."-Athenæum, August 13th, '59.

"Not two, but twenty notices could be written of this excellent and carefully wrought book "-Athenaum, August 20, '59.

"The book is indeed one which the ladies will delight in for its music, and graver readers for its curious learning."-Notes and Queries, July 9.

"The student of history, the antiquary, the reader for amusement, and the cultivated lover of sweet sounds, will come alike to Mr. Chappell's volumes in search of gratification for their several tastes, and will assuredly not come in vain." -Gentleman's Magazine, August, '57.

"In the limits of a short notice it is impossible to do justice to Mr. Chappell's volumes. They are full of pleasant matter for every class of reader."-Bxaminer, Sept. 17.

46 6

'Popular Music of the Olden Time,' one of the greatest and most valuable works which have ever issued from the English musical press."- Spectator, March 5, '59. "Antique specimens furnished by Mr. W. Chappell's invaluable work on Popular Music of the Olden Time."-Times, March, 31, '59.

"There is an enormous amount of research in Mr. Chappell's book, yet no sign of labour; no heaviness whatever; but, on the contrary, the author gives the results of his studies briefly, smoothly, pleasantly as possible."-Morning Post. Sept. 22.

Mr. William Chappell's great collection of our national songs and ballads, is, in truth, an English classic, a standard work-distinguished not only as a vast storehouse of the treasures of genuine English music and song-but as a literary work of great learning and research, and so full of curious and interesting information relative to the music, as well as the manners and customs of our ancestors,

that it may be regarded as a contribution not only to the history of music, but to

the of News, Dec. 7,

"An invaluable history of the early music of this country, the fruit of study, at once patient and unwearying, and of investigation adequately learned and in

telligent."-Morning Herald, Sept. 1, 56.

We heartily recommend this important and admirable work to the attention, not of musical readers only, but of the whole public. It is full of interesting information, the result of great learning and deep research; while it is attractive from its pictures of society and manners among our ancestors, and from the exceedingly pleasant and animated style in which it is written.”—Daily News,

Oct. 11, '59.

"Mr. Chappell's collection is in all respects a remarkable work, one of those which an honest enthusiasm may, but a money-fee never can, produce."-Chambers' s Journal, Oct. 23, '58.

CRAMER, BEALE AND CO:, 201, REGENT STREET.