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his first opera in Dresden; 1803, Die Wegelagerer Sargino. According to this, Leonora may have been composed in 1802, and produced in Vienna at the beginning of 1803, when Beethoven may have experienced the impression described, have nourished his design till the following year, and then suggested the subject to Sonnleithner for the opera which the Baron von Braun wished to obtain.

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HE extra performances at the two Italian Operas conTHE tinue, and resemble one another. The singers do not seem to enjoy them, the public does not attend them, and we need scarcely add, that the managers, to all appearances, lose money by them. Why then do these representations take place? Last Monday, at the Royal Italian Opera, the Puritani, in many respects the most masterly of Bellini's works, was performed to empty boxes-and this at a theatre where the "cast" of the Puritani is as good if not better than could be formed in any other in Europe. To frequent an Italian Opera in England a certain amount of musical taste (due allowance being made for the mere fashionableness of a certain kind of amateurism), and a considerable amount of money are required. Accordingly, the operatic habitués of London constitute but a limited class; but as this is the class that support Italian Operas, it is to it that the managers of our Italian Opera Houses should appeal. It is easy, no doubt, and, for a time may be profitable, for directors to address themselves to persons outside this circle (as on the extra nights of which we complain), but in the long run any such scheme must be attended with failure. The singers and musicians, by a natural law which makes oft-repeated pleasures no pleasures at all, cease to take interest in an occupation which, from delightful, becomes irksome; the subscribers soon remark the journalier tone which pervades not only the extra, but also the so-called (and justly entitled) ordinary, performances; and suddenly the director is surprised to find that these extra performances represent to him simply an extra loss. They not only fatigue the artists but weary the public, and, as the number of opera-goers is not increased by them, but rather the contrary, it is somewhat difficult to understand what can prompt managers to persist in giving them.

Theatre; singing there only at long intervals, but prevented by their engagements from singing at Covent Garden. Mr. Smith has a number of artists in his company who are of no use to him, except in so far that by retaining their services he has prevented them from being of any use to Mr. Gye; and Mr. Gye pursues much the same method with regard to Mr. Smith. This system of management, however ingenious, is expensive, and has moreover this disadvantage-that unless carried out to the fullest extent it answers no purpose whatever. It is of no avail to retain the services of four tenors if there are four other tenors alive just as good-and to engage eight (supposing eight to represent the maximum of really attractive tenors in the world) is what, even in these days of managerial extravagance, no one has yet dreamed of.

If questioned on the subject managers would, we believe, reply that an increased number of performances is rendered necessary by their increased expenses, and by the extraordinary number of singers which it is now the fashion at each house to engage. This argument is based, of course, upon the supposition that the amount of money received from the public is in proportion to the number of representations given. We believe any such hypothesis to be false, but it is one that is likely to find, and indeed has found, favour in the eyes of directors. The rival lessees of our two Opera Houses are so determined to ruin one another, that at the beginning of a season each endeavours to cut off the other's supplies by buying up all the singers, from soprano sfogato to basso profondo, that happen to be in the market. At Her Majesty's Theatre, the parts of "Raoul," the "Duke of Mantua," "Almaviva," and "Edgardo," are played by four different tenors. Mr. E. T. Smith does not absolutely want four tenors, but he does not want either Giuglini, Mongini, Belart or the newly acquired Steger to be engaged by Mr. Gye. Mlle. Lotti again, and several other vocalists who might be mentioned are chiefly of negative service to Her Majesty's

In their efforts to ruin one another we are very much afraid the rival impresarii will in the end ruin themselves. On the other hand, if they would pursue an emulative, instead of an envious, line of policy, there is just a chance that both might succeed. We should be glad, for our part, if they would content themselves with engaging small but highly efficient companies, so that, at least, the apparent necessity would be done away with of giving these wearisome extra performances.

DRINCE GALITZIN advertises

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for the 20th at St. James's Hall, and amateurs of music are asking one another who this Prince Galitzin is, and what this Russian Concert is to be that he proposes to give for the benefit of Garibaldi, and at which the Prince himself is to conduct. Some even go so far as to ask how it is that a Russian nobleman in such a position as Prince Galitzin occupies, ventures to get up an entertainment in honour of a man whom the despotic party in Austria and Russia regard as a rebel and a revolutionist of the worst kind. The late Czar would not precisely have smiled on a Russian prince who had announced a concert for the benefit of Garibaldi; but though the Garibaldi of 1860 is still the Garibaldi of 1848, the Emperor, Alexander is not the Emperor Nicholas, nor is the Russia of the present day to be judged of by the Russia of the past reign.

As for the Prince Galitzin, who is to make his appearance on Wednesday at St. James's Hall, he is the son of Prince Nicolas Galitzin, to whom Beethoven dedicated three of his last quartets, and under whom Prince George (he of St. James's Hall) served against us and our quondam allies in the Crimean war. Prince George Galitzin has an estate at Tamboff, and has long paid especial attention to the musical education of his peasants. He himself teaches the children to sing, and admits those who have attained a certain proficiency into a choir which he has spent eighteen years in forming, and which includes every range of voice from the highest sopranos to lower basses, by at least half an octave than are met with in this country or in Italy. These picked choristers-of whom, when we heard them four years ago at Moscow there were as many as eighty, of all sizes and ages-are excellent musicians, and read any part music at sight. That they have a good knowledge of harmony may be inferred from the fact, that they will sing any chord of four notes in any key on the chord being named, and without hearing it struck. This was shown at the time of the coronation of the Emperor Alexander, in Prince Galitzin's house at Moscow, where the Tamboff choir sung various sacred compositions by Mozart, Bortniansky, &c., and afterwards underwent a sort of examina

tion in the presence of Oulibicheff, Josse, the chef d'orchestre of the Théâtre Français, Durand, the organist of the Panthéon, Lablache, Tagliafico, and a number of other musicians and amateurs. A variety of chords were named, all of which were satisfactorily given by the singers. The service of the Russian Church is sung without accompaniment, and Prince Galitzin's singers, who are, above all, singers of sacred music, are in the habit of performing without the aid of any instrument. Several times at the conclusion of a long piece the Prince verified the final chord at the piano, when it appeared that, contrary to all precedent, the voices had not fallen even the eighth part of

a note.

Another remarkable thing in the performance of these Tamboff singers, is the manner in which, in certain compositions, they do, or rather do not, take their breath. Thus, they will chant the creed or the Lord's prayer from beginning to end without stopping to breathe even for an instant. Such at least is the effect upon the audience; but as the Galitzin choristers live, like the rest of us, by inhalation, we imagine the Prince must have arranged some system by which they take their breath in sections, say ten at a time, so that out of the eighty, seventy only are continually singing.

The advertisements do not set forth explicitly that Prince Galitzin has brought his choristers with him to London; but we know that it was his intention to do so, and if he has left them behind, all we can say is, that he had better telegraph for them to Tamboff without delay.

M.

LEOPOLD DE MEYER's pianoforte-playing seems to be universally appreciated. Such a result is by no means surprising, inasmuch as he comes forward with ingenuous frankness, and says "Je suis VIRTUOSE-et voilà tout." To be a virtuose of the first water, however, is no such easy matter, and M. de Meyer is doubtless aware that the way of the virtuose-proper, and the way of the "classic"performer (so termed), who gives undivided attention to the old masters, differ entirely. Like two parallel lines they can never meet; or at the best-supposing an idiosyncratic sympathy on the part of the virtuose towards the "classic" style, or on the part of the "classic" towards the brilliant mechanical feats of the virtuose-they may be compared to the asymptotes of the hyperbola, which, though continually approaching each other, can never by any possibility come into actual contact. A critic in The Times (apparently a new hand), writing of M. de Meyer's performance at Mad. Anichini's recent concert, would seem to entertain this opinion, to judge by the tenor of some of his observations :

“Among the instrumental pieces was a grand fantasia, for pianoforte alone, composed and performed by Herr Leopold de Meyer, pianist to the Emperor of Austria, and in his particular walk, the most extraordinary manipulator' now before the public. This gentleman combines a force and vigour of hand, which few have equalled, with a delicate lightness of touch and liquid softness of tone that have never been surpassed. He brings these opposite qualities into play with marvellous address, blending or alternating them as the humour seizes him, and with such consistency that, while the ear is always satisfied, the taste is never offended. M. de. Meyer's fantasia-playing, moreover, -like his music-is quite as original as it is astonishing. He has a vein exclusively his own, and is indebted to no other source than that of his invention, whether for ideas or for the method of handling them. Making no pretence to be an exponent of what is conventionally termed the classical school, he does not provoke criticism by an imperfect conception and execution of acknowledged masterpieces. He moves

within the sphere most congenial to his artistic nature, and he does wisely, for in that sphere he stands aloof from competition. It is not intended by this to insinuate that M. de Meyer would fail if he ventured on higher and more intellectual ground; but at the same time, as sincere appreciators of his really exceptional talent, we should counsel him to leave the "great masters' (and especially the "old masters") to themselves; for, in order to ride comfortably over their domain, he would have to invent a new and peculiar bridle to restrain his Pegasus within bounds."

The Morning Post, without theorising, expresses itself with unreserved enthusiasm about the playing of M. de Meyer at the concert for the benefit of the Royal Society of Female Musicians :

"Of the instrumental performances, unexceptionably excellent as they all were, Herr Leopold de Meyer's Fantaisie Originale, composed by himself, unquestionably produced the greatest effect. His exécution foudroyante'-to use the words of an eminent French critic-seemed to electrify the audience, who listened with evident astonishment to the prodigious tours de force of the Briarean pianist; and at the termination of his performance gave vent to their delight in a perfect storm of applause, which could only be quelled by a repetition of the entire piece."

We could quote further, but have copied enough to show. that when a really clever artist, be he foreigner or be he native, prefers to do no more than he can do to perfection, he may rely upon unanimous acceptance.

THERE has just been founded in Russia an institution

which does honour to that country. The Gazette du Nord published in its last number but one, an account of the situation of the Fund for the Relief of Literary Men and Savants in Russia. This society, established only a few months by the élite of Russian authors, and by the directors of the principal papers and reviews, is not, the Gazette du Nord says, a mutual benefit society. To share in its advantages, it is sufficient for any one to be a literary or scientific man, to be presented by a member, or merely to write to the Committee. Widows and orphans also have a right to assistance. A great degree of eagerness, exceedingly honourable to the national character, has been manifested among all classes to aid the Society in carrying out its proposed aim. The Emperor and his family have been pleased to put their names down for an annual subscription of 1,300 silver roubles, 2401. The most celebrated literary men have engaged to give a certain per-centage on the produce of their works; several artists have done resolved to pay the Society a fixed royalty on every subthe same; and the directors of the principal reviews have scription to their publications. Some well-known publishers have entered into a similar agreement for the works they may bring out; and many private individuals, connected neither with literature, science, nor art, have liberally contributed to show their wish for the diffusion of knowledge, as well as their respect for those who devote themselves to it. The Society has already been enabled to grant annual pensions to the amount of 2,160 silver roubles, 3657., and to distribute in the form of temporary aid, 1,300 silver roubles, 2081. The capital, which, on the 2nd (14th) February, was only 8,536 silver roubles, 1,365., at present amounts to 18,236 silver roubles, 2,9187. The number of members is 407. M. Sasonoff announces that the Gazette du Nord has opened, in favour of the Literary Fund, a subscription list, and invites not only his compatriots in Paris, but every one interested in the cause of liberty of thought, to contribute to it.

THE THEATRES.

JUST at this present time the non-lyrical theatres do not afford much matter of discourse, nor are we aware that any important novelty is forthcoming. Bills wear a stereotyped look, as if managers had resolved to depend on the same resources for a long time.

The immobility of the Olympic programme rests, we believe, on a solid success. Mr. F. Robson's Uncle Zachary is stamped as one of his very best semi-serious parts, ranking with Daddy Hardacre and Samson Burr in the Porter's Knot; and the farce called B.B. chiming in with the prizefighting mania, caused by the arrival of Heenan, has continued efficient as a provocative of mirth, though the feeling to which it immediately appealed no longer animates the public. Whenever Robson makes a "hit" in a new part, the prosperity of the Olympic is certain for weeks; of that fact there can be no question. The other members of the company, particularly Mr. Addison, have had an opportunity of distinguishing themselves in the new version of La Belle Mère, which, under the title of Dearest Mamma, has been played with great success.

Thanks to the pre-eminence of Mr. and Mrs. Wigan in their own natural style of acting, and to the broad humour of Mr. Toole, the drama, It's an ill Wind that blows nobody Good, though scarcely substantial enough for the Adelphi Theatre, has kept its place for several weeks, and will not be removed till the end of Mr. and Mrs. Wigan's engagement. Mr. Falconer's comedy, The Family Secret, assailed with more or less vehemence by nearly all the critics, gives equal signs of vitality at the Haymarket, and promises to remain there as long as Miss Amy Sedgwick. For practical purposes in the theatrical world, what are all the rules of art, all the laws of taste, compared to that stage-tact, by virtue of which a number of established favourites are placed effectively before the public. Mr. Falconer has written a very indifferent play, but he has allowed his audience to look at a great many persons, who are constant objects of delight, and he can laugh at his censors, sound as their doctrines may be.

A successful burlesque at the Strand is certain of longevity, and though we are now forgetting Whitsuntide, Mr. F. Talfourd's Easter-piece, The Miller and his Men, still flourishes in the bills. There is a large class of Londoners that never grows weary of burlesque, and this finds its particular source of recreation at the Strand Theatre, where all is done to give effect to the most grotesque kind of humour.

The symbol of immobility at the Princess's is Mr. Phelps, who fills up the recess produced by the closing of his own theatre, with a course of legitimate performances before a West-end audience. He is steadily and creditably working his way through all his leading parts, and some weeks will probably elapse before his agreeable task is finished. Messengers from the East inform us that Mr. James Anderson is labouring with similar zeal for the same cause at the National Standard.

The French plays at the St. James's Theatre, under the management of M. Talexy, deserve much more extensive patronage than they apparently receive. M. Octave Feuillet's last new comedy, La Tentation, is a heavy work to produce, with a long list of dramatis persona, and we do aot know where we should find a play of such magnitude, acted with such general efficiency as by the company of which M. Brindeau and Mlle. Duverger were chiefs. Then, for a light piece of the conversational kind, nothing

can be more charming than the Cheveu Blanc, as acted by Mlle. Duverger and M. Paul Devaux. Since the days of Mr. Mitchell there has not been an attempt made for the establishment of French drama in London, that can in any way compare with the enterprise of M. Talexy.

HER MAJESTY'S THEATRE.

ON Saturday the Huguenots was repeated.

On Monday - an extra night-Semiramide was the

opera.

The Barbiere, on Tuesday, introduced Signor Ciampi, the long-announced buffo, in the character of Doctor Bartolo. The attractions of the opera and new singer were further enhanced by the last act of Rigoletto for Mile. Brunetti, Madame Lemaire, Signors Mongini, Sebastiano Ronconi and Vialetti, and the new ballet Adelina, and drew one of the most crowded audiences of the season. Signor Ciampi made an immense "hit," one of the most legitimate, in fact, ever remembered at Her Majesty's Theatre. The place left void by the death of Lablache seems likely to be filled up. This is saying a great deal when it is considered that Signor Ciampi is only 21 years of age. But his powers are rare indeed. He has a capital full-toned voice, sings like a thorough artist, possesses the finest musical instincts; and, as an actor, is natural, versatile, and entirely original. The first decided sensation he produced was in the air which Bartolo sings to Rosina, after discovering she has purloined his paper to write a letter. This was rendered with such true comic spirit and unction, and so admirably vocalised -not a note being slurred, nor a point missed, as to create quite a furore. The artist from this moment was scrutinised with eager eyes from all parts of the house; he did not quail, however, under the examination, but went on improving his position, satisfying the entire audience at the end that a genuine artist stood before them-one destined to take his station in the highest rank. We shall soon have an opportunity of speaking more definitively of Signor Ciampi, who will shortly appear in Don Pasquale, the Matrimonio Segreto, and Cenerentola.

On Thursday, the Huguenots was repeated.

ROYAL ITALIAN OPERA.

A VERY admirable performance took place on Monday night of Bellini's Puritani, the melodies of which, always fresh, exquisite, and expressive, have rendered, and will continue to render it, one of the most popular operas, not only with the crowd, who are only able to feel its sensuous beauty, but with those sufficiently well informed to appreciate the qualities which constitute it the artistic masterpiece of the composer. Had Bellini lived to go on writing, his Puritani may be accepted as a guarantee that he would have progressed in the right direction.

Much was said last season in praise of Mad. Penco's "Elvira," but not a word beyond its genuine deserts, as a remarkably earnest, intelligent, and refined impersonation. An objection might be raised, that, in the great scene of the second act, where the unhappy Elvira is distracted and demented by the supposed infidelity of her lover, a laudable anxiety to give all the necessary pathos, leads her into an abuse of the occasionally effective vibrato.

But for this her "Qui la voce," like "Son vergin vezzosa,” and all the rest, in short, would have been perfect.

The music of Giorgio is too low for Signor Ronconi, who, however, sings it artistically, and acts the part of the old Puritan with graphic truthfulness. Signor Graziani's fine voice is heard to great advantage in the music of Riccardo, although it is sometimes too deep for his register. The first movement of the cavatina, "Ah non sempre," is better suited to him than the cabaletta, which demands more even and fluent execution. The Arturo of Signor Gardoni is one of his best performances. The amorous and yet heroic Cavalier is well impersonated by this gentleman, whose singing is invariably careful and finished. In the last scene Signor Gardoni rises with the situation. The small part of Henrietta was extremely well sustained by Madame Tagliafico. The band and chorus were faultless, and the performance thoroughly enjoyed by the audience. The house was but moderately well attended.

On Tuesday Dinorah was given, when Her Majesty attended, and at the end of the opera inspected the show of flowers in the new Floral Hall. The exhibition elicited unqualified admiration from Her Majesty, the Prince Consort, and a numerous suite.

On Thursday, Fra Diavolo was given for the last time this season.

WORDS FOR MUSIC.* HAPPY Swallow! heaven's darling, Blest above all birds that fly ! Blackbird, linnet, finch, or starling Winter's blast must brave or die; But the swallow

Still doth follow
Balmy summer through the sky.
What, though still for ever roving,
Parting never brings a sigh,
Tender friends and mate so loving
Wander with thee through the sky;
Where the beaming

Sun is gleaming
There thy home and country lie.

I, alas! who, like the swallow,
Journey brighter days to find,
Still a fleeting phantom follow,

Leaving friends and love behind.}
Skies may lower,

Sleets may shower;
Summer is where hearts are kind.

C. L. K.

TO MARIETTA ALBONI.

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SONG has two spells-the one a heav'nly birth,
That carries with its strong and upward flight,
As with an eagle's clutch and wing of might,
The panting spirit far beyond the earth;-
It sweeps the skies, and belts the star-paved girth
Of that broad road, where travel day and night
Sublime and unapproachable delight,
Measureless sadness, or Titanic mirth.
The other lowlier, yet not less divine-

A child of love and laughter, smile and tear, Softly or sadly fans the soul to sleep;

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A rapture not so boundless, though more deep;
A joy less mighty, yet a bliss more dear;
And that, sweet voice, the song whose spell is thine.

* These words are copyright.

M. ADOLPHE HENSELT, the well-known pianist and composer, has received, in his capacity as Inspector-General of the Musical Establishments of St. Petersburg, the Cross of Knight of the Order of St. Wladimir. It is the first time that this decoration, which the Emperor confers in person, and which is generally given to persons of high rank, has been bestowed on an artist.

HISTRIONIC POPULATION OF EUROPE.-According to statistical returns, there are now in Europe 18,140 actors, 21,609 actresses, and 1,733 theatrical managers. The number of persons connected in various ways with dramatic establishments amounts altogether to 82,216.

HERR KOPPITZ, a performer on the flute, of continental reputation, has just arrived in London. He has not yet appeared in public, but is, we understand, to play at the Philharmonic Society's concert, on the 2nd July-the last of the season. Having had an opportunity of hearing him, we may assure our musical readersthose especially who are amateurs of the flute-that his performance is calculated to give them an extraordinary treat. He not only plays with a brilliancy of tone and execution which we have ducing sequences of double notes, forming regular harmony in two never heard equalled, but possesses the singular facility of proparts-a thing hitherto considered impossible on that instrument.

–Illustrated London News.

LAST HOURS OF ALBERT SMITH.

UNTIL nine years of age Albert Smith was so delicate and of 'so fragile an appearance, that he was nicknamed by a friend "Little China." After this time, however, he became strong and so healthy, that, to use a common expression - probably more true in his case than in many others to whom it has been applied - he knew not what a day's illness was until December last.

On the 22nd of December, 1859, after giving his entertainment as usual at the Egyptian Hall, he returned home, and occupied himself till one o'clock in the morning by hanging pictures in a new room. He retired to rest without a complaint of any kind. Early in the morning of the 23rd he had a convulsive seizure while asleep, and from this he passed into a state of profound coma, with stertorous breathing; rousing from this coma after nearly an hour's interval, he became violently excited in manner, but was unable to speak. The period of excitement lasted for twenty minutes, and was followed by another fit, this by coma, and again by violent excitement. He was bled freely by his medical attendant, Dr. Ree, the back of the neck was blistered, and sinapisms applied to the feet and legs; but the severity of the convulsions, coma, and excitement continued until two o'clock F.M., the patient passing through a series of them, about eight in the hour. After taking Indian hemp the convulsions ceased, the excitement diminished, but, with the exception of two or three words, the power of articulation was lost. There was no paralysis of either face or limbs; there was no albuminuria. Sleep followed in the evening, and about midday on the 24th the faculty of speech returned, and from this time there was rapid amendment. Within a few days his repeated expression was, "I never felt better in my life; I am only surprised I have not lost strength."

On Friday, the 11th of May, Mr. Smith was exposed to wet, and suffered in the evening from "cold." On the 12th he was again more severely exposed, getting "wet through," and did not change his clothes for three hours, and on the evening of this day he coughed much, and felt weak. On the Sunday he rested; but on Monday resumed his duties at the hall. He felt weak, wheezed in his breathing, could scarcely lie down at night, lost all appetite, but continued his avocations daily and nightly until Saturday afternoon, May 19th, and until that time had no medical advice. On Saturday he was seen by Dr. Ree, who found generally diffused bronchitis, with dulness on percussion at the base of the right lung posteriorly, and fine crepitation in the same locality. The pulse was laboured, not more than eighty-six per minute. The obstruction to the respiration was great. The expectoration, very little of which was raised, was sanguinolent; the face pallid; the tongue extremely foul, and breath very offensive. Cupping-glasses were very freely applied to the back of the chest, and blisters were raised by strong acetum cantharidis; at the same time a mixture of squills, nitric ether, and ammonia was given every four or five hours.

Delirium supervened on the night of Saturday, but on Sunday there was slight relief to the respiration. The stomach now rejected everything, and continued to do so until Monday, the 21st. On this day the patient resolved to get up and attempt his performance at the Egyptian

Hall, and in the afternoon dressed himself for this purpose. He was persuaded to relinquish the idea, and was seen in consultation by Dr. Reynolds and Dr. Ree. The vomiting had now ceased, after taking a dose of a mixture containing a small quantity of dilute hydrocyanic acid. The bronchitis was general throughout the whole of the thorax, on either side, and both above and below. There was fine mucous and subcrepitant rhoncus. Expiration was extremely prolonged. In the left subclavicular region, where there was slight pain, friction sound was audible. The base of the right lung was dull on percussion, and, except when a strong effort at respiration was made, was silent, no air appearing to find entrance. The pulse was laboured, and only eighty per minute; the surface cool; the face pallid; the tongue very foul; and the bowels confined. There had been no sleep for several nights. Complained of prostration. From several causes, no examination of the urine could be obtained. The chest was enveloped in spongio-piline, wrung out of hot water; and at night, calomel, colocynth, and opium were given: beef-tea, sherry, and Seltzer water were taken freely and ad libitum.

Tuesday, May 22nd, nine A.M.-Some sleep in the night, but much wandering; condition of the chest much the same as at last report, but air appears to enter rather more freely; complains of great prostration, but says his breathing is easier; the pulse is slow and laborious; the surface dusky; no headache; no pain. Ammonia and decoction of bark, with tincture of squills, were ordered to be taken every four' hours; and brandy, beef-tea, and wine with beaten eggs, were given and taken freely.

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In the afternoon at six o'clock he was seen by Dr. Burrows, Dr. Reynolds, and Dr. Rec. By this time the bowels had acted very freely; the chest condition was the same as in the morning, but there was less feeling of prostration, and the aspect was somewhat improved. Another blister was ordered to the right side, the mixture was to be continued, and calomel and opium to be given every six hours,

At eleven P.M., he was again seen by Dr. Ree, when he was about the same, and, in answer to a question, said, "I feel no pain whatever, and nothing else but extreme weakness." He was ordered to continue the use of the medicine, the stimulants, and nourishment.

At five o'clock on the following morning Dr. Ree was summoned in great haste, and found the patient much prostrated, bordering on collapse. Hot water bottles had been applied to the feet and legs, and brandy with eggs and strong coffee were freely administered, under the influence of which the pulse got up, the surface became warm, and he was able to answer several questions. At this time (half-past seven), although it was painfully evident the poor invalid could not last long, there was no sign of rapid dissolution, and Dr. Ree left, under a promise to return in an hour; but within that time an urgent message called him again to the house, too late, however, to see his patient alive: he had just breathed his last.-The Lancet, June 2.

Provincial.

CAMBRIDGE. The festival holden last Tuesday in the chapel of King's College, in aid of a fund for providing for the wants of widows and orphans of members of cathedral and collegiate choirs, was a complete success. The committee who worked so hard may congratulate themselves that no untoward occurrence marred the effect of their labours. From first to last there was no "hitch; and the most eager promoter of the scheme could not, if he had had the power of selection, have provided a day more brilliant and enjoyable. It was bright, warm, and dry: and the eye was continually refreshed by that luxury of green which Cambridge boasts in early summer.

One saw on Monday that something was "looming in the future" by the arrival of strangers, who were promenading the streets and the college grounds all the evening; and on Tuesday morning the early trains brought so many reinforcements that the question forced itself upon notice-how are they all to be seated? The arrangement was, that the doors should be opened at eleven: but it is not written in the history of festivals that people wait patiently until the appointed time. Before ten, streams began to converge towards the centre of attraction, the holders of blue tickets making their way to the great gates of the college and the south door of the chapel, the entrance appointed for the nave; and the holders of red and pink tickets getting into the grounds by the gate near Clare College, and into the choir by the north door of the chapel.

The early comers had to wait an hour or more at the doors before they could get in. The doors were opened at 11.

It takes a long time to fill King's College Chapel as it was filled on Tuesday, through two small doors. On and on flowed the stream into the nave and the unreserved part of the choir. Speaking of the latter, one might have thought that every seat was filled long before there was the least break in the constant flow. "The cry was still, they come," even after the avenues had got choked up by crowds apparently looking in vain for a resting-place. Somehow or other, people got gradually shaken down into their places. Fresh forms were brought in, although we supposed every available form in Cambridge had already been seized, and the number of persons left without a seat was materially reduced. Meanwhile, by twelve o'clock, chaos was reduced to order, and the entire area presented a dense mass of living beings. The whole space could not be taken in by the eye from any part of the floor of the chapel those in the choir could see only the choir, and those in the nave could see only the nave; but in this limited way, the sight was one not soon to be forgotten...

It was a few minutes past twelve when morning prayer began. The service was intoned by Mr. Beard, and the Provost read the lessons. The order of the service was as follows:MORNING PRAYER.

Preces, Responses, &c.

Venite
Psalms.

Service in F

Anthem, "O sing unto the Lord "

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Whose ancient pillars rear their marble heads,
To bear aloft its arch'd and pond'rous roof,
By its own weight made stedfast and immovable,"

is not unknown to many; and if it were, we can frame no language which would convey a proper idea of it. Perhaps the best performed anthems were Professor Sterndale Bennett's "Lord, who shall dwell in thy tabernacle ?" and Dr. Elvey's, "O be joyful in God." But the gem was Handel's "Hallelujah' chorus, which one can never hear without emotion.

99

Mr.

Professor Bennett directed the performance throughout, except that Dr. Elvey, of Windsor, conducted his own anthem. Amps, organist of King's College, played the organ, assisted by Mr. Hopkins, organist of Trinity College, and Mr. Garrett, organist of St. John's College. Members of the following choirs took part in the performance: St. Paul's, Westminster Abbey, Temple, Windsor (St. George's Chapel), Norwich, Peterborough, Lincoln, Ely, and the College chapels of Cambridge. The number of voices was 125. The number of persons accommodated in the choir, exclusive of Fellows and attendants, was 1,374; and in the nave 1,940; making a total of 3,314. The sum collected at the doors was 2661. Os. 6d., of which 771. was in gold. This is an increase of about 341. over the sum collected at the festival six years ago. After the proceedings in the chapel had terminated, the members of the various choirs were entertained in a sumptuous manner in the hall, at the expense of the college. Provision was made for 150. The Vice-Provost presided, and the Provost joined the party before they broke up. Professor Bennett and several members of the university were also present. Few things even in the chapel produced a finer effect than the "Non nobis, Domine," at this entertainment. To conclude, 80 policemen and attendants were entertained in the hall, after the choirs. Cambridge Chronicle, May 26, 1860.

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