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parison with what is done in London, particularly at the Italian no expense. Verdi's Trovatore is being given simultaneously at Opera, because the situation is not at all the same, and because Gerbino and the Alfieri Theatre, Turin.The vocal and instruthere is not the slightest logical or rational connection between mental concert of the pupils at the Milan Conservatory took place the two cases. on the 8th July. -The opening of the Valle Theatre, at Rome, We now come to the liberty of fixing the prices. This is an for the summer season was to have taken place on the 30th June, entirely special question, and, as far as we are concerned, we with the Masnadieri. After the last rehearsal, however, Corsi should have no objection to its being settled as our contemporary the tenor fell ill. The part of Carlo was immediately given to desires. Our readers know that we have always been partisans of the other tenor of the establishment, Signor Gianini, and the everything which could extend the circle of liberty within which opening fixed for the 3rd July, but, at the first general rehearsal, theatrical industry moves. Now we should not offer any oppo- Signor Gianini was compelled, by an intestinal attack, to take to sition to a system which permitted a trader in Paris or the de- his bed. On this, application was made to Signor Negrini, who happartments to sell his goods at the value he thought fit to put upon pened to be still at Rome, and that gentleman appeared in the them; but it strikes us that, in this particular, the discussion is part on the 7th ult.; Signora Teresa Armelini was the prima donna. going from the ground which it appeared at first to have selected, -Mlle. Sarotta is engaged at the Oriente Theatre, Madrid.and that it is not by coursing two hares at once that we can hope Signoras Pancani, Negrini, Coletti; Signoras Staffenone, Verato catch one. Lorini, and Mlle. Boschetti, première danseuse, are engaged at the San Carlo, Naples.

Consequently, we maintain what we said in the first lines of this article; we reply to the question thus put: Can Paris pay its artists as well as London can pay them? YES, most certainly. Can it demand the same services of them? YES. Does it render their life more easy and their reputation greater? YES again. Therefore, the position of an artist in France is in no way inferior to that he is able to obtain in England.

At present, let every manager be allowed to fix the prices of admission as he pleases; we can see no objection, nay, we even think that if he has a right to do this, he may advance his own interests, those of the public, and those of all true artists simultaneously. As matters are carried on now-a-days, we confess we are in no way surprised at the indifference of the spectators, while the reduced, or insufficient prices, which form one cause of complaint, are, but too frequently, superior to the quality of the dramatic merchandise offered for sale. For some time past, however, the class-papers and the superior authorities have been considering the modifications required in the present mode of managing theatrical enterprise; a great number of useful observations have already been evoked, and we cannot believe they will be entirely without effect. As a matter of course, the persons interested will be brought to leave the domain of theoretical discussion, and proceed to practical experiment, and we have great faith in what has already been done. We rejoice, therefore, that the few lines we wrote on our return from London produced, from the Gazette des Théâtres, the article to which we have replied. On this occasion, as on every other, we have found the journal edited by our friend Denis ready to maintain the cause of progress, a cause to which, like him, we have devoted the little experience, and, most certainly, all the energies we possess.

CHARLES DESOLME.

SCRAPS FROM ABROAD.-(From various sources.)-Signor and Signora Tiberini have proceeded to fulfil an engagement at Trieste. Signor Pancani, who is engaged for next March by M. Calzado, has also left Paris. He will spend a week at Aix-la-Chapelle, whence he will proceed to Naples, where he is engaged for the present.- -Signor P. P. Boccomini, one of the principal members of Mad. Ristori's company, has died at Amsterdam. The management of the Riccardi Theatre at Bergamo has been confided, for the duration of the fair, to the Brothers Marzi, who will give performances of opera buffo and ballet. Some papers have spread the report that the management of the Theatres Royal, Naples, would perhaps pass, ere long, into the hands of Malvezzi, the tenor. Signor Lorenzoni and Signora Gavetti Reggiani have been engaged for next autumn at the Communal Theatre of Bologna, the former as first dancer, and the latter as prima donna.- The Neopolitan journal Il Diorama has changed its title, and is now called L'Italia.- -Among the recent engagements for Constantinople may be mentioned those of Signor A. Bianchi, first tenor; Fiorini, bass; Mattioli, buffo; and Signora Galli, prima donna assoluta.Signor Masini, first bass, is at present in Milan, whence he will soon return to St. Petersburgh, where he is engaged for the fourth time.- -M. H. Montplaisir is engaged as ballet master for the Carneval of 1860-61 at the Carlo Felice Theatre, Genoa. The fresh choreographic work produced will be entitled Benvenuto Cellini, on which the management will spare

LINES FOR MUSIC.*

My mother tongue, how dear thy tone,
With all my life how bound;
Ah! were my heart of steel or stone
"Twould soften at thy sound.

Thou teachest this proud neck to bow,
As might a mother's arm;

With soft caress thou smooth'st my brow,
And hush'd is all alarm.
Again I feel a little child;

The vain world fades from sight,
And all as spring-tide's breezes mild
I feel thy healing might.

Once more my grandsire bids me kneel;
Come, child, thy prayer say,
"Our father" I repcat, and feel

Once more what 'tis to pray.
From deep within my spirit calls,
My heart pours forth its pain,
Till heaven's peace upon it falls,

And all seems well again.

My mother tongue, so right, so sound,
Of God thou break'st the fear,
The simple words "my father" sound
A prayer in mine ear.

No music seems to me so fine,

Nor nightingale's love call;
Full oft thou'st made the gushing brine
Adown these cheeks to fall.

MISS ANNA WHITTY.

OUR readers will perhaps recollect that at Mr. Benedict's annual concert, in St. James's Hall, in 1859, Miss Anna Whitty, a young lady the daughter of the editor and proprietor of the Liverpool Journal and Liverpool Daily Post, created a most decided sensation by the admirable style in which she sang "Bel raggio" from Semiramide, displaying in her vocalisation a refined and cultivated style, and a voice of most charming sweetness and brilliancy. Though Miss Anna Whitty has only once sung in England, she has for several years been pursuing a most prosperous career in Central and Northern Italy, in spite of the political troubles of that region, and the Florentine, Milanese, and Livornese papers lately received by us give most glowing accounts of Miss Whitty's operatic performances.

The Buon Gusto of Florence says, "Anna Whitty is a young and fair daughter of England, who has made Italy a second country, and Italian art a passion and a religion. Distinguished for education, manners, instruction, and talent, she perfected her vocal powers in Florence, under a first-rate master; her studies were not of that superficial order which the greater part of the singers of the present day pass through. She rendered herself

* The words of this song are copyright.

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familiar with the works of our best composers, and preferred, with the instinct of good taste, the classical creations of our immortal maestri. Mlle. Whitty has by this gained the gratitude of our land of song-it is for this she merits renown and honour. She made her debut at the Theatre-Royal Pagliano, at Florence, some three years ago, having previously held the post of prima donna From that moment her career was at Malta, for two seasons. assured, and each theatre where she appeared was for her a new field of glory, where she obtained fresh and enviable triumphs. Those who have not heard this artiste will ask us-what are the gifts she possesses, and what are the powers that have enabled her to call forth the enthusiasm of the most critical audiences? The reply is easy; but before we decipher the letter itself, let us first examine the envelope. Mlle. Whitty has a commanding presence and a pleasing countenance. As we have said before, her manners and deportment on the stage are eminently noble and distinguished. Her voice is not robust, but is rich and full in tone, with an excellent suavity and sweetness, of great compass, most flexible, and, above all, most sympathetic, being of that timbre that does not besiege but descends to the heart, filling the soul with the various emotions of tenderness and melancholy. Added to this is her rare trillo and perfection of method, her extraordinary agility with which she overcomes the most difficult passages, performing them spontaneously, and without an effort; her singing is an embroidery; difficulties become for her a mere lyric actress," is plaything-a pastime. Mlle. Whitty, as a capable of interpreting any work; but it is in classical compositions, particularly those of Rossini, in which she most excels, and for which she seems specially created; it is in these chefs d'œuvre her genius developes itself, where her trillo is most displayed. For her there must be obstacles, difficulties, and then she is seen gliding, flying, playing among a million of notes the most complicated and perilous, with the same rapidity, ease, and security, as the butterfly frolics among flowers. Added to this trillo, the grace, the charm that accompanies it, producing an ensemble that almost reaches perfection. Mlle. Whitty's powers as an actress equal those she possesses as a singer. Her gestures are as graceful as they are moderate; each movement betrays intelligence and refinement. She never forgets the part she represents, becoming herself embodied in the character she interprets. As we have said in a former number, Mlle. Whitty must ever become the delight of whateyer public and the ornament of whatever theatre she may appear at. She is at present at Leghorn, where, according to her custom, she excites that critical public to the highest enthusiasm, the theatre resounding with acclamations at every morceau she executes. In honouring this artiste we honour Italian art, of which she is so faithful an interpreter. Such is the admiration-such is the esteem we publicly offer to the distinguished merit of Anna Whitty."

The Scintille of Milan, speaking of the performance of La Cenerentola, says, "It is needless to tell you that Mlle. Whitty, in the principal part, was immense; and, in fact, it would be difficult to find a singer of the present day who can with so much ability execute the difficult music of Rossini, and who joins to the most perfect intonation the rarest talent and musical knowledge. It is impossible to say in what particular morceaux she was especially applauded, being almost equally so throughout the whole opera; but in the famous rondo, Non più mesta,' she touched the very sublimity of art."

The Leghorn correspondent of the Milan Gazetta dei Toatri is equally enthusiastic:-"I thought the lovely music, Cenerentola,' old, out of fashion! I was decidedly in the wrong. And do you know to whom I owe my conversion? To Mlle. Anna Whitty, the charming artiste, who seems to have been created on purpose to sing the melodies of our immortal Rossini. Her voice is pure, sympathetic; her agility marvellous, and her method perfect. They encored the rondo, and the public, delighted with the youthful cantatrice, demanded a third repetition of the classical morceau. Eight times at least was Mlle. Whitty recalled before the curtain." Making all allowances for the exaggerated style of Italian enthusiasm, we have reason to believe that Miss Whitty is an artiste of whom we may, as Englishmen, be proud, and we hope soon she will have an opportunity of administering to the pleasures of her own countrymen and countrywomen.

THE DRAMATIC COLLEGE.
(From the Daily Telegraph.)

THERE is a sort of affliction to which human nature is liable, and which Gray used to call The White Melancholy. The patient never laughs or dances, but is in a perpetual state of satisfaction with himself. This, we are bound to think, is the state into which some of our moralists have fallen. The world is offensive to them, but, to do them justice, they are highly condescending to the world. Both, therefore, get on better than might have been expected. But now and then an affair turns up beyond the endurance of charity itself; and such a business, as certain persons assume, was the late festival at the Crystal Palace in aid of the Royal Dramatic College Fund. We had originally imagined that the day passed off balmily and genially enough, that the fun was excellent and the fraud enticing, that the lady stall-keepers were so many living fascinations, and the gentlemen who lent their aid better matter was a public perfidy, and that society is to blame for having levellers than any Jacobins on record. But it seems that the whole smiled in presence of a sham which the genus Mawworm is resolved henceforward never more to tolerate. The great community which reads newspapers and pays attention to passing events will probably ask to what on earth we are alluding.

Who has said, or written, or suggested a word against the Dramatic

Fancy Fair? No one, we allow, who is likely to command more than
a "class" audience, and yet the impeachment has been delivered, and
the actresses who exerted themselves so pleasantly and benevolently are
exhorted to kiss the rod. A contemporary, which assumes the functions
of "the accredited organ of dramatic morals "-whatever that may
mean-has untied its lictor's bundles and knouts the entire theatrical
profession roundly. We do not believe that the smart will be very severe
or that the green-room population will turn pale under this eminently
charge thus flung at random against the promoters of a most praise-
righteous censure; but is there, in reality, a syllable of truth in the
The Dramatic College Festival at the Crystal
worthy movement?
Palace was, in fact, an event which very agreeably illustrated the rela-
tions at present existing between the theatrical profession and society at
large. The barriers have been broken down; the Mawworms are now
exceptional beings; it is known and acknowledged by all, except the
bigoted and stupid, that many a true English lady and English gentle-
man treads the stage. This result having been attained, what possible
objection was there to a mingling of actors, actresses, and the best classes
of the public at Sydenham in order to assist in the development of a
great philanthropic purpose?

The Dramatic College, we are told, issued begging advertisements.
Does not every hospital, every asylum, every shelter of the widow and
the fatherless, every charitable institution in the kingdom do the same?
articles to be sold for the benefit of the fund. Was there anything
But, it is added, the public were asked for contributions to the stalls of
unusual in that? It has been done over and over again, and might be
done for the Brompton Consumption Hospital, the Soldiers' Daughters'
Home, the Hospital for Epileptic and Paralytic Patients, and the
highest ladies in the land have set the example. Now, however, we
plained, was invited to see "actresses with their rouge off." And pray
reach the centre of bitterness and opprobium. The world, it is com-
where is the sin which is denounced in these withering terms? Are
actresses never to wear the costume or appear in the characters of
Must they be shut up for ever in the enchanted
ordinary ladies?
palace of the drama, amid mock diamonds, paint, and spangles? Are
they to be blamed because, volunteering to assist in obtaining relief for
their less fortunate brethren and sisters, they were affable on a day of
general pleasantry-because they smiled and gossipped--because they
were, as they cannot help being, graceful and fascinating? Of this we
are sure, that never was a public festival more creditably conducted, and
that the ladies who took part in it did honour to themselves and their
profession. Still, there are other accusations in store. The actresses, we
learn, charged exhorbitant prices for trumpery. Did the most ardent
bargain? Did he expect to buy a serviceable pair of slippers for one
disciple of economy go to the Crystal Palace with the view of making a
shilling and tenpence, or a good sound mustard-pot, electro-plated, and
get change for half-a-crown? If so, he misunderstood the nature of the
fete, which was not an auction, but an opportunity for benevolence to
Give money with a
display itself cordially, and without that austere ostentation which is
recommended by our new censors of the stage.
black-gloved hand, but hand it over to an honorary treasurer instead
of placing it happily in the palm of a handsome missionary who, pre-
siding at a stall, accords you a baby's shoe and one farthing's worth of
ultra tooth-powder in reward of your guinea. This is extortion, sayeth
the assailant, who probably went to buy and not to give; but therein
lies the mistake.

It is perfectly right to sneer. To sneer is a privilege of the age. Without it we might all be sceptics. Therefore we have no quarrel with any one for asking why actors and actresses should busy themselves in obtaining funds for the maintenance of a Dramatic College. All we question is the sanity of the protest. Why, who in the world should busy themselves, if not actors and actresses? Men of letters largely aid in supporting the Literary Fuud; our naval and military charities are mainly dependant on the donations of officers; indeed, the principle of almost every similar institution is at bottom that of a mutual providence

society. The licensed victuallers, the bootmakers, the newsvendors, have their asylums and almshouses, their sick funds and pensions, each class subscribing from its own purse, and obtaining from the public whatever assistance it may be disposed to render. The promoters of the Dramatic College have followed in this respect the universal example.

Of

But what did the ladies and gentlemen contribute out of their own pockets? we are asked. The subscription list tells us all we have a right to know. What is it to us, or to anyone, whether the actresses who presided at the Crystal Palace stalls purchased the bugles, laces, toys, trinkets, and other fanciful frippery they sold to benevolent buyers? We have no doubt that the ladies in question bore their full share of the burden, although it would be sheer impertinence to speak more of their charity than they have chosen to speak themselves. course, from the dignified and White Melancholy point of view, we might concur in thinking that one gentleman did not look very tragic as the guardian of Aunt Sally, and that another did not prove himself a genuine Cagliostro in his Cave of Mystery. We may admit that Cockshy is inconsistent with pathos, and that to sell snuff-boxes and penknives from a tray is not precisely High Art. But cui bono? Cannot we wear a mask of laughter over our good intentions? Why be angry with a broad grin if it helps to assuage a pang or to dry a tear ? We have our peculiar national customs of raising funds in aid of benevolent objects. Now it is a sermon, and then a concert; to-day the bishop preaches, and to-morrow the comedian jests. This week the highest ladies of the land dispense vouchers, and next the actress steps forth into the real world, in a true spirit of sisterhood and mercy, to benefit those who have passed out of her bright though unreal world upon the dim border-lands of death, the poverty, the neglect, the disappointments of old age. Let us welcome her at her excellent work. She can be a good fairy in real life no less than behind the footlights. Her evil day, perhaps, may come, but come when it may she can never regret that, in the full harvest time of her prosperity, she assisted in succouring the poor and humble of her own profession. It was her duty-she fulfilled it well— and she may pass on, fancy free, notwithstanding the volunteer censures, which will not detract in the public mind one iota from her good intentions, nor injure in the slightest degree the admirable purpose she so materially assisted.

THE WORCESTER FESTIVAL.-If nothing else were wanted to indicate the close of the musical season and hegira of the singing birds, the busy note of preparation for the one hundred and thirty-seventh meeting of the three choirs of Worcester, Gloucester, and Hereford, would be sufficient warning of the approach of autumn, which at present seems likely to succeed winter without the customary intervention of spring and summer. The festival at Worcester this year will be a remarkable one, if only from the fact that it is the last time we shall have an opportunity of hearing Mad. Clara Novello, in a place of all others where it tells with the greatest effect-the nave of one of our noble cathedrals. Those whose sole impressions of an oratorio are confined to Exeter Hall, the Crystal Palace, or any other secular building, can form but little idea of what the Messiah or Elijah is like when performed in a building exclusively devoted to sacred purposes, possessing all the acoustic requirements in the highest perfection, and conveying a host of associations to the mind impossible to realise elsewhere. Who that has once listened to the "Hallelujah" chorus from the Messiah, "Thanks be to God" from Elijah, or any of the massive double choruses in Israel in Egypt, can ever forget the sensation it produced when heard in the grandly solemn and imposing vaulted area of the cathedrals of the three choirs. Nor is it in the choruses alone that this is felt. The solos are no less telling; and to hear Mad. Novello's voice in "Hear ""Let the bright seraphim," " Israel," ye Rejoice greatly," or Mr. Sims Reeves in "Thou shalt break them," "Then shall the righteous," "Sound an alarm," or any other of the famous airs, is alone worth a journey to the meeting of the choirs. But of this more anon, when the 11th, 12th, 13th, and 14th of September are over, and we have once more the opportunity of

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recording our opinion of the three choirs in general, and Worcester in particular.

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The forthcoming festival at Worcester is marked by a deviation from the regular routine which has for so many years been observed at these gatherings. It has been the custom to commence at 11 o'clock on the Tuesday morning with a full service, embracing the Dettingen Te Deum, two anthems, and a sermon on behalf of the Charity, for it must be borne in mind that it is only the surplus of receipts over expenses (for which latter the stewards are responsible) that can benefit the widows and orphans of the three dioceses, and as there is generally a deficit, the Charity would receive nothing were it not for the voluntary contributions at the doors, which ordinarily amount to from £900 to £1000. The sermon will not be omitted this time, but the service will begin on Tuesday morning at half-past 8 o'clock, and be performed by the three choirs alone, without the aid of the stars," who are reserved for the oratorios. As there will be no charge for admission, and the service is repeated each morning, the most captious will have no cause to grumble at the arrangement. The first part of the Creation, and the whole of Mendelssohn's St. Paul, will be given on Tuesday. On Wednesday Spohr's Last Judgment, and a selection from Judas Maccabeus. On Thursday Elijah, and on Friday The Messiah. Such is the morning scheme. The evening concerts offer one novelty, a cantata by N. W. Gade, which is to be heard for the first time, entitled The Erl King's Daughter, Mesdames Rudersdorff and Sainton-Dolby, and Mr. Weiss sustaining the principal parts, with a chorus of Elfin Maidens. The May Queen of Professor Sterndale Bennett inaugurates the Tuesday evening, and with Mad. Novello, Mr. Sims Reeves, Miss M. Wells, and Mr. Weiss, will doubtless afford as much delight as everywhere else on its performance. The principal instrumental displays are Beethoven's symphony in D (No. 2), Weber's overture to the Ruler of the Spirits, and the overture to William Tell, a flute solo by Mr. R. S. Pratten, Mendelssohn's violin concerto by M. Sainton, and a fantasia by Mr. shape of a selection from Mr. Vincent Wallace's opera, Lurline, H. Blagrove. A novelty to Worcester will also be added in the Mlle. Parepa, Mr. Sims Reeves, Mad. Weiss, Miss M. Wells, Messrs. Montem Smith and Weiss, lending their services to give it due effect. The remainder of the evening programmes is made up of the usual material, with all of which the London concert goer is but too familiar, and marked by the one fault which seems inseparable from all provincial meetings, whether of the choirs or the manufacturing districts-excessive length. However, we suppose the managers understand the taste of the supporters, who desire quantity rather than quality, and if it only pays we have nothing to do but to wish the meeting success.

THE NINE O'CLOCK BELL. Ir is a beautiful custom which prevails in many towns and villages in New England,—this ringing of the church bells at the good wholesome hour of nine o'clock in the evening. It is an observance, too, sanctioned by time-honoured usage,-handed down to us by our puritan fathers,-redolent of antiquity, and of those good old days when people went to rest betimes, slept soundly and sweetly upon hard beds, and arose with the sun, or the larks, if you please. There is to us something inexpressibly pleasant in this ringing of the bells at nine o'clock, and we never pass a night in a strange village, but we feel more at home in it -more tranquil and fitted for repose, if we chance to hear at the usual time some faithful sentiment in a neighbouring steeple, sending forth its evening chime. There is more than we think in the power of early associations. We never forget the mellow tones of the church bell which graced the belfry of the village church in our native hamlet. Its cadences will ever and anon sound in our ears all our lives long, though many dreary miles of land or sea make a gulf between us and our early home.

Who has not some particular bell in his memory, which to his boyish eyes seemed the largest bell upon earth? What an interest it had in his eyes! How he watched with eagerness for its ringing, and with what a feeling of curiosity, mingled with awe, he mounted, for the first time, the rickety staircase, wound his way up through the unfurnished garret, and stood face to face

with the object of his admiration; or looked down from the dizzy height upon mother earth far below, and the blue hills in the distance, standing up like armed sentinels against the sky. What a variety of cadences the old bell possessed! On gala-days it rang a merry peal, and the child's heart leaped for joy. On the Sabbath its tones were more solemn and majestic, according well with the solemnity of the day, and seeming to say to all within the sound of its voice, "This is none other than the house of prayer, the very gate of heaven;" but when it tolled the knell of a departed soul, the tones were sad and mournful, dying away upon the air with a tremulous sound, like a mourner's sob.

We have read that the travellers in foreign lands, with the broad ocean rolling between them and home, have sometimes awakened at night, and seemed to hear the church bells ringing in their homes beyond the sea; and so real did it seem to them, that it was difficult to dispel the illusion, if such it be. May it not be possible that in certain peculiar states of the mind,- that wonderful creation of a divine hand,—the faculties become so acute, so intensified, the delicate nerves of sensation so enhanced in power, that time and space are annihilated, and we are borne on the wings of the wind as it were, very near our home and friends. It was not all an illusion when the heroine of that most delightful novel-Jane Eyre-seemed to hear the voice of Rochester calling to her in the darkness. Who has not in his own experience known instances similar to this, of those who heard voices in the night-watches, and gained strength and courage thereby.

"Perched God's right hand in that darkness,
And were lifted up and strengthened."

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CHRISTIAN MINSTRELSY.
From Punch.

A Bill for interfering with Theatres and Public-Houses had

of the publication of a letter on the subject from the Christy
Minstrels, who would be affected by its action, it was withdrawn,
and the poetical person who writes the gibberish chanted by these
begrimed parties received orders to prepare a song of jubilee. He
sent an early copy to Mr. Punch, who is much pleased with it, and
considers it quite up to the mark of the Christy poetry. The first
of the fifty-three verses goes thus :-
"Take away dat Bill, Nigger,
Yaw, yaw, yaw,

One need not go to the city for sweet-toned, musical bells. In many of the rural villages of the north country, we may hear as rich, full tones, -as harmonious cadences as ever fell upon the listening air of evening from cathedral dome or lofty church-been introduced into the House of Commons, but in consequence spire. It is, after all, the associations, the memories awakened, that render the tones of even a diminutive bell more majestic and soul-moving than organ music to our ears. We recollect one bell in an obscure country village whose mellow tones will live for ever in our heart. In the clear evenings of mid-summer, as the shadows deepened along the landscape and the stars peeped out one by one in the infinite meadows of heaven," its clear, silvery tones might be heard echoing among the hills, proclaiming the hour of nine o'clock, and saying not inaudibly, to all the dwellers round about, "The night cometh; sleep on now and take your rest, for all is well!" It is impossible to describe the tranquilizing influence its tones exerted-the happy recollections it awakened in the hearts of those who nightly listened to its welcome music. At such a time, under the clear sky of a midsummer night,

"The friendships old and the early loves

Come back with a Sabbath sound as of doves

In quiet neighbourhoods."

Let us cherish with a feeling akin to veneration anything that tends to occasionally separate us from the busy toil and strife of life's battle, soothe and calm our troubled spirits, and fit us for repose! Long may it be before the time-hallowed customs die out in New England which set the church bells a-ringing at the good hour of nine o'clock, for with it would vanish one of the most valued associations of childhood.

"We may build more splendid habitations,

Fill our rooms with paintings and with sculptures, but we cannot
Buy with gold the old associations."

MUSIC IN THE SOUTH SEAS.- Our Puritan ancestors, (says Mr. Dwight of Boston) used to pay their church rates in beans and cordwood, and the natives of the South Sea Islands now buy their concert tickets with bananas and pine-apples. We copy from the New York Musical Review the following poster and prices of admission of the Alleghanians, who are having a fine tour in the South Sea Islands. D. G. Waldron of this city is their business agent.

"By royal command of King Makea V. and the Rarotonga nobility, the Alleghanians will give a grand concert at the School-house this afternoon at four o'clock, January 19th, 1860. Prices of admission:Tickets to admit one, 1 hog, or 2 pigs, or 1 turkey, or 2 chickens, or

Take away dat Bill, Nigger,
Him shan't be law.

Take away dat Bill, Nigger,

Yap, yap, yap.

Take away dat Bill, Nigger,

Dat's a good chap.

Take away, &c., &c., &c., &c."

300

afternoon, about twenty-five of the members of the Embassy, consisting of the officials and servants, visited the Academy of Music, to attenp the matinée at the Opera. The Embassadors were not present. Long before the hour for opening the doors of the Academy, a crowd gathered in front of the building, and in a few minutes after admission was gained, the parquet, first circle, and balcony, were filled with a well-dressed audience, a large portion being ladies. In the balcony, the centre rows of seats were reserved for the Japanese, and when they entered they had no difficulty in being accommodated, and were not compelled to bear the pressure of a crowd. A few were placed in one of the stage boxes, but these did not stay after the first piece. Tommy was along, dressed in his best, but looking very downhearted, the result, it is whispered, of a strong attachment for a young lady in Washington. The three physicians of the Embassy were also present, and were conbited, with evident satisfaction, gloves purchased since their arrival in spicuous from the closely shaven head. Most of those present exhithe country, and in approved fashionable style they watched the ladies through opera glasses. The strangers glanced carelessly around the house, but did not seem astonished either at the magnificence of the building or the crowd of persons assembled to greet them. They have evidently schooled themselves to conceal their thoughts, and nothing can be gained by watching their countenances. Soon after the entrance of the Japanese, the orchestra, numbering over forty-five performers, opened with the grand overture to William Tell. To this the Japanese paid but little attention, but when the curtain rose on the second act of

THE JAPANESE AT PHILADELPHIA.-At half-past two o'clock in the

Lucrezia Borgia, with Mlle. Parodi as Lucrezia, every Mongolian who
possessed an opera glass levelled it at the performers, and so watched
them during the act, which was a short one, to the evident relief of the
Japanese. Next, Buckstone's comedy of The Rough Diamond claimed
their notice, and in this respect the acting was more pleasing to them
than the singing. Many of the strangers conversed together, and
seemed somewhat amused at the lady performers, while others smiled
when the audience would applaud any "point" made in the course of
the piece. All the performers played their best, and received consider-
able applause; but as nearly everybody was watching the effect of the Y.
play upon the Japanese, and thus losing the run of the performance,
the enthusiasm was not so general as our people are in the habit of
showing. The choruses of the Maennerchor and Young Maennerchor
were given without any show of appreciation on the part of the
Japanese, but the inexhaustible egg-bag of Blitz excited the undivided-
attention of the strangers. Mlle. Parodi gave the "Star-spangled
Banner" in glorious style, assisted by a full chorus of two hundred singers.
This part of the performance was well managed. As the curtain
rose, the singers were seen grouped in the rear of Mlle. Parodi, and on
one side stood an American sailor with the flag of Japan, while on the
other stood a representative of Japan, with the American colours.
The magic dance of two nations, by Mr. W. Wood, caused them some
amusement. Mr. Wood first appeared as a Japanese, and after danc-
ing a few minutes, suddenly wheeled, and presented the appearance of
an American sailor. But the pantomime of Vol-au-vent did the busi-
ness. Here was something they could understand nearly as well as the
rest of the audience, and although many of them endeavoured to keep
a straight face, they gave it up after a few trials, and enjoyed themselves
to their heart's content. One old fellow, who sat like a statue
through the whole afternoon, smiled once at the antics of Mr. Wood;
but feeling the impropriety of such undignified conduct, he held his fan
to his face for concealment. They seem to have a quiet sort of enjoy-
ment, for while several seemed convulsed with laughter, no sound of
mirth could be heard two feet from them. After the performance, the
party drove in open carriages to the hotel, no crowd following. And,
by the way, we may state that a wrong impression has gone abroad
that the Embassadors were insulted on Saturday. This is all a mistake.
Along the route there were of course some noisy demonstrations, but
no word was spoken which, if understood, could have roused their
pride.-Dwight's Journal.

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Organised in 1848, and developed at his ROYAL COLLEGE OF MUSIC,
To encourage Native Musical Talent, and to promote the general advancement of
Music upon his New and Effective System of

MUSICAL INSTRUCTION; and as a NORMAL SCHOOL

For the Training of Students, who, as soon as competent, will receive appointments to conduct

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Violoncello, Double Bass, and Viola,.. ... ...
Flute
Clarionet, Oboe, and Piccolo...

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Cornet and other Brass Instruments
Concertina (German and English)
Vocal Classes

Military Drill and Calisthenics
Librarian
Secretary to the College..

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Dr. MARK.
CHARLES CLAY, M.D.

Mr. POWELL, assisted by Junior Masters. Mr. WRIGLEY,

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Mr. WRIGLEY.

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Mr. ELDER.

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Mr. BEARD.

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Mons. ROGUIER,

Mons. VIEUXTEMPS.

Mr. DONOVAN.

Mons. DE JONG.;

Mr. DOWLING.

Mr. RUSSELL.

Mr. ELDER.

Messrs. POWELL and

ELDER.

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Dr. MARK is open to Engagements either for his first or second Orchestra.

THE FIRST ORCHESTRA,

Consisting of 30, 40, or 50 Performers, and conducted by Dr. Mark, is composed of the
Advanced Pupils of the Royal College of Music, and some of the "Little Men," who
perform Sacred, Classical, Operatic, and Popular Music. Also a Vocalist, Solo
Harpist, Solo Pianist, and Organist.

. THE SECOND ORCHESTRA,

Conducted by Mr. Wrigley, consists of 30 Performers, and is composed of the "Little
Men," who play Operatic and Popular Music, and sing favourite Airs and Choruses.
Also a Vocalist, and Solo Instrumentalists.

Dr. MARK begs to inform young ladies and gentlemen who are preparing for the profession that he affords opportunities of introducing them to the public by performing at his concerts.

Orphans of the musical profession, and poor children possessing musical talent, are admitted free, and receive a general and musical education, together with board and lodging, until the age of fourteen years, when they are either apprenticed to a trade or trained for the profession.

Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books.

For Prospectuses, apply direct to the Royal College of Music, Manchester. Visitors are admitted from Nine to Eleven, a.m., and Two to Four, p.m. every day, Saturdays and Sundays excepted.

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Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No. 8 New-street Square, in the said Parish. Published by JOHN BOOSEY, at the Office of BooSEY & SONS, 28 Holles Street.- Saturday, August 4, 1860.

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