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 https://archive.org/details/victorianeraexhi00vict_2 
 
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m GENERAL 
 
 
 pmsssgL 
 
 Catalogue 
 
 IC &, DRAMA 
 
 OWtJO 
 
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 Director ©eneral : 
 
 IMRE KIRALFY. 
 
 CATALOGUE, 
 
 MUSIC & DRAMA SECTIONS. 
 
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 Copyrighted, 1897 . 
 
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THE VICTORIAN ERA EXHIBITION, 
 
 ! 8 3 7 - I 8 9 7, 
 
 GAEL’S COURT, S.W. 
 
 ^limfctr-(ScnrraI: 
 
 IMRE KIRALFY, 
 
 proprietors. 
 
 THE LONDON EXHIBITIONS. LTD., 
 
 Exhibition Buildings, Earl’s Court, S. If. 
 
 Directors. 
 
 PAUL CREMIEU-JAVAL, J.P., Chairman . 
 
 IMRE KIRALFY, Managing Director. 
 
 HAROLD T. HARTLEY. 
 
 JAMES MARSHALL FRESHWATER. 
 
 HERMAN HART. 
 
 Secretary: R. CLAUDE GARNETT. 
 
 Bankers : THE LONDON & COUNTY BANKING Co., Limited. 
 
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 Leadenhall Buildings, E.C. 
 
 Solicitors: Messrs. LINKLATER, ADDISON, BROWN & JONES 
 2, Bond Court, Walbrook, E.C. 
 
Vietopian Era Exhibition, 
 
 1837 - 1897 , 
 
 EARL’S COURT, 
 
 DIRECTOR GENERAL: 
 
 IIMIIS/E KIRALFY. 
 
 HONORARY COMMITTEE OF ADVICE. 
 
 President. 
 
 His Royal Highness The DUKE of CAMBRIDGE, K.G. 
 
 Viee«Pt*esidents. 
 
 The Right Hon. The MARQUIS of LORNE, K.T., M.P. 
 The Right Hon. The LORD MAYOR of LONDON. 
 
 Sir EDWARD J. POYNTER, P.R.A. 
 
 The Rt. Hon. The Earl of Meath. 
 
 Field- Marshal The Lord Roberts of 
 Kandahar, 
 
 G.C.B., G. C.S.I., G.C.I.E., Y.C. 
 The Rt. Hon. The Lord Burton. 
 
 The Hon. Sir H. Stafford Northcote, 
 Bart., C.B., M.P. 
 
 The Rt. Hon. A. J. Mundella, M.P. 
 
 The Rt. Hon. Sir Bernard Samuelson, 
 Bart., F.R.S. 
 
 The Rt. Hon. Professor F. Max Muller. 
 
 T he Rt. Hon. Sir John Kennaway, 
 
 Bart., M.P. 
 
 Sir J. S. Barrington Simeon, Bart., 
 
 M.P. 
 
 Sir Daniel Cooper, Bart., G.C.M.G. 
 
 Sir William Agnew, Bart. 
 
 Sir Edward Burne Jones. 
 
 Sir Richard Webster, Q.C., G.C.M.G., | 
 
 M.P. 
 
 Captain Sir Douglas Galton, R.E., 
 
 K.C.B., F.R.S. 
 
 Admiral Sir F. Leopold M’Clintock, 
 
 K.C.B., F.R.S., D.C.L., L.L.D. 
 Colonel Sir Edward S. Hill, K.C.B., 
 
 M.P. j 
 
 Major-General Sir John Donnelly, 
 
 R.E., K.C.B. 
 
 Sir Augustus W. Franks, K C.B., F.R.S. j 
 Sir Clements Markham, K.C.B. , F.R.S., : 
 
 President Royal Geographical Society, j 
 Sir Charles E. Bernard, K C.S.I. 
 Major-General Sir Oliver R. Newmarch, 
 K.C.S.I. 
 
 Sir Benjamin Baker, K.C.M.G. 
 
 Sir David Evans, K.C.M.G. 
 
 Sir C. M. Kennedy, K.C.M.G., C.B. 
 
 Sir George Birdwood, K.C.I.E., 
 
 C.S.I., M.D., L.L£). 
 Sir Edwin Arnold, K.C.I.E., C.S.I. 
 
 Sir Arthur Sullivan, Mus. Doc., 
 
 Hon. R.A.M. 
 
 Colonel Sir C. Howard Vincent, C.B., 
 
 M.P. 
 
 Sir William Anderson, D.C.L., K.C.B. 
 Sir Philip Magnus. 
 
 Sir A. C. Mackenzie, Mus. Doc., 
 
 P.R.A.M. 
 
 Sir Owen Roberts, M.A., D.C.L., F.S.A. 
 Sir Arthur W. Blomfield, M.A., A.R.A. 
 Sir H. Trueman Wood, M.A. 
 
 Sir Henry Waring. 
 
 Sir James D. Linton, P.R.I. 
 
 Sir Henry Irving. 
 
 The Rev. Norman Macleod Ferrers 
 D.D., F.R.S., Muster of Gonville 
 and Caius College, Cambridge. 
 
 The Rev. Bartholomew Price, D.D., 
 F.R.S., Master of Pembroke 
 College, Oxford, and Canon of 
 Gloucester. 
 
 The Rev. James H. Rigg, D.D., 
 
 Principal of the Westminster 
 Training College. 
 
 Professor W. C. Roberts-Austen, C.B., 
 
 F.R.S. 
 
 R. Thorne Thorne, Esq., M.D., C.B., 
 
 F.R.S. 
 
 W. H. Preece, Esq., C.B., F.R.S. 
 
 J. C. Lamb, Esq., C.B., C.M.G. 
 
 R. E. Sprague Oram, Esq., C.B. 
 
 ' General James Michael, C.S.I. 
 
 I A. J. R. Trendell, Esq., C.M.G. 
 
 1 Walter H. Harris, Esq., C.M.G. 
 
7 
 
 HONORARY COMMITTEE OF AMtCE-oontinued. 
 
 C. Purdon Clarke, Esq., C.I.E. 
 
 Arthur N. Woolaston, Esq., C.I.E. „ 
 Edmund Neel, Esq., C.I.F. 
 
 Robert Farquharson, Esq., M.D., M.P. 
 Charles Harrison, Esq., M.P. 
 
 James W. Lowther, Esq., M.P. 
 
 C. J. Monk, Esq., M.P. 
 
 Thomas Brock, Esq., R.A. 
 
 J. B. Burgess, Esq., R.A. 
 
 E. Onslow Ford, Esq., R.A. 
 
 W. P. Frith, Esq., R.A. 
 
 Peter Graham, Esq., R.A. 
 
 Professor Hubert Herkomer, R.A. 
 
 J. C. Horsley, Esq , R.A. 
 
 H. Stacey Marks, Esq., R.A. 
 
 J. MacWhirter, Esq., R.A. 
 
 W. Q. Orchardson, Esq., R.A. 
 Valentine C. Prinsep, Esq., R.A. 
 Briton Riviere, Esq., R.A. 
 
 G. F. Watts, Esq., R.A. 
 
 Frank Bramley, Esq., A. R.A. 
 
 George Clausen, Esq., A. R.A. 
 
 E. J. Gregory, Esq., A.R.A. 
 
 Arthur Hacker, Esq., A.R.A. 
 
 Colin Hunter, Esq., A.R.A. 
 
 Seymour Lucas, Esq., A.R.A. 
 
 David Murray, Esq., A.R.A. 
 
 John Sargent, Esq., A.R.A. 
 
 Solomon J. Solomon, Esq., A.R.A. 
 
 G. A. Storey, Esq., A.R.A. 
 
 John M. Swan, Esq., A.R.A. 
 
 W. L. Wyllie, Esq., A.R.A. 
 
 Professor W. E. Ayrton, F.R.S. 
 
 George Alexander, Esq. 
 
 S. B. Bancroft, Esq. 
 
 Edward Baring-Gould, Esq. 
 
 Oscar Barrett, Esq. 
 
 Wilson Barrett, Esq. 
 
 W. A. Baskcomb, Esq. 
 
 W. Bendall, Esq. 
 
 D. J. Blaikley, Esq. 
 
 J. F. Bridge, Esq., Mus. Doc., 
 
 Gresham Professor. 
 
 F. Travers Birdwood, Esq. 
 
 C. I. Boosey, Esq. 
 
 T. Craig Brown, Esq. 
 
 J. Comyns Carr, Esq. 
 
 J. S. Clarke, Esq. 
 
 F. H. Cowen, Esq., Hon. R.A.M. 
 
 F. Cellier, Esq. 
 
 T. Chappell, Esq. 
 
 R. M. Cocks, Esq. 
 
 Major Craigie, F.S.S. 
 
 W. H. Cummings, Esq., F.S.A., Hon. 
 R.A M., Principal of the Guildhall 
 School of Music. 
 
 J. Spencer Curwen, Esq., F.R.A.M., 
 
 President Tonic-Sol-Fa College. 
 
 G. Donaldson, Esq. 
 
 James Dredge, Esq. 
 
 T. Arthur Duncan, Esq., J.P. 
 
 George Edwardes, Esq. 
 
 Francis Elgar, Esq., F.lt.S. , L.L.D. 
 
 T. H. Elliott, Esq., F.S.S. 
 
 E. Enoch, Esq. 
 
 Charles S. Fagan, Esq., F.R.G.S. 
 
 C. Le. Neve Foster, Esq., D.Sc. 
 
 W. Ganz, Esq. 
 
 Algernon Graves, Esq., F.S.A. 
 
 W. S. Gilbert, Esq. 
 
 Siefano Gatti, Esq. 
 
 Otto Goldschmidt, Esq., 
 
 Hon. R.A.M. , RC.G 
 
 J. Grego, Esq. 
 
 J. M. Garrard, Esq., 
 
 Edward German, Esq. 
 i Professor D. E. Hughes, F.R.S. 
 
 ! Arthur G. Hill, Esq., M.A., F.S.A. 
 
 : Arthur Frederick Hill, Esq. 
 
 | A. J. Hipkins, Esq. 
 j G. T. Harper, Esq., J.P. 
 
 Victor Horsley, Esq., F.R.S. 
 
 Marcus B. Huish, Esq. 
 
 Rudolf Lehmann, Esq. 
 
 ; Alfred Littleton, Esq. 
 
 I Arthur J. Lewis, Esq. 
 
 | Hamish MacCunn, Esq. 
 
 W. R. Mallett, Esq. 
 
 J. M. McLaren, Esq., J.P. 
 
 Dr. W. G. McNaught. 
 
 C. Lloyd Morgan, Esq., 
 
 Principal University College, Bristol. 
 Sir Herbert "S. Oakeley. Mus. Doc. 
 Edmund Oldfield, Esq., F.S.A. 
 Jonathan Peate, Esq. J.P. 
 
 Hubert Parry, Esq., Mus., Doc., 
 Director of the Royal College of Music. 
 J. Paxman, Esq. 
 
 A. W. Pinero, Esq. 
 
 A. W. Rucker, Esq., M.A., F.R.S. 
 
 Cav. A. Randegger, Hon. R.A.M. 
 
 J George Rose, Esq. 
 i Edwin 0. Sachs, Esq. 
 
 Horace A. D. Seymour, Esq. 
 
 ; G. R. Sims, Esq. 
 
 : Clement Scott, Esq. 
 
 R. Phene Spiers, Esq. 
 
 Alexander Siemens, Esq. 
 
 C. E. Spagnoletti, Esq. 
 
 W. Barclay Squire, Esq. 
 
 G. A. Storey, Esq.. A.R.A. 
 
 C. Villiers Stanford, Esq., Mus. Doc.. 
 Professor of University of Cambridge, 
 j Professor S. P. Thompson, F.'i.S. 
 
 ; W. A. Tilden, Esq., D.Sc., F.R.S. 
 
 J Edward Terry, Esq. 
 
 H. Beerbohm Tree, Esq. 
 
 W. P. Viccars, Esq. 
 
 i Albert Visetti, Esq. 
 
 Mark Whitwf.ll. Esq. 
 
 Henry J. Wood, Esq. 
 
 Charles Wyndham, Esq. 
 
I CHAMPAGNE 
 
 Louis roeperer. 
 
 1892, CUYEE E, EXTRA DRY & BRUT. 
 1889, CUYEE P, EXTRA DRY & BRUT. 
 
 T HIS CELEBRATED CHAMPAGNE used formerly to 
 be somewhat sweet, but, to meet the public taste, its 
 style was altered early in 1894, since when it has only 
 been shipped either VERY DRY or BRUT. 
 
 The above-mentioned Cuvees Vintages 1889 and 1892, will be 
 found to be of unsurpassed quality, and are strongly recommended. 
 
 Consumers who wish to obtain the genuine LOUIS ROEDERER 
 Champagne are earnestly requested to ascertain that the name of 
 
 LOUIS ROEDERER is on the Label and the Corks branded 
 
 lHsoederer, 
 
 THURSTON 
 
 Alone in 
 1814. 
 
 The Parent House 
 of 
 
 The Trade. 
 
 & co. 
 
 LTD. 
 
 Foremost in 
 1897. 
 
 BILLIARD TABLES. 
 
 Sole Warrant of Her Majesty, The Queen. 
 
 By Appointment to H.R.H. The Prince of Wales. 
 
 THURSTON & CO. are the Patentees and introducers of 
 ALL the chief and permanent improvements in Billiard 
 Tables, from the original Rubber Cushions and Slate Bed 
 early in the Century* to the “ PERFECT” LOW CUSHION 
 now in use on Her Majesty’s Tables at Windsor Castle, 
 Buckingham Palace and Osborne. 
 
 All Billiard Requisites of Best Quality and Finish. Prices Moderate. 
 
 Show Room : 16. CATHERINE ST. STRAND, W.C. 
 
UNDER REVISION. 
 
 DRAMA SECTION. 
 
 HONORARY SUB-COMMITTEE. 
 Sir Henry Irving, Chairman. 
 
 Charles Wyndham, Esq., Vice-Chairman. 
 
 George Alexander, Esq. 
 S. B. Bancroft, Esq. 
 Wilson Barrett, Esq. 
 Oscar Barrett, Esq. 
 
 J. Comyns Carr, Esq. 
 
 J. S. Clarke, Esq. 
 George Edwardes, Esq. 
 Stefano Gatti, Esq. 
 
 W. S. Gilbert, Esq. 
 
 A. W. Pinero, Esq. 
 Edwin O. Sachs, Esq. 
 Clement Scott, Esq. 
 
 G. R. Sims, Esq. 
 
 Edward Terry. Esq. 
 
 H. Beerbohm Tree, Esq. 
 Mrs. M. A. Keeley. 
 
 Austin Brereton, Esq., Hon. Sec. 
 
INTRODUCTION. 
 
 The debb which dramatists owe to the actor is a heavy one. It has 
 always been so. It is likely to remain so. “ The play’s the thing ” 
 is a common cry, too often reiterated of late at the expense of the 
 player. Shakespeare’s genius owes much to the stage and to the 
 successive generations of actors who have so brilliantly interpreted 
 it. From Betterton to Garrick and Edmund Kean is a far cry, but 
 those great actors brought Shakespeare home to the people, thanks 
 to their understanding and ability, and, in the case of Kean, with a 
 brilliancy and power equal to that of the dramatist himself. But the 
 actors and the actor-managers of the Victorian Era have done even 
 more than their illustrious predecessors to illustrate Shakespeare. 
 Macready did away with the mingling of Colley Cibber and Garrick 
 with Shakespeare, and played from the text, a fact which should 
 always b3 remembered. He gave a dignity t ) the actor’s calling 
 which it much needed sixty years ago. Here is an extract from 
 his announcement to the public on assuming the reins of man- 
 agement of Covent Garden in 1838 : “ No exertion will be spared 
 in presenting the National Drama, whether as a branch of 
 literature or as a department of art, with every advantage. 
 The revival of the standard plays of Shakespeare in the genuine 
 text of the poet will be persevered in with increased activity, 
 and without regard to expense in attaining the utmost fidelity 
 of historic illustration.” Macready kept his word, and, with 
 a company which included Anderson, Phelps, Harley, and 
 many another excellent actor, and with the young and beau- 
 tiful Helen Faucit (now Lady Theodore Martin) to interpret the 
 heroines, he staged Shakespeare with a completeness hitherto un- 
 approached, and with fidelity to the text. And, without Macready, 
 the dramatists of his time would have fared badly. His knowledge 
 of the stage was of the greatest value to Bulwer Lytton, for 
 
12 
 
 instance, in “ The Lady of Lyons,” produced on February 15, 1838, 
 and in “ Richelieu,” first acted by Macready, on March 7, 1839. 
 It is a trite saying that “good parts make good actors.” But 
 many a doubtful play has been carried to success by the knowledge 
 of the stage which was possessed by the actor, a circumstance too 
 often forgotten by the dramatic author. The Robertsonian plays 
 would not have lived without the delicate treatment which they 
 received at the hands of Mr. and Mrs. Bancroft. And I suspect 
 that the late W. G. Wills, poet as he was, owed something of his 
 success to the restraining influence and suggestion of Henry Irving. 
 
 In regard more especially to Shakespeare, the public owe much 
 to his interpreters. The good work started at the commencement of 
 the Victorian Era by Macready, was carried on by Charles Kean at 
 the Princess’s, and by Phelps at Sadler’s Wells — with what care and 
 beauty will be seen by the sketches from the latter productions 
 which hang upon our walls. This fino example was followed in 
 Manchester by Charles Calvert, whose revivals will always be 
 remembered with delight and profit. So much for the immediate 
 past. The latter-day revivals of Shakespeare are fresh in the public 
 mind, and need not be enumerated. But there is no brighter chapter 
 in the history of the English stage than the long list of Shakespeare’s 
 plays presented on the Lyceum stage by Henry Irving, from his 
 princely Hamlet — the most human Hamlet that the stage has known 
 — on October 31, 1874, to Richard III. on December 19, 1896. 
 
 It has been my pleasant task to help, during the last six months, 
 ingathering together a collection — some ten hundred in number — of 
 portraits, oil paintings, water colours, and engravings — and other 
 mementos — playbills, autograph letters, and curios of various sorts 
 — of the distinguished actors and actresses of the English stage 
 of the Queen’s reign. The work has been a labour of love, and the 
 readiness with which the possessors of these objects — many of 
 which are unique and of great value — have lent their treasures, 
 is a proof of the esteem in which the stage is now held; and, 
 while the public will be interested in this collection, in this 
 historic gallery of departed favourites and friends happily still 
 with us, I hope that the actors themselves will regard it as a 
 tribute to their position and their popularity. It is to be noted 
 that, while the Drama Section of the Victorian Era Exhibition is 
 confined to the English stage, it does not exclude “foreign” 
 
13 
 
 actors from its walls. It is not within its scope to include those 
 players who have come to London merely as transient guests, 
 bub in cases where the visitor has become identified with our 
 stage, he or she is represented. Thus we are able to present 
 portraits and autographs of Fechter, together with some valuable 
 costume designs drawn by his own hand for his Lyceum productions, 
 a very rare portrait of Edwin Booth, and oil paintings of Joseph 
 Jefferson as Bob Acres and Bip van Winkle, while Augustin Daly’s 
 management in London has its illustration in a large pastel portrait 
 of Miss Ada Behan as Lady Teazle; Miss Mary Anderson, and 
 other American players of prominence, have not been forgotten. 
 
 Austin Brereton. 
 
MAIN HALL. 
 
 7 he following Set Scenes have been kindly 
 Lent by the respective Manage s : — 
 
 LYCEUM THEATRE. 
 
 “Charles the First.” 
 
 Painted by HAWES CRAVEN. Lent by Sir HENRY IRVING. 
 
 CRITERION THEATRE. 
 
 44 Rosemary.” 
 
 Painted by WALTER HANN. Lent by CHARLES WYNDHAM, Esq. 
 
 ADELPHI THEATRE. 
 
 44 Black Ey’d Susan.” 
 
 Lent by Messrs. A. & S, GATTi, 
 
 ST. JAMES’S THEATRE. 
 
 44 As You Like It.” 
 
 Painted by H. P. HALL. Lent by GEORGE ALEXANDER, Esq. 
 
 HER MAJESTY’S THEATRE. 
 
 44 Hamlet.” 
 
 Painted by W. TELB1N. Lent by H. ^EERBOHM TREE, Esq. 
 
 DRURY LANE THEATRE. 
 
 44 Aladdin.” 
 
 Painted by HENRY EMDEN. Lent by OSCAR BARRETT, Esq. 
 
 SAVOY THEATRE. 
 
 44 The Mikado.” 
 
 Lent by R. D’OYLY CARTE, Esq. 
 
DRAMA CATALOGUE. 
 
 MAIN HALL, 
 
 1. Portrait of Grimaldi (1779-1887) and Playbill of his last appearance in public, 
 Friday, June 27, 1828, in “Jonathan in England.” Engraving; lent by 
 Win. Wright, Esq. 
 
 2. Water-colour and pencil-drawing portraits of Charles Kemble, and auto- 
 graphs. Lent by Wm. Wright, Esq. 
 
 3. Design by Her Majesty Queen Victoria for scene in Racine’s “ Athalie.” 
 Engraving; lent by E. H. Corbould, Esq., R.I. January, 1853. 
 
 4. Proof engraving of Charles Mathews, John Liston, William Blanchard, and 
 Sam Emery, in “Love, Law, and Physic.” By G. Clint, R.A., 1841 ; lent by 
 Mrs. E. L. Blanchard. 
 
 5. Engraving of Kemble as Don Felix , 1840. Lent by Rev. Hector de Courcelles, 
 M.A. 
 
 6. Coloured print of Grimaldi as the Bold Dragoon in “The Red Dwarf.” 
 Lent by Miss Sarah Thorne. 
 
 7. Three coloured engravings of Grimaldi. Lent by Miss Sarah Thorne. 
 
 8. View of Richardson’s Show. By J. Walmsley ; lent by Wm. Wright, Esq. 
 
 9. Coloured prints of Madame Vestris as Venus in “ Oberon,” and Fatima in 
 “ The Paphian Bower.” Lent by Wm. Wright, Esq. 
 
 10. Print of Paul Bedford as Jean Piednoir, and two photographs of Paul 
 Bedford and J. L. Toole in character, and autograph. Lent by Wm. 
 Wright, Esq. 
 
 11. Coloured print of the Reading Theatre. Lent by John Llewellyn, Esq. 
 
 12. Coloured print of Chichester Theatre. Lent by John Llewellyn, Esq. 
 
 13. Water-colour of Mrs. Frank Mathews. By T. Harrington Wilson ; lent by 
 Ben Webster, Esq. 
 
 14. Coloured print of Grimaldi in “The Golden Fish.” Lent by Miss Sarah 
 Thorne. 
 
 15. Richardson’s Show, original drawing, 1816. By Rowlandson ; lent by Wm. 
 Wright, Esq. 
 
 16. “Comedy in the Country, Tragedy in London.” Coloured caricature by 
 Rowlandson ; lent by Wm. Wright, Esq. 
 
 17. Three engraved portraits of Priscilla Horton. Lent by Wm. Wright, Esq. 
 
 18. Portrait of Phelps, and autograph. Lent by Wm. Wright, Esq. 
 
 19. Water-colour of scene from “The Cricket on the Hearth.” Mrs. Keeley, 
 Mr. Keeley, Miss Keeley. By T. Harrington Wilson, 1846 ; lent by Edward 
 Nelson Haxell, Esq. 
 
 20. Coloured print of Grimaldi as clown, and autograph letter, 1832. Lent by 
 Wm. Wright, Esq. 
 
 21. Coloured caricature of Liston as Paul Pry. Lent by Miss Sarah Thorne. 
 
 22. Bartholomew Fair, coloured print. By Rowlandson ; lent by Wm. Wright, Esq. 
 
 23. Coloured print of Richardson’s £>how at Marlow Fair, 1805, Lent by Wm. 
 Wright, Esq. 
 
16 
 
 24. Two coloured prints, views of Richardson’s Show. Lent by Wm. Wright, 
 Esq. 
 
 25. Coloured print of Exeter Theatre. Lent by John Llewellyn, Esq. 
 
 26. Water-colour portrait of O’Smith. 1N40. By T. Harrington Wilson ; lent by 
 Ben Webster, Esq. 
 
 27. Two print portraits of Mrs. Honey, 1832-1837. Lent by Wm. Wright, Esq. 
 
 28. Print portraits of Mr. and Mrs. Chas. Kean, and autograph, 1828. Lent by 
 Wm. Wright, Esq. 
 
 29. Coloured print of Brighton Theatre. Lent by John Llewellyn, Esq. 
 
 30. Lithograph of Chas. Kean as Louis XI ., with autograph. Lent by Mrs. 
 F. M. Paget. 
 
 31. Engraved coloured portrait of Chas. Kean, with playbill of his first appear- 
 ance as Norval, October 1, 1827. Lent by Wm. Wright, Esq. 
 
 32. Print of Eanny Cerrito as La Gitana. Lent by Wm. Wright, Esq. 
 
 33. Oil painting, the “ Forum Scene ” from “ Julius Caesar.” By G. E. Robert- 
 son ; lent by J. H. Leigh, Esq. Exhibited in the Royal Academy, 1895. 
 
 34. Water-colour, Vauxhall Gardens. By Rowlandson. 1785; lent by Wm. 
 Wright, Esq. 
 
 35. Two coloured engravings of Liston in “ Deaf as a Post ” and “ Paul Pry.” 
 Lent by Wm. Wright, Esq. 
 
 36. Coloured portrait of J. P. Harley, with autograph, 1837. Inscription to 
 Chas. Dickens ; lent by Wm. Wright, Esq. 
 
 37. Coloured caricature of Liston as Moll Flagon in “ The Lord of the Manor.” 
 Lent by Miss Sarah Thorne. 
 
 38. Coloured caricature of Liston as Tristram Sappy in “ Deaf as a Post.” 
 Lent by Miss Sarah Thorne. 
 
 39. Coloured engraving of Vauxhall, 1753. Lent by Wm. Wright, Esq. 
 
 40. Engraving of Vauxhall Gardens, and ticket of admission (June 7, 1732). 
 Lent by Wm. Wright, Esq. 
 
 41. Engraving of Macready, and three autographs. Lent by Wm. Wright, Esq. 
 
 42. Coloured print of Richmond Theatre. Lent by John Llewellyn, Esq. 
 
 43. Coloured print of Andover Theatre. Lent by John Llewellyn, Esq. 
 
 44. Water-colour portrait of Miss Reynolds. By Scanlon ; lent by Arthur Hood, 
 Esq. 
 
 45. Coloured caricature of Liston as Sam Swipes in “ Exchange no Robbery.” 
 Lent by Miss Sarah Thorne. 
 
 46. Coloured caricature of Liston as Billy Lackaday , in “ Sweethearts and 
 Wives.” Lent by Miss Sarah Thorne. 
 
 47. Coloured engraving of Vauxhall, 1751. Lent by Wm. Wright, Esq. 
 
 48. Engraving of Vauxhall Gardens, 1841, with portrait of Jullien. By A. 
 Crowquill ; lent by Wm. Wright, Esq. 
 
 49. Engraving of Charles Kemble, after painting by G. H. Harlow. Lent by 
 Wm. Wright, Esq. 
 
 50 Portrait of Macready on the night of his farewell performance, and engraving 
 of testimonial. By T. H. Scott ; lent by Wm. Wright, Esq. 
 
 51. Water-colour portrait of William Blanchard, comedian (father of E. L. 
 Blanchard), in character. Lent by Mrs. E. L. Blanchard. 
 
 52. Coloured caricature of Liston as Lubin Log in “ Love, Law, and Physic.” 
 
 Lent by Miss Sarah Thorne. 
 
 53. Coloured caricature of Liston as Van Dunder in “ ’Twould Puzzle a 
 Conjuror.” Lent by Miss Sarah Thorne. 
 
 54. Engraving of Vauxhall Gardens, general view, 1751. Lent by Wm. Wright, 
 Esq. 
 

Victorian Era Exhibition , 1897 . 
 
 X T E N S I O 
 
 I L W A Y 
 
 1. Warwick Road Entrance. 
 
 2. Scientific Seotion. 
 
 8. Economic Section. 
 
 4. Cloak Room. 
 
 5. Commercial and Industrial 
 
 Seotion (1st Division). 
 
 6. Floral Fountain. 
 
 7. New Music Pavilion. 
 
 8. Lake. 
 
 9. Electric Boat Station. 
 
 10. Jubilee Bridge. 
 
 11 Jubilee Garden. 
 
 12. Island. 
 
 13. Rockery. 
 
 14. West Brompton Entrance. 
 
 15. Victoria Bridge. 
 
 16. Victorian Garden. 
 
 17. Belvedere Tower. 
 
 18. Historical & Commemorative 
 
 Section (1st Division). 
 
 19. General Fine Art Seotion. 
 
 90. Music Room. 
 
 21. Old Bridge. 
 
 22. Polioe and Fire Station. 
 
 23. Central Hall. 
 
 24. Musical Instruments Divi- 
 
 sion of Musio Seotion, 
 
 25. Musioal Publications Divi- 
 
 sion of Musio Seotion. 
 
 26. Music and Drama Sections. 
 
 27 . Empress Theatre Promenade. 
 
 28. Company's Offices. 
 
 29. Lillie Road Entrance. 
 
 80. Diet. Rly. Booking Offices. 
 
 81. Electric Power House, 
 
 32. Womau’s Work Section (His- 
 torical Sub-Division). 
 
 33. Do. (District Nursing Sub- 
 
 Division). 
 
 34. Do. (Hospital Work Sub- 
 
 Divisiou). 
 
 85. Do. (Fine Art Sub-Division). 
 
 86. Do. do. 
 
 87. Do. do. 
 
 38 Do. (Ladies’ Committee Boom 
 and Secretary's Office). 
 
 89. Do. (Art Schools Division). 
 
 40. Do. (Patents by Women and 
 
 Philanthropy). 
 
 41. Do. (Music Room). 
 
 42. Do. (Role of Honor). 
 
 43. Do. (Mrs. Meredith’s Prison 
 
 Mission). 
 
 44. Do. (Philanthropy). 
 
 45. Do. do. 
 
 46. ( Do. (Applied Arts Sub-Divi- 
 47. 1 sion. 
 
 48. Do. (General Educational 
 
 Sub-Division. 
 
 49, Do. (Kindergarten). 
 
 60. Do. (Demonstration Room). 
 
 61. Do. (Industrial Division). 
 
 52. Post Office. 
 
 63. Commercial and Industrial 
 Seotion (2nd Division). 
 
 54. Music Pavilion. 
 
 65. Pioturesque England. 
 
 56. Commercial and Industrial 
 
 Seotion (3rd Division). 
 
 57. Sports Seotion, 2nd Division 
 
 of Historical and Com- 
 memorative Seotion. 
 
 65. 
 
 Coronation Fair. 
 Marionette Theatre. 
 Richardson's Show. 
 Rifle RaDge. 
 
 Show. 
 
 Show (Illusionist). 
 
 - Pepper's Ghost Show. 
 
 66. Show. 
 
 67. Ecoentrio Photographer. 
 
 68. Show. 
 
 69. Show. 
 
 70. Illusion d’Art. 
 
 73. Ore Extraction. 
 
 J- Exhibits. 
 
 76. Rollason’s Wind Motor, 
 
 77. West Kensington Entrance. 
 
 78. Elysia Bridge, 
 
 79. Sanger’s Circus. 
 
 80. Soientifio Show 
 
 81. Entranoe t.> Switohbaok Rly. 
 
 82. Infant Inoubator. 
 
 83. Panorama of Auciont Rome. 
 
 84. Lecture Hall, Women's Work 
 
 Seotion & Pantomimograph . 
 
 85. North End Road Entranoe. 
 
 86. Arcade izaar. 
 
 87. Welcome Club. y Gentlemen’ 
 
 88. Musio Pavilion. A Lavatory. 
 
 89. Electrophone, 
 
 90. Fair Bridge. Mr Ladies' 
 
 ^ T.avafnpv- 
 
 RESTAURANTS (A. Quadrant Restaurant E. Western Bar. Ga. Theatre Bar. 
 
 P. Viotoria Bar. 
 
 REFRESHMENT ) C. Rotunda Bar. 
 BAR8. ( D. Chop House. 
 
 I. Refreshment Bar. N. Canteen. R. Viotoria Restaurant. 
 
 J. O. Bridge Bar. S. Loggia Bar. 
 
 T. Lager 
 
 Beer 
 
 Hall. 
 
Considerable attention has been drawn to the above beautiful little Island, on accou 
 
 of the disastrous floods and the distress caused thereby, and for which the Secretary 
 
 State for the Colonies, the Right Hon. J. Chamberlain, made a public appeal. 
 
 “MONTSERRAT” is the source of PURE Lime Fruit Juice. 
 
 “MONTSERRAT” Lime Fruit Juice is the most Refreshin; 
 Cooling, and Healthful Beverage. 
 
 “MONTSERRAT’’ Lime F ruit Juice and Cordials 
 have imitations, therefore CAUTION should be 
 exercised to see that the Trade Mark is on 
 capsule and label of each bottle, as well as 
 name of Sole Consignees — 
 
 EVANS, SONS & CO., Liverpool 
 
 Also LONDON, SYDNEY, MELBOURNE, PARIS, dc. 
 EVANS & SONS, Ltd., Montreal ^orTTc^Bo^ u.s. 
 
 THE 
 
 Island of Montserrat, W.I. 
 
 From all Chemists, Grocers, Wine Merchants, &c., everywhere. 
 
17 
 
 55. Engraving of Vauxhall Gardens. Benefit of Simpson, who was master of 
 the ceremonies for 37 years. Drawn by R. Cruikshank. Pictures also of 
 Grand Saloon ; lent by Wm. Wright, Esq. 
 
 5G. Portrait and caricature of Macready (Self Esteem). Lent by Wm. 
 Wright, Esq. 
 
 57. Coloured print of Bath Theatre. Lent by John Llewellyn, Esq. 
 
 58. Sketch for Transformation Scene. By the late W. Telbin ; lent by T. 
 Harrington Wilson, Esq. 
 
 59. Coloured caricature of Liston as Paul Pry, &c. Lent by Miss Sarah Thorne. 
 
 60. Coloured caricature of Liston as Simon Pengander in “Twix Cup and 
 Lip.’’ Lent by Miss Sarah Thorne. 
 
 61. Coloured engraving of Vauxhall Gardens. By T. Wale, 1751 ; lent bj ? 
 William Wright, Esq. 
 
 62. Fanny Cerrito in “Une Soiree de Carnaval.” Lent by William Wright, 
 Esq. 
 
 63. Engraving of Mrs. Walter Lacy. (Miss Taylor). Lent by Rev. H. de Cour- 
 celles, M A. 
 
 64. Coloured print of Newbury Theatre. Lent by John Llewellyn, Esq. 
 
 65. Water-colour portrait of E. L. Blanchard, when a child. Lent by Mrs. E. L. 
 Blanchard. 
 
 66. J. L. Toole, 1892. Lent by J. L. Toole, Esq. 
 
 67. Portrait of Augustus Harris, senior. Lent by Lady Harris. 
 
 68. Portrait of Henry Irving. Lent by Messrs. Window & Grove. 
 
 69. Portrait of Oscar Barrett. Lent by Oscar Barrett, Esq. 
 
 70. Photographic group of “ Diplomacy ” at the Garrick Theatre, 1893. Lent by 
 Messrs. Window & Grove. 
 
 71. Edmund Maurice as Taffy in “Trilby.” Tinted photograph; lent by 
 Edmund Maurice, Esq. 
 
 72. Portrait of G. R. Sims. Lent by Alfred Ellis, Esq. 
 
 73. Portrait of the late John O’Connor, R.I. Lent by Mrs. O’Connor. 
 
 74. Miss Annie Hughes as Little Lord Fauntleroy. Lent by Mrs. E. Maurice. 
 
 75. Engraving of Frederic Lemaitre as Robert Macaire. Lent by Wm. Wright, 
 Esq. 
 
 76. Coloured portrait of Henry Russell, composer and entertainer. Lent by 
 
 Wm. Wright, Esq. 
 
 77. Proof engraving of Geo. Jones as Hamlet. Lent by Wm. Wright, Esq. 
 
 78. Coloured print of Taglioni, and autograph. Lent by Wm. Wright, Esq. 
 
 79. Coloured engraving of Macready as Romeo. By Woodman ; lent by Wm. 
 Wright, Esq. 
 
 80. Coloured engraving of Benjamin Webster. Lent by Wm. Wright, Esq. 
 
 81. Coloured print of Charles Kean as Richard II T. Lent by Wm. Wright, Esq. 
 
 82. Engraving of Douglas Jerrold. Lent by Mrs. Woodin. 
 
 83. Two engravings of Mrs. Fitzwilliam. Lsnt by Wm. Wright, Esq. 
 
 84. Water-colour drawing of Edward Wright as Paul Pry. Lent by T. 
 Harrington Wilson, Esq. 
 
 85. Crayon drawing of Miss Kate Santley, by Val Prinsep,R.A. Lent by Miss K. 
 
 Santley. 
 
 86. Portrait of Samuel Phelps. Lent by Wm. Wright, Esq. 
 
 87. Coloured print of Walbourn as Dusty Bob. By Cruikshank ; lent by Wm. 
 Wright, Esq. 
 
 88. Coloured portrait of J. B. Buckstone, and autograph. Lent by Wm. Wright, 
 Esq. 
 
 89. Portrait of Ben Webster. Oil painting; lent by E. A. Lewis, Esq. 
 
18 
 
 90. Six portraits of Marie Taglioni. After A. E. Challon, R A. ; lent by Charles 
 Ellis, Esq. 
 
 91. Coloured drawing of Macreadyas Lear. Lent by T. Harrington Wilson, Esq. 
 
 92. Engraving of Madame Celeste as The Maid of Cashmere. Lent by Wm. 
 Wright, Esq. 
 
 98. Coloured portrait of Mrs. Keeley as Orange Moll in “ Nell Gwynne,” and 
 autograph. Lent by Wm. Wright, Esq. 
 
 94. Poker drawing of Wm. C. Macready. Lent by Edward Terry, Esq. 
 
 94a. Oil painting of Miss Tree as Viola Lent by Mrs. F. M. Paget. 
 
 95. Three oil painting portraits of Mrs. Keeley in character. By Drummond, 
 R.A. ; lent by J. R. Thomas, Esq. 
 
 96. Helen Faucic (Lady Theodore Martin) as Antigone. Engraving after Sir F. 
 Burton ; lent by Miss E. Bessie. 
 
 97. Two coloured portraits of Fechter. Lent by Wm. Wright, Esq. 
 
 98. Portrait of Edw. Fitzwilliam. By J.P. Knight; lent by Walter Withall, Esq. 
 
 99. Water-colour drawing of F. Robson (1821-1864). Lent by Wm. Wright. 
 
 100. Two coloured portraits of Madame Vestris. Lent by Wm. Wright. Esq. 
 
 101. Coloured drawing of Joseph Manyard in “The Forty Thieves,” 1850 
 Lent by T. Harrington Wilson, Esq. 
 
 102. Coloured drawing of Miss Rebecca Isaacs in “ The Daughter of the 
 Regiment.” Lent by T. Harrington Wilson, Esq. 
 
 103. Crayon portrait of the late E. L. Blanchard. Lent by Mrs. E. L. Blanchard. 
 
 104. Coloured print of W. C. Evans as Sam in “Riising the Wind.” Lent by 
 Wm. Wright, Esq. 
 
 105. Coloured portrait of Ben Webster, and autograph letter of Charles Dickens, 
 1816. Lent by Wm. Wright, Esq. 
 
 106. Engraving of Miss Foote as Maria Darlington in “ A Roland for an Oliver.” 
 Lent by Miss Clara Lee. 
 
 107. Coloured portrait of Jane Sherriff as Amilie, 1836. Lent by Wm. Wright, 
 
 Esq. 
 
 108. Mr. Mackay as Bailie Nicol Jarvie. Engraving, from a painting by Wm. 
 Allan, A. R.A ; lent by Wm. Wright, Esq. 
 
 109. Coloured portrait of W. H. West Betty, “The Young Roscius,” and 
 autograph. Lent by Wm. Wright, Esq. 
 
 110. Portrait of Madame Rachel, and autograph. Lent by Wm. Wright, Esq. 
 
 111. Coloured portrait of T. P. Cooke, and autograph. Lent by Wm. Wright, 
 Esq. 
 
 112. Coloured portrait of Jenny Lind, and autograph. Lent by Wm. Wright, 
 Esq. 
 
 113. Water-colpur of Mrs. Charles Kean, 1832. By Sir Wm. Ross ; lent by Mrs. 
 F. M. Paget. 
 
 114. Oil painting, portrait, Wm. C. Macready. By Bradley; lent by the 
 Brazenose Club, Manchester. 
 
 115. Portrait of Hermann Vezin by Pelegrini. Lent by T. Arthur Heighton, Esq. 
 
 116. Oil painting, portrait of Mrs. Honey. By Glass; lent by J. Rechelle 
 Thomas, Esq. 
 
 117. Oil painting, Madame Vestris. Lent by W. H. Vint, Esq. 
 
 118. “Reading a Play in the Green Room of the Adelphi Theatre.” Oil painting. 
 Lent by Ben Webster, Esq. 
 
 119. Madame Vestris as Don Giovanni. Oil painting. Lent by J. Rochelle 
 Thomas, Esq. 
 
 120. Charles Dillon as Macbeth. Oil painting. Lent by J. Hudson, Esq. 
 
 121. Portrait of Liston. Oil painting. Lent by Edward Terry, Esq. 
 
19 
 
 122. Portrait of Liston. Oil painting. By J. Clint ; lent by the Misses Meadows. 
 
 123. Portrait of S. B. Bancroft by Pelegrini. Lent by T. Arthur Heighton, 
 Esq. 
 
 124. Portrait of T. P. Cooke, 1850. Lent by Wm. Wright, Esq. 
 
 125. Portrait of Elliston, from a painting by G. H. Harlow. Lent by Miss Clara 
 Lee. 
 
 126. Macready as Werner. Engraving after Maclise. Lent by J. H. Leigh, Esq. 
 
 127. Portrait of Miss Emni Murray. Lent by H. L’oyd, Esq. 
 
 128. Portrait of Paul Bedford. Lent by Ben Webster, Esq. 
 
 129. Portrait of Emma Murray, after a painting by A. E. Challon, R. A. Lent 
 by Miss Clara Lee. 
 
 130. Portrait of Benjamin Webster. Lent by Wm. Wright, Esq. 
 
 131. Eagraving of Madame Celeste, 1847 Lent by Arthur Hood, Esq. 
 
 132. Lithograph portrait of Kathleen Fitzwilliam. Lent by Miss Clara Lee. 
 
 133. Proof engraving of Miss Woolgar as Laura in “ Sweethearts and Wives.” 
 Lent by Arthur Ho d, Esq. 
 
 134. Engraving of Liston, after a painting by G. Clint, R.A. Lent by Rev. H. de 
 Courcelles, M.A. 
 
 135. Portrait, Benj. Webster. Lent by Ben Webster, Esq. 
 
 136. Portrait of Leigh Murray. By S. Pearce ; lent by Miss Clara Lee. 
 
 137. Lithograph portrait of Samuel Phelps. Lent by Mrs. Hermann Vezin. 
 
 138. William Creswick as Claude Melnotte Lent by Wm. Wright, Esq. 
 
 139. Lithograph of Mrs. Nisbett as Zarah. Lent by Miss Clara Lee. 
 
 140. Portrait of Helen Faucit. By T. C. Middleton ; lent by J. H. Leigh, Esq. 
 
 141. Portrait of Miss Fortescue, after Lehmann. Lent by Rev. H. de Courcelles, 
 M.A. 
 
 142. Engraving of Macready as Macbeth, and autograph. Lent by Arthur 
 Hood, Esq. 
 
 143 Portrait of Thomas Dibdin. Lent by Walter Withall, Esq. 
 
 144. Engraving of Miss Stephens. From a painting by Harlow; lent by Wm. 
 Wright, Esq. 
 
 145. Engraving of Madame Rachel. By Dubufe ; lent by J. H. Leigh, Esq. 
 
 146. Lithograph portrait of Alfred Mellon. Lent by Miss Clara Lee. 
 
 147. Portrait of William Macready, 1844. Lent by Messrs. Deakin. 
 
 148. Design for Scene, “ Macbeth,” at Sadler’s Wells Theatre. By Frederick 
 Ferton; leDt by F. Fenton, Esq. 
 
 149. Design for Scene, “Winter’s Tale” at Sadler’s Wells Theatre, 1854. By 
 Frederick Fenton; lent by F. Fenton, Esq. 
 
 150. “The Laboratory. ” Scene from “The Woman in Red.” By Frederick 
 Fenton ; lent by F. Fenton, Esq. 
 
 151. Chromo-lithograph of scene from “ King John,” after Corbould, R I. Lent 
 by the Misses Fergusson. 
 
 152. Design for Scene, “ Merchtnt of Venice,” Theatre Royal, Sadler’s Wells. 
 By Frederick Fenton ; lent by F. Fenton, Esq. 
 
 153. Water-colour. “Genoa.” Scene from “The Woman in Red.” By Frederick 
 Fenton ; lent by F. Fenton, Esq. 
 
 154. Water-colour. “ Venice.” Scene from “The Woman in Red.” By Frederick 
 Fenton ; lent by F. Fenton, Esq. 
 
 155. Water-colour. “Italy, 1880,” design for act drop, Crystal Palace Opera 
 Theatre. By Frederick Fenton ; lent by F. Fenton, Esq. 
 
 156. Crayon drawing of Chas. Calvert as King Lear. Lent by Mrs. Chas. Calvert. 
 
 157. Westminster School stages in the years 1857-1897. Water-colour. By 
 Frederick Fenton ; lent by F. Fenton, Esq. 
 
20 
 
 158. Scene from “Winter’s Tale,” at the Sadler’s Wells, 1854. Water colour. 
 By Frederick Fenton ; lent by F. Fenton, Esq. 
 
 159. Exterior of Sadler’s Wells Theatre, 1847. Water-colour. By Frederick 
 Fenton ; lent by F. Fenton, Esq. 
 
 160. Chromo-lithograph of scene from the “ Corsican Brothers.” After Corbould, 
 R.I. ; lent by the Misses Fergusson. 
 
 161. Mr. Bancroft. Oil painting, by T. J. Barker. Lent by S. B. Bancroft, Esq. 
 
 162. Portrait of the late W. G. Wills. Oil painting. By himself ; lent by Rev. 
 Freeman Wills, M.A. 
 
 163. Oil painting, portrait of J. R. Planch6 at the age of eighty-three. Lent by 
 Mrs. Sydney Bendall. 
 
 161. Oil painting, portrait of the late Frederick Leslie. By Malcolm Stewart. 
 Lent by George Edwardes, Esq. 
 
 165. Oil painting of Miss Mary Moore as A da Ingot in “ David Garrick.” By 
 Helen H. Hatton. Lent by Charles Wyndham, Esq. 
 
 166. Oil painting of Charles Wyndham as David Garrick. By J. Pettie, R.A.; 
 lent by Charles Wyndham, Esq. 
 
 167. Oil painting of Miss Dolly Gaisford. By Miss Clara M. Hawkes ; lent by 
 Miss Gaisford. Exhibited in the Royal Academy, 1896. 
 
 168. Oil painting of Joseph Jefferson as Bob Acres in the Duel Scene. By 
 Frank Eugene ; lent by F. Eugene, Esq. 
 
 169. Oil painting, portrait of Arthur Bourchier, Esq. By Sigismund Goetze 
 lent by A. Bourchier, Esq. 
 
 170. Oil painting, Mrs. Bancroft. By T. J. Barker ; lent by S. B. Bancroft, 
 Esq. 
 
 171. Oil painting, portrait, Mrs. Keeley. By Miss Julia Folkard ; lent by H, 
 Beerbohm Tree, Esq. 
 
 172. Portrait, Hermann Vezin. By J. E. Stuart ; lent by J. H. Leigh, Esq. 
 
 173. Portrait of Stirling Coyne. By Lawler ; lent by Denis Coyne, Esq. 
 
 174. Portrait of Miss Irene Vanbrugh as Kitty Clive. By Sigismund Goetze ; 
 lent by Arthur Bourchier, Esq. 
 
 175. Miss Rose Leclercq as Liz in “ That Lass ’o Lowrie’s.” Lent by Miss Rose 
 
 Leclercq. % 
 
 176. Oil painting, Entry of Henry V. into London — scene from “Henry V.” 
 (Calvert revival) at the Prince’s Theatre, Manchester, 1872. By Alfred 
 Darbyshire, F.S.A., F.R.I.B.A.; lent by A. Darbyshire, Esq. 
 
 177. Oil painting, portrait, Miss Mary Anderson. By Henry Van der Weyde ; 
 lent by H. Van der Weyde, Esq. 
 
 178. Portrait of John Emery as Robert Tyke. By G. Clint, R.A. ; lent by 
 Messrs. C. and W. May. 
 
 179. Oil painting of T. P. Cooke. By J. P. Knight ; lent by Walter Withall, 
 Esq. 
 
 180. Mr. O’Smith and Master Samuel May in “ The Innkeeper’s Daughter,” 
 Drury Lane Theatre, 1837. Lent by Messrs. C. and W. May. 
 
 181. Pastel portrait of Miss Maude Millett. Lent by J. Ernest Breun, Esq. 
 
 182. Mr. Beerbohm Tree, from sketches by the Marchioness of Granby. 
 
 183. Portrait of Rose Leclercq as Lady Bellaston in “ Sophia.” Lent by Miss 
 Rose Leclercq. 
 
 184. Mr. George Alexander as Prince Rudolf in “ The Prisoner of Zenda.” Lent 
 by George Alexander, Esq. 
 
 185. Portrait of Miss Marion Terry. By H. D. Smith ; lent by Miss I). Smith. 
 
 186. Oil painting of John Sleeper Clarke. By Hugh Carter ; lent by J. S. 
 Clarke, Esq. 
 
21 
 
 187. Portraits of the late Sir Augustus Harris at various periods of his life. 
 Lent by Lady Harris. 
 
 188. Water-colour portraits of Mr. and Mrs. J. Liston. Lent by the Misses 
 Meadows. 
 
 189. Mrs. Connie Jackson as Tilly Slowboy in “ The Cricket on the Hearth.” By 
 F. Eugene ; lent by Frank Eugene, Esq. 
 
 189a. Miss Letty Lind in “ Morocco Bound.” By Clara M. Hawkes ; lent by 
 Miss Clara M. Hawkes. 
 
 190. The late Sir Augustus Harris in his Sheriff’s robes. By Malcolm Stewart ; 
 lent by Lady Harris. 
 
 191. Mrs. Brown-Potter as Charlotte Corda'y. By F. Eugene ; lent by Frank 
 Eugene, Esq. 
 
 192. Mr. Wilson Barrett as Hamlet. Painted by Frank Holl, R.A. ; lent by 
 Wilson Barrett, Esq. 
 
 193. Miss Winifred Emery. By Sydney Hodges ; lent by Sydney Hodges, Esq. 
 
 191. Joseph Jefferson as Rip van Winkle. By F. Eugene; lent by Frank 
 
 Eugene, Esq. 
 
 191a. Miss Letty Lind in “ The Artist’s Model.” By Miss Clara M. Hawkes i 
 lent by Miss Clara M. Hawkes. 
 
 195. Portrait of Mr.. H. Beerbohm Tree as Svengali. Lent by H. Beerbohm Tree 
 Esq. 
 
 196. Mrs. Margaret La Clercq (mother of Rose Leclercq). Lent by Miss Rose 
 Leclercq. 
 
 197. Portrait of Miss Alma Murray as Beatrice Cenci. Lent by Miss Alma 
 Murray. 
 
 198. Miss Julia Neilson as Hypatia. Lent by H. Van der Weyde, Esq. 
 
 199. Portrait of Mr. H. Beerbohm Tree as Hamlet. Lent by H. Beerbohm Tree, 
 Esq. 
 
 200. Pastel portrait of the late Miss Carlotta Leclercq, aged 15. Lent by Miss 
 Rose Leclercq. 
 
 201. Portrait of Edwin Booth. Lent by Mrs. Granville A. Ellis. 
 
 202. Sixteen portraits of Miss Ellen Terry in different characters. Lent by 
 Messrs. Window & Grove. 
 
 203. Engraving of “ Saturday Night at the Savage Club.” By W. H. Bartley ; 
 lent by Messrs. C. E. Clifford & Co. 
 
 204. Sixteen portraits of Miss Ellen Terry in different characters. Lent by 
 Messrs. Window & Grove. 
 
 205. Engraving of tableau (scene 1) from “Charles I.” Lent by Sir Henry Irving. 
 
 206. Pastel portrait of Miss Ada Rehan as Lady Teazle. By Sarony ; lent by 
 Augustin Daly, Esq. 
 
 207. Henry Irving as Charles I. Oil painting. By J<*mes Archer ; lent by Sir 
 Henry Irving. 
 
 208. Mrs. Beerbohm Tree as Ophelia. By Mrs. Louise Jopling ; lent by Mrs. Tree. 
 
 209. Portrait of W. S. Gilbert, Esq. Oil painting. By Frank Holl, R.A. ; lent by 
 W. S. Gilbert, Esq. 
 
 210. Portrait of Clement Scott, Esq. By Joseph Mordecai ; lent by Clement 
 Scott, Esq. 
 
 211. Bust of George Alexander. By E. Onslow Ford, R.A. ; lent by E. Onslow 
 Ford, R.A. 
 
 212. Bronze statue of Henry Irving as Hamlet. By E. Onslow Ford, R.A. ; lent 
 by E. Onslow Ford, R.A. 
 
PLAYBILL ROOM. 
 
 Representation of the statue of Galatea (Miss Mary Anderson). Lent by Henry 
 Van der Weyde, Esq. 
 
 213. Richardson’s Show, playbill of “ Jane Shore.” Lent by Wm. Wright, Esq. 
 
 214. Lord Chamberlain’s original licence for Richardson’s Show (on vellum), 
 September 4, 1828. Lent by Wm. Wright, Esq. 
 
 215. Richardson playbill. “ Abou Hasson.” Lent by Wm. Wright, Esq. 
 
 216 Portrait of Ne'son Lee, proprietor of Richardson’s Show, successor of 
 Richardson. Lent by Nelson Lee, Esq. 
 
 217. Richardson playbill, “ The Beautiful Spotted Negro Boy.” Lent by Wm- 
 Wright, Esq. 
 
 218. Autograph of Richardson, the famous showman. Lent by Wm. Wright, 
 Esq. 
 
 219. Richardson’s Show, two playbills, “The Turkish Heroine” and “Donald 
 and Rosaline.” Lent by Wm. Wright, Esq. 
 
 220. Vauxhall playbill (August 19, 1850), benefit of Signor Vemfra. Lent by 
 Wm. Wright, Esq. 
 
 221. Vauxhall playbill, July 25, 1842, in honour of the birthday of the Duchess 
 of Cambridge. Lmt by Wm. Wright, Esq. 
 
 222; Vauxhall playbill, July, 1839. Lent by Wm. Wright, Esq. 
 
 223. Vauxhall playbill, May 1, 1851. Lent by Wm. Wright, Esq. 
 
 224. Vauxhall playbill, “ Last Night for Ever,” 1^59. Lent by Wm. Wright. Esq 
 
 225. Vauxhall announcement bill. Lent by Wm. Wright, Esq. 
 
 226. Vauxhall playbill, July 11, 1850. Lent by Wm. Wright, Esq. 
 
 2.7. Vauxhall playbill, August 27, 1859 (Grand Bal Masque). Lent by Wm. 
 Wright, Esq. 
 
 228. Vauxhall playbill, August 11. 1845 (Gala Night). Lent by Wm. Wright, 
 Esq. 
 
 229. Vauxhall playbill, August 9, 1847. Lent by Wm. Wright, Esq. 
 
 230. Vauxhall playbill, June 25, 1838 (Coronation Gala). Lent by Wm. Wright, 
 Esq. 
 
 231. Portrait of W. H. Murray. Engraved by G. Moffat; lent by Miss Clara Lee. 
 
 232. Engraving of T. P. Cooke. Lent by W. Clarkson, Esq. 
 
 233. Henry Betty, son of the Infant Roscius. Lent by Rev. Hector de 
 Courcelles, M.A. 
 
 234. Engraving of Mrs. F. Stirling. Lent by Rev. Hector de Courcelles, M.A. 
 
 235. William Creswick as Hamlet. Lent by Messrs. Deakin & Co. 
 
 236. Drawing of scene from “ Richard II.” By H.R.H. the Princess Royal 
 lent by H. S. Stone, Esq. 
 
 237. Drawing of John Ryder in costume, and Bolingbroke riding through 
 London. By H.R.H. the Princess Royal ; lent by E. H. Corbould, Esq., R.I. 
 
 238. William Farren as Ignatius Blyglot in “ The Scapegoat.” Lent by Miss 
 Clara Lee. 
 
 239. Mrs. Fitzwilliam as Nelly O’Neil in “Green Bushes.” Lent by Lionel 
 Brough, Esq. 
 
 240. Charles Kemble as Faulconbridgc. Lent by Rev. Hector de Courcelles, M.A. 
 
 241. Priscilla Horton (Mrs. German Reed) as Ariel in “ The Tempest,” with 
 autograph. Lent by Rev. Hector de Courcelles, M.A. 
 
 242. Macready as Virginius. Lent by Rev. Hector de Courcelles, M.A. 
 
 243. Page of music book, with picture of Robson, and his autograph. Lent by 
 Miss Eyre Robson. 
 
23 
 
 244. Mr. Wieland, as the Spirit Oberkin. Lent by W. Clarkson, Esq. 
 
 245. Programmes of Royal performances at Windsor Castle. Lent by Albert 
 James, Esq. 
 
 246. Royal playbill, Theatre Royal, Brighton, October 26, 1837 ; Charles Kean 
 as Hamlet. Lent by Wm. Wright, Esq. 
 
 247. Royal playbill, Windsor Castle, February 2, 1854, “The Tempest.” Lent 
 by Wm. Wright, Esq. 
 
 248. Royal playbill, Windsor Castle,” February 4, 1853, “ Macbeth.” Lent by 
 Wm. Wright, Esq. 
 
 249. Playbill, on silk, Strand Theatre, March 6, 1841. Lent by the Knights’ 
 Club. 
 
 250. Royal playbills, Windsor, January 11 and 18, 1849, “ The Stranger,” &c. 
 Lent by Wm Wright, Esq. 
 
 251. Royal playbill, Her M je3ty’s Theatre, January 29, 1858, “The Rivals.” 
 Lent by Wm. Wright, Esq. 
 
 252. Playbill, on satin, gold-fringed, Olympic Theatre, 1855. Lent by W. 
 Garkson, Esq. 
 
 253. Royal playbill, Princess’s Theatre, February 19, 1850. Lent by Wm. 
 Wright, Esq. 
 
 254. Royal playbill, Her Majesty’s Theatre, January 19, 1858, “Macbeth.” 
 Phelps as Macbeth, Helen Fauci t as Lady Macbeth ; lent by Wm. Wright, 
 Esq. 
 
 255. Playbill, on silk, Covent Garden Theatre, “Werner,” November 17, 1837. 
 Lent by the Knights’ Club. 
 
 256. Eight playbills of Royal performances at Windsor Castle, 1850-51-52-53. 
 Lent by Wm. A. Bascomb, Esq. 
 
 257. Eight playbills of Royal performances at Windsor Castle, 1853-54-55-57. 
 Lent by Wm. A. Bascomb, Esq. 
 
 258. Playbill of Royal performance at Osborne, January, 1895. Lent by W. 
 Clarkson, Esq. 
 
 259. Playbill, on satin, gold-fringed, Olympic Theatre, 1856. Lent by W. 
 Clarkson, Esq. 
 
 260. Playbill, gold fringed satin, used by Her Majesty the Queen at the Olympic 
 Theatre, February 19, 1857. Lent by Fred. Robson, Esq. 
 
 261. Programme, satin, used by the Prince of Wales, St. James’s Theatre. Lent 
 by G. A. Perry, Esq. 
 
 262. Playbill, on satin, of the opening night of the new Marylebone Theatre, 
 December 12, 1842. Lent by G. A. Loveridge, Esq. 
 
 263. Playbills of Royal performances at Windsor Castle, December 28, 1848, 
 “Merchant of Venice”; January 4 1849, “Used Up.” Lent by Wm. 
 Wright, Esq. 
 
 264. Playbills of Royal performance at Windsor Castle, “The Housekeeper,” 
 January 25, 1849. Lent by Wm. Wright, Esq. 
 
 255. Programme of Royal performance at Balmoral Castle, September 24, 1894. 
 Lent by W. Clarkson, Esq, 
 
 266. Programme of Royal performance at Balmoral Castle, “ Liberty Hall,” 
 September 16, 1895. Lent by W. Clarkson, Esq. 
 
 257. The last portraits of Arthur Dacre and Amy Roselle (Mrs. Arthur Dacre). 
 Lent by H. Walter Barnett, Esq. 
 
 268. Programme of Royal performance at Windsor Castle, January 4, 1849. 
 Lent by W. Clarkson, Esq. 
 
 269. Photograph of the Vokes Family, and of Ada Cavendish, Miss Furtado, 
 and Amy Roselle. Lent by J. Knight, Esq. 
 
24 
 
 270. Interior of Marylebone Theatre. Lent by G. A. Loveridge, Esq. 
 
 271. Portrait of Albert Smith and autograph letter. Lent by Edw. Draper, 
 Esq. 
 
 272. Miss Mordaunt (Mrs. Nisbett). Lent by Rev. Hector de Courcelles, M.A. 
 
 273. Portrait of James Anderson. Lent by Mrs. Shackel. 
 
 274. “ Actors of the Victorian Era.” Lent by Miss Sarah Thorne. 
 
 275. Liston as Grogan in “ Quite Correct.” Lent by Lionel Brough, Esq. 
 
 276. Miss O’Neill, Mr. Culliford, and Mr. Wilkinson in “ Nicholas Nicklehy.” 
 Lent by W. Clarkson, Esq. 
 
 277. Three caricatures in Indian ink. By Charles Tomkins ; lent by Mrs. Robt. 
 Barclay. 
 
 278. Portrait group of Chas. Mathews, J.L. Toole, and Samuel Phelps in comedy 
 of “ John Bull.” Lent by Messrs. Deakin & Co. 
 
 279. Portrait of Madame Taglioni. Lent by Wm. Wright, Esq. 
 
 280. Portrait of Henry Betty as Hamlet. Lent by Colonel J. A. Anstice. 
 
 281. Original cast of “ Dearer than Life,” as produced at the Queen’s Theatre, 
 1868. Lent by E. E. Newton, Esq. 
 
 282. Portraits of Paul Bedford, J. L Toole, and J. B. Buckstone. Lent by 
 Lionel Brough, Esq. 
 
 283. Bob Keeley as Billy Black in “ £100 Note,” with autograph. Lent by 
 Lionel Brough, Esq. 
 
 284. Wright as Tilly Sloioboy in “ Cricket on the Hearth.” Lent by Lionel 
 Brough, Esq. 
 
 285. Playbill, Astley’s, 1839. Lent by the Knights’ Club. 
 
 286. Astley’s Theatre playbill (Amberg’s Lions), dated 1838. Lent by Wm. 
 Wright, Esq. 
 
 287. Engraving, interior, Astley’s Theatre, 1783. Lent by Wm. Wright, Esq. 
 
 288. Coloured print of “The Gladiators ” at Astley’s Theatre. Lent by Wm. 
 Wright, Esq. 
 
 289. Engraving, interior, Astley’s Theatre, 1843. Lent by Wm. Wright, Esq. 
 
 290. Astley’s Theatre, playbill, October 4, 1852. Lent by Wm. Wright, Esq. 
 
 291. Astley’s Theatre, playbill, March 22, 1847. Lent by Wm. Wright, Esq. 
 
 292. Engraving of the Queen and Prince Albert at Astley’s Theatre, 1846. Lent 
 by Wm. Wright, Esq. 
 
 293. Astley’s Theatre, playbill, Ducrow’s benefit. Lent by Wm. Wright, Esq. 
 
 294. Print of German riders at Astley’s Theatre. Lent by Wm. Wright, Esq. 
 
 295. Coloured print of the educated mules at Astley’s Theatre. Lent by Wm. 
 Wright, Esq. 
 
 296. Astley’s Theatre, playbill, April 14, 1845, “ Maid of Saragossa. Lent by 
 Wm. Wright, Esq. 
 
 297. Astley’s, engraving (Van Amberg’s living lions). Lent by Wm. Wright, 
 Esq. 
 
 298. Astley’s Theatre, playbill, first appearance of “ Jumping Jean.” Lent by 
 Wm. Wright, Esq. 
 
 299. The late Adelaide Neilson. Lent by Miss Maria Davis. 
 
 300. Certificate, presented to the late W. G. Wills by Royal Humane Society. 
 Lent by Rev. Freeman Wills, M.A. 
 
 301. Playbill, Tavistock House, “ Fortunio,” 1855. Lent by J. H. Leigh, Esq. 
 
 302. Playbill, Tavistock House, “Frozen Deep.” Lent by J. H. Leigh, Esq. 
 
 303. Programme of Royal performance, Balmoral Castle, October 25, 1890. Lent 
 by W. Clarkson, Esq. 
 
 304. The original design for great seal, Royal Dramatic College, by John Leighton, 
 Lent by Miss Sarah Thorne. 
 
305. Playbill, Tavistock House, “ Tom Thumb,” 1854. Lent by J. H. Leigh, Esq. 
 
 306. Playbill, Tavistock House, “ The Lighthouse,” 1855. Lent by J. H. Leigh, Esq. 
 
 307. Lithographic portrait on wood of G. V. Brooke. Lent by W. J. Lawrence, 
 Esq. 
 
 308. Tinselled engraving of Mr. Braham as Tom Tag. Lent by Wm. Fountain, 
 Esq. 
 
 309. Tinselled engraving of Mrs. Cooper as Zanga , the Tartar Chief. Lent by 
 ditto. 
 
 310. Tinselled engraving of W. Harrison as Jose Speckbacker in “ The Love Test.” 
 Lent by ditto. 
 
 311. Tinselled engraving of Mr. Lee as The Green Knight Lent by ditto. 
 
 312. Tinselled engraving of Mr. King as The Emperor Charlemagne. Lent by ditto. 
 
 313. Tinselled engraving of Mr. Saville as Barnard Jasper. Lent by ditto. 
 
 314. Tins ailed engraving of Miss Vincent as Prince Aladdin. Lent by ditto. 
 
 315. Tinselled engraving of Mr. O’Smith as Guy Fawkes. Lent by ditto. 
 
 316. Tinselled engraving of Miss Huddart as Joan of Arc. Lent by ditto. 
 
 317. Tinselled engraving of Miss E. Daly as The Ladies' Highwayman. Lent by 
 ditto. 
 
 318. Tinselled engraving of Miss Louisa Pyne as Don Juan. Lent by ditto. 
 
 319. Tinselled engraving of Madame Celeste as The Dumb Arab Boy. Lent by 
 ditto. 
 
 320. Tinselled engraving of Mr. Kean as Richard III . Lent by ditto. 
 
 321. Tinselled engraving of Mr. Butler as Caractacas, the British Chieftain. Lent 
 by ditto. 
 
 322. Tinselled engraving of Miss M. Woolf as Joe Jessamy. Lent by ditto. 
 
 323. Tinselled engraving of N. T. Hicks as Richard J., the Lion King. Lent by 
 ditto. 
 
 324. Tinselled engraving of Mr. Dale as Claude Amboine. Lent by ditto. 
 
 325. Tinselled engraving of Mr. Gallot as Orrius , the Tiger of the Black Sea. 
 Lent by ditto. 
 
 326. Tinselled engraving of Mr. Hicks as Valentine. Lent by ditto. 
 
 327. Tinselled engraving of Madame Malibran as The Maid of Artois. Lent by 
 ditto. 
 
 328. Tinselled engraving of Mr. Dry as Lambro the Pirate. Lent by ditto. 
 
 329 Tinselled engraving of Mrs. Honey as Psyche. Lent by ditto. 
 
 Series of Eighty-three Water-coloured Tinselled Engravings. 
 
 Lent by Messrs. C. and W May. 
 
 330. Mr. T. Johnson as Goberts. 
 
 331. Mr. Hicks as The Lion King. 
 
 332. Mr. Lee as The Green Knight. 
 
 833. Mr. Hicks as Valentine. 
 
 334. Mr. Palmer as Richard Cceur de Lion. 
 
 335. Richard III. 
 
 336. Royal Champion of England. 
 
 337. Miss Fanny Kemble as Juliet. 
 
 338. Mr. Dry as Lambro the Pirate. 
 
 339. Miss Vincent as Thalaba. 
 
 340. Mr. T. P. Cooke as William. 
 
 341. Kir. Freer as Richard III. 
 
 342. Mr. Henry as Jack Strain. 
 
 343 Mr. T. P. Cooke as Harry Hallyard. 
 
 344. Mr. Blanchard as Pantaloon. 
 
S45. The Sea Queen. 
 
 346. Royal Ghampion of England; 
 
 347. Mr. Honner as Harlequin. 
 
 348. Miss L. Johnstone as Golumbind. 
 
 349. Mr. Gomfirsal as Napoleon Buonaparte at Waterloo. 
 
 350. Mr. Freer as Iago. 
 
 351. Mr. Dibben Pitt as Hans Hattock. 
 
 352. Mr. Smith as Iron Spark in “The Silver Palace.’’ 
 
 353. Mr. Braham as Tom Tug. 
 
 354. Mr. T. P. Cooke as Vanderdecken. 
 
 355. Mr. Macready as Rob Roy Macgregor. 
 
 356. Mr. Kean as Richard III. * 
 
 357. Mr. Haines as Wat Tyler. 
 
 358. Mr. Egerton as Blue Beard. 
 
 359. Mr. W. Harrison as Jose Speckbaaker in “ The Love Test.” 
 
 360. Mr. Hicks as Valentine. 
 
 361. Farley as Grimdoff in “The Miller and His Men.” 
 
 362. Mr. Palmer as Knight of St. John. 
 
 363. Mile. Rosier as Columbine. 
 
 364. Mr. Cony as Landri. 
 
 365. Richard I. , the Lion King. 
 
 366. Mr. Cartlich as Saladin. 
 
 367. Signor Poulo as Clown. 
 
 368. Mr. Honner as Harlequin. 
 
 369. Richard, the Lion King. 
 
 370. Kir. Payne as Robin Hood. 
 
 371. Miss Vincent as Prince Aladdin. 
 
 372. Mr. R. Honner as Joe Tiller. 
 
 373. Mr. C. Kemble as Charles II. 
 
 374 Mr. O’ Smith as Black Ralph the Wrecker. 
 
 375. Mr. Gallot as Orsius , the Tiger of the Black Sea. 
 
 376. Mr. Lee as The Greeji Knight. 
 
 377. Mr. Haines as The Brigand. 
 
 378. Admiral Lord Nelson. 
 
 379. Mr. Honner as Harlequin. 
 
 380. Mrs. H. Johnson in “ Timour the Tartar.” 
 
 381. Miss Fanny Kemble as Isabella. 
 
 382. Mr. Shepherd as Long Luke. 
 
 383. Miss Louisa as Don Juan. 
 
 384. Mr. Honner as Harlequin. 
 
 385. Mr. Gomersal as Earl Douglas in “ Chevy Chase.” 
 
 386. Mr. O’Smith as The Skimmer of the Sea. 
 
 387. Mr. Honner as Harlequin. 
 
 388. Mr. Smith as The Pirate of the Black Sea. 
 
 389. Mr. Wallack as Don Vincent de Imanza. 
 
 390. Miss P. Horton as Ariel. 
 
 391. Mile. Rosier as Columbine. 
 
 392. Mr. Honner as Harlequin. 
 
 393. Mr. T. P. Cooke as Captain Aubri. 
 
 394. The Silver Knight. 
 
 395. Miss Romer as Joan of Arc. 
 
 396. Mr. Cooper as Zanga the Tartar Chief. 
 
 397. Mr. D. Pitt as The Robber of the Black Forest. 
 
398. Master Betty as Young Norval. 
 
 399. Mr. Hicks as The Black Smuggler. 
 
 400. Mr. Freer as Romeo. 
 
 401. Mr. Heslop as Captain Ross. 
 
 402. Mr. Smith as Iron Spark in “ The Silver Palace.” 
 
 403. Mr. Gomersal as Napoleon Buonaparte. 
 
 404. Mr. Elsgood as Quicksand in “ The Silver Palace.” 
 
 405. Van Amburgh the Brute Tamer. 
 
 406. Mr. Macready as Virginias. 
 
 407. Mr. Kean as Richard III. 
 
 408. Mr. Butler as Caractacus, the British Chieftain. 
 
 409. Mr. O’ Smith as Guy Faickcs. 
 
 410. Mr. Gomersal as The Pirate of the Isles. 
 
 411. Mrs. Egerton as Ellen Macgregor. 
 
 412. Mr. Courtney as Thames Darrell. 
 
 413. Playbill of first performance of ‘'Richelieu,” March 7, 1839, and coloured 
 portrait of Bulwer Lytton. Lent by Win. Wright, Esq. 
 
 414. Playbill, Covent Garden, June 2, 1841. Lent by J. L. Oliver, Esq. 
 
 4L5. Playbill, Covent Garden, 1834. Lent by Oscar Barrett, Esq. 
 
 416. Playbill, Covent Garden Theatre (Charles Kemble’s last appearance), 
 December 23, 1836. Lent by Wm. Wright, Esq. 
 
 4L7. Playbill, Covent Garden (Madame Vestris), 1840. Lent by J. L. Oliver, Esq. 
 
 418. Playbill, first performance of ‘‘The Lady of Lyons,” and a coloured portrait 
 of Macready as Colonel Morier. Lent by Wm. Wright, Esq. 
 
 419. Playbill, benefit of Macready, 1836. Lent by Clifford Harrison, Esq. 
 
 420. ‘-Old Hungerford Steps,” water-colour. By John Parry, actor; lent by 
 Messrs. A. & S. Gatti. 
 
 421. Miss Fairbrother in “ The Forty Thieves.” Lent by Wm. Clarkson, Esq. 
 
 422. Testimonial to the late Sir Augustus Harris. Lent by Lady Harris. 
 
 423. Mrs. Bunn as Hennione in “ A Winter’s Tale,” oil painting. By Sharp ; 
 lent by Oscar Barrett, Esq. 
 
 424. Takings sheets of Drury Lane, August 7, 1862, showing complete amount 
 taken in each part of the house. Lent by Messrs. Deakin & Co. 
 
 425. Playbill and portrait of Madame Vestris as Don Giovanni , January 22, 1821. 
 Lent by Wm. Wright, Esq. 
 
 426. Playbill, Theatre Royal, Drury-lane. G. V. Brooke as Othello , February 20, 
 1854. Lent by Wm. Wright, Esq. 
 
 427. Playbill, Theatre Royal, Drury-lane, May 5, 1845. Mr. Fitz williams’ 
 farewell benefit. Lent by Wm. Wright, Esq. 
 
 428. Playbill, Theatre Royal, Drury-lane. Macreaiy’s last appearance, Feb 
 ruary 26, 1851. Lent by Wm. Wright, Esq. 
 
 429. Playbills of Macready’s first appearance, September 16, 1816 ; Macready 
 farewell also, February 26, 1851. Lent by Wm. Wright, Esq. 
 
 430. Playbill. Charles Kean in “ Hamlet,” 1838. Lent by Clifford Harrison, 
 Esq. 
 
 431. Playbill of first appearance of Madame Vestris at Theatre Royal, Drury- 
 lane, and agreement between Elliston and Vestris (1819-1820). Lent by 
 Wm. Wright, Esq. 
 
 432. Group of celebrated actors and actresses. Lent by Wm. Clarkson, Esq. 
 
 433. Playbill, Albert Saloon, 1845. Lent by Oscar Barrett, Esq. 
 
 434. Playbill of the Canterbury Arms Tavern (The Bower Saloon), August 25, 
 1841. Lent by Oscar Barrett, Esq. 
 
435. Playbill of. the free performance at the Marylebone Theatre (Coronation 
 Night, June 28, 1838). Lent by G. A. Loveridge, Esq. 
 
 436. Curious reward bill concerning Madame Yestris, issued March 5, 1839. 
 Lent by Wm. Wright, Esq. 
 
 437. Playbill, Victoria Theatre, 1846. Lent by Richard Long, Esq. 
 
 438. Book of pantomime and complimentary admission ticket to Albert 
 Saloon. Lent by Oscar Barrett, Esq. 
 
 439. Admission ticket to Grecian Saloon, January 11, 1854. Lent by Oscar 
 Barrett, Esq. 
 
 440. Playbill, Albert Saloon. Lent by Oscar Barrett, Esq. 
 
 441. Playbill, Hanover-square Rooms, under the direction of Charles Dickens, 
 1851. Lent by Clifford Harrison, Esq. 
 
 442. “ Behind the Scenes — Pantomime Time,” oil painting. By Matt Morgan ; 
 lent by Francis Daniel, Esq. 
 
 443. Playbill and admission tickets, Town Hall, Birmingham, May 18, 1852. 
 Lent by T. H. Fisher, Esq. 
 
 444. Playbill, August 13, 1852, the Amateur Company of the Guild of Litera- 
 ture and Art, at Town Hall, Birmingham. Lent by Wm. Wright, Esq. 
 
 445. Playbill of the opening night, October 15, 1864, Prince’s Theatre, Man- 
 chester, Charles Calvert’s revival of “ The Tempest.” Lent by T. R. 
 Furness, Esq. 
 
 446. Playbill, Prince’s Theatre, Manchester, 1867. Lent by Arthur J. Lewis, Esq. 
 
 447. Playbill of Adelphi Theatre, 1851. Lent by Malcolm Stewart, Esq. 
 
 448. Programme of Royal performance, Balmoral Castle, tableaux vivants, 
 October 8, 1890. Lent by W. Clarkson, Esq. 
 
 449. Entertainment Bill, “ The Mysterious Lady.” Lent by T. W. Elmes, Esq. 
 
 450. Playbill, Sadler’s Wells Theatre, 1855. 
 
 451. Programme, Covent Garden, on the occasion of the Shah of Persia’s visit, 
 July 2, 1889. Lent by W. Clarkson, Esq. 
 
 452. Playbill, September 1, 1852, the Amateur Company of the Guild of 
 Literature and Art. Lent by Wm. Wright, Esq. 
 
 453. Playbill of Sadler’s Wells Theatre, “ The Mountaineers,” May 23, 1850. 
 Lent by Wm. Wright, Esq. 
 
 454. Playbill, Theatre Royal, Belfast, with portrait of G. V. Brooke. Lent by 
 W. J. Lawrence, Esq. 
 
 455. Playbill of the Lyceum Theatre. Madame Celeste in “ Tale of Two Cities,” 
 1860. Lent by Wm. Wright, Esq. 
 
 456. Playbill, Her Majesty’s Theatre. Festival performance, 1858. Lent by 
 Miss F. Brookes. 
 
 457. Playbill and coloured portrait of Charles Mathews. Lent by W. Wright, Esq. 
 
 458. Playbill of Princess’s Theatre. Charles Kean in “ The Merchant of Venice,” 
 June 12, 1858. Lent by Wm. Wright, Esq. 
 
 459. Playbill. Macready as Evelyn in “ Money,” 1841. Lent by Cecil Crofton, Esq. 
 
 460. Playbill, Theatre Royal, Bath. Lent by Oscar Barrett, Esq. 
 
 461. Photograph of bills hung in Marylebone Theatre on Jubilee of Coronation, 
 June 28, 1838. Lent by G. A. Loveridge, Esq. 
 
 462. Playbill, Haymarket Theatre, July 20, 1885. Mr. and Mrs. Bancroft’s fare- 
 well performance. Lent by Wm. Wright, Esq. 
 
 463. Playbill, Royalty Theatre, October, 1868. Lent by W. Clarkson, Esq. 
 
 464. Playbill, Theatre Royal, Haymarket. Farren’s farewell, July 16, 1855. 
 Lent by Wm. Wright, Esq. 
 
 465. Playbill, on satin, Princess’s Theatre, March 21, 1843. Lent by Wm. 
 Wright, Esq. 
 
COSTUME DESIGN ROOM 
 
 “ King Arthur.” 
 
 By 
 
 Hawes 
 
 • 
 
 “King Arthur.” 
 
 By 
 
 Hawes 
 
 “ King Arthur.” 
 
 By 
 
 Hawes 
 
 “King Arthur.” 
 
 By 
 
 Hawes 
 
 “King Arthur.” 
 
 By 
 
 Hawes 
 
 “ King Arthur.” 
 
 By 
 
 Hawes 
 
 ‘Becket.” By Hawes Craven ; 
 
 “ King Arthur.” 
 
 By 
 
 Hawes 
 
 Becket.” 
 
 Becket.’ 
 
 466. Original drawing for Lyceum souvenir of 
 Craven ; lent by Sir Henry Irving. 
 
 467. Original drawing for Lyceum souvenir of 
 Craven ; lent by Sir Henry Irving. 
 
 468. Original drawing for Lyceum souvenir of 
 Craven ; lent by Sir Henry Irving. 
 
 469. Original drawing for Lyceum souvenir of 
 Craven ; lent by Sir Henry Irving. 
 
 470. Original drawing for Lyceum souvenir of 
 Craven ; lent by Sir Henry Irving. 
 
 471. Original drawing for Lyceum souvenir of 
 Craven ; lent by Sir Henry Irving. 
 
 472. Original drawing for Lyceum souvenir of ‘ 
 lent by Sir Henry Irving. 
 
 473. Original drawing for Lyceum souvenir of 
 Craven ; lent by Sir Henry Irving. 
 
 474. Original drawing for Lyceum souvenir of 11 
 lent by Sir Henry Irving. 
 
 475. Original Drawing for Lyceum souvenir of 
 by Sir Henry Irving. 
 
 476. Original drawing for Lyceum souvenir of “ King Lear.” 
 lent by Sir Henry Irving. 
 
 477. Original drawing for Lyceum souvenir of “ King Lear.” By Hawes Craven 
 lent by Sir Henry Irving. 
 
 478. Original drawing for Lyceum souvenir of “ Ravenswood. 
 
 Craven ; lent by Sir Henry Irving. 
 
 479. Original drawing for Lyceum souvenir of 
 lent by Sir Henry Irving. 
 
 480. Original drawing for Lyceum souvenir of “ Ravenswood.” By Hawes 
 Craven ; lent by Sir Henry Irving. 
 
 481. Original drawing for Lyceum souvenir of “ Ravenswood.” By Hawes 
 Craven ; lent by Sir Henry Irving. 
 
 482. Fifteen drawings of Sir Henry Irving in various characters. Lent by John 
 Fulleylove, Esq., R.I. 
 
 483. Water-colour design for act drop. By Charles Tomkins ; lent by Mrs. 
 Robert Barclay. 
 
 484. Sketch for transformation scene. By Charles Brew ; lent by T. Harrington 
 Wilson, Esq. 
 
 485. Fifteen drawings of Sir Henry Irving in various characters. Lent -by John 
 Fulleylove, Esq., R.I. 
 
 486. Mr. Edward Terry as Dick Phenyl in “ Sweet Lavender.” Lent by Edward 
 Terry, Esq. 
 
 487. Original water-colour drawing of Miss Letty Lind in “ The Artist’s Model.” 
 Lent by George Edwardes, Esq. 
 
 500. Water-colour (seascape) by Charles J. Mathews. Lent by Miss Sarah 
 Thorne. 
 
 501. Water-colour (Rome) by C. J. Mathews. Lent by Miss Sarah Thorne. 
 
 502. “Behind the Scenes, Victoria Theatre, 1868.” Water-colour by Charles 
 Green, R.I. ; lent by Frederick Fenton, Esq. 
 
 503. “ Painting Room, Haymarket Theatre.” By John O’Conner ; lent by the 
 Savage Club. 
 
 By Hawes Craven ; 
 By T. Harker ; lent 
 By Hawes Craven ; 
 
 By Hawes 
 King Lear.” By Hawes Craven ; 
 
30 
 
 504. “ The Painters' Parlour, Adelphi Theatre.” By Pitt; lent by T. Allan 
 Glasse, Esq. 
 
 505. Sketch for street scene for play by Moliore, Water-colour by H. P. Hall ; 
 lent by H. P. Hall, Esq. u 
 
 506. “The Temple of Neptune.” Water-colour by Chas. Mathews; lent by H. 
 H. Foster, Esq. 
 
 507. Sketch for Guy Domville for St. James’s Theatre. Water-colour by H. P. 
 Hall ; lent by H. P. Hall, Esq. 
 
 508. “ Pulling Down of the late Her Majesty’s Theatre.” Water-colour by H. P. 
 Hall ; lent by H. P. Hall, Esq. 
 
 509. Sketch for Guy Domville for St. James’s Theatre. Water-colour by H. P. 
 Hall ; lent by H. P. Hall, Esq. 
 
 510. “ Study of a Boy.” Water-colour by Chas. Tomkins ; lent by Mrs. Kobert 
 Barclay. 
 
 511. “Tower of St. Laurance’s Church, Ipswich.” Water-colour by Mrs. Kdeley 
 in her eighty-sixth year ; lent by Edw. Nelson Haxell, Esq. 
 
 512. Original costume designs for Charles Calvert’s revival of “ Henry V.” Lent 
 by Mrs. Charles Calvert. 
 
 513. “ As You Like It.” Rosalind , first dress. Lent by Harrison’s, Ltd. 
 
 514. “ As You Like It.” Oliver , first dress. Lent bv Harrison’s, Ltd. 
 
 515. “ As You Like It ’ Sylvius, first dress. Lent by Harrison’s, l.td. 
 
 516. Covers of the acting editions by the late Charles Calvert of his Shakespearian 
 revivals at the Prince’s Theatre, Manchester. Lent by Alfred Darbyshire, 
 Esq. 
 
 517. Original costume designs for Charles Calvert’s revival of “ Henry Lent 
 by Mrs. Charles Calvert. 
 
 518. Wilhelm’s original designs illustrating the chronology of the dance for 
 Oscar Barrett’s pantomime “ Cinderella,” at the Lyceum Theatre. Lent by 
 Oscar Barrett, Esq. 
 
 519. Wilhelm’s original designs for Oscar Barrett’s pantomime “ Cind rella ” at 
 the Lyceum Theatre. Lent by Oscar Barrett, Esq. 
 
 520. Original designs for the scenery of “ The Flowers of the Forest.” Drawn 
 by J. B. Buckstone ; first played at the Adelphi Theatre on March 11, 1847, 
 with Madame Celeste as the heroine, Cynthia. Lent by Arthur Hood,. Esq. 
 
 521. Four designs for scenes for “The Flo .vers of the Forest,” Adelphi Theatre. 
 Lent by Arthur Hood, Esq. 
 
 522. Three designs for scenes for “ The Flowe s of the Forest,” Adelphi Theatre. 
 Lent by Arthur Hood, Esq. 
 
 523. Four designs for scenes for “ The Flowers of the Forest,” Adelphi Theatre. 
 Lent by Arthur Hood, Esq. 
 
 524. Rosalind , second dress, “ As You Like It,” at the Shaftesbury Theatre. 
 Lent by Harrison’s, Ltd. 
 
 525. Original costume designs for Charles Calvert’s revival of “ Henry V.” Lent 
 by Mrs. Calvert. 
 
 526. Orlando, first dress, “ As You Like It,” at the Shaftesbury Theatre. Lent 
 by Harrison’s, Ltd. 
 
 527. Audrey , “As You Like It,” Shaftesbury Theatre. Lent by Harrison’s, 
 Ltd. 
 
 528. Original drawing by W. J. Goodman for St. Paul's, “ Aladdin’s Wedding.” 
 Lent by Oscar Barrett, Esq. 
 
 529. Wilhelm, original design, Miss Ellaline Terriss’ ball dress as Cinderella in 
 Oscar Barrett’s pantomime, Lyceum Theatre. Lent by Oscar Barrett, Esq. 
 
 530. Original drawing for costumes in Oscar Barrett’s pantomime of “Aladdin” 
 at Drury Lane. Lent by Oscar Barrett, Esq. 
 
81 
 
 531. j. J. Dallas in the “ Forty Thieves.’’ Water-colour by Jack ; lent by 
 Theo. Godwin, Esq. 
 
 532. Miss Jessie Bond in “ Ruddigore.” Water-colour by Jack; lent by Theo. 
 Godwin, Esq. 
 
 533. Fred Leslie as Rip van Winkle. Water-colour by Jack; lent by Theo, 
 Godwin, Esq. 
 
 534. Miss Kate Vaughan in “ The Forty Thieves.” Water-colour by Jack ; lent 
 by Theo. Godwin, Esq. 
 
 535. Phyllis Broughton in “ The Old Guard.” Water-colour by Jack ; lent by 
 Theo. Godwin, Esq. 
 
 536. Henry Irving as Malvolio. Water-colour by Jack; lent by Theo. Godwin, 
 Esq. 
 
 537. Original pen and ink sketches, “Theatrical Mems.” By Harry Furniss; 
 lent by Mrs. A. E. Baskcomb. 
 
 538. Sketches for costumes for “ Ravenswood, or the Bride of Lammermoor.” 
 By Charles Fechter ; lent by Messrs. C. and W. May. 
 
 539. Original designs for costumes for “ The Duke’s Motto,” at the Lyceum 
 Theatre ; lent by Messrs. C. and W. May. 
 
 540. The Vokes family ; lent by Mrs. E. L. Blanchard. 
 
 541. Henry Irving as Malvolio , sketch in Black and White. By Phil May ; lent 
 by Lionel Brough, Esq. 
 
 542. Original designs for the Coronation Procession, at the Theatre Royal, 
 Covent Garden. Drawn by J. R. Planche; lent by Messrs. C. and W. May. 
 
 543. Miss Alma Murray as Rosalind. Sketch by Chris. Hammond; lent by Miss 
 Alma Murray. 
 
 DRAMA AND MUSIC-ROOM HISTORICAL, 
 
 544 T. E. Evans, tragedian ; lent by Edward H. Evans, Esq. 
 
 545. Miss Louise Moodie in various characters. Lent by Miss Louise Moodie. 
 
 546. Mrs. Brown-Potter. Lent by Mrs. Granville Ellis. 
 
 547. Photographs of Edward Righton, W. H. Fisher, and Wm. J. Hill in “ The 
 Happy Land.” Lent by Dr. Irvine Menzies. 
 
 548. Portraits of theatrical celebrities, 1890. Lent by Oscar Barrett, Esq. 
 
 549. View of the old Belfast Theatre, erected in 1793, demolished in 1871. In 
 this house Edmund Kean first played with Mrs. Siddons. Here also Master 
 Betty nude his first appearance, and G. V. Brooke his last. Lent by W. G. 
 Lawrence, Esq. 
 
 550. Portrait of Miss Gertrude Kingston. Lent by Miss Sarah Thorne. 
 
 551. Portrait of Miss Sarah Thorne. Lent by Miss Sarah Thorne. 
 
 552. Portrait of Miss Louise Moodie. Lent by Miss Louise Moodie. 
 
 553. Misses Esme and Vera Berringer. Lent by Messrs. Window & Grove. 
 
 554. Photographs of a few of Miss Sarah Thorne’s pupils. Lent by Miss Sarah 
 Thorne. 
 
 555. Photographs of a few of Miss Thorne’s pupils. Lent by Miss Sarah Thorne. 
 
 556. Portraits of theatrical celebrities, 1890. Lent by Oscar Barrett, Esq. 
 
 557. Theatrical celebrities of the Victorian Era. Lent by Harrison’s, Ltd. 
 
 558. Original caricature of E. L. Blanchard. By Sim ; lent by Miss Sarah 
 Thorne. 
 
 559. Original water-colour caricature, Buckstone. Lent by Miss Sarah Thorne. 
 
 560. Original caricature of J. L. Toole. Lent by Miss Sarah Thorne. 
 
 561. Original caricature of Charles Mathews. By A. Bryan ; lent by Miss Sarah 
 Thorne. 
 
32 
 
 562. Original caricature of David James. By A. Bryan; lent by Miss Sarah 
 Thorne. 
 
 563. Original caricature of Edward Terry. By A. Bryan ; lent by Miss Sarah 
 Thorne. 
 
 564. Original caricature of David James. By A. Bryan ; lent by Miss Sarah 
 Thorne. 
 
 565. Drawing of David James, Thomas Thorne, and H. J. Byron in “Our 
 Boys." Lent by Miss Sarah Thorne 
 
 566. Caricature of W. H. Hill as the Elder Weller. By Bouchete ; lent by J. R. 
 Ware, Esq. 
 
 567. Original caricature of Lionel Brough as Policeman X 24. By A. Bryan ; 
 lent by Lionel Brough, Esq. 
 
 568. Original caricature of Salvini. By A. Bryan ; lent by Miss Sarah Thorne. 
 
 569. Original caricature of Thomas Thorne. By A. Bryan ; lent by Miss Sarah 
 Thorne. 
 
 570. Water-colour caricature of George Honey. Lent by Miss Sarah Thorne. 
 
 571. Water-colour caricature of John Clark. Lent by Miss Sarah Thorne. 
 
 572. Water-colour caricature of Henry Neville. Lent by Miss Sarah Thorne. 
 
 573. Water-colour caricature of Edward Righton. Lent by Miss Sarah 
 Thorne. 
 
 574. Caricature of Macready as Hamlet. Original coloured drawing by John 
 Tenniel ; lent by Wm. Wright, Esq. 
 
 575. Miss Ellen Terry, painted on porcelain. Lent by Mrs. H. V. Corrie. 
 
 576. Coloured photograph of Miss Juliette Nesville and Mr. David James. Lent 
 by Mrs. H. V. Corrie. 
 
 577. Coloured photograph of John Hare as Benjamin Goldfinch in “ A Pair of 
 Spectacles.” Lent by Mrs. H. V. Corrie. 
 
 578. Coloured photograph of John Hare as Benjamin Goldfinch in ‘ A Pair of 
 Spectacles.” Lent by Mrs. H. V. Corrie. 
 
 579. Coloured photograph of Miss Marion Terry and Mr. George Alexander in 
 “ The Idler.” Lent by Mrs. H. V. Corrie. 
 
 580. Coloured photograph of Miss Mary Moore in “ Rosemary.” Lent by Mrs. H. 
 V. Corrie. 
 
 581. Coloured photograph of Miss Marion Terry and Miss Maude Millett. Lent 
 by Mrs. H. Y. Corrie. 
 
 582. Coloured portrait of Miss Dorothy Baird as Trilby. Lent by Mrs. H. V. 
 Corrie. 
 
 583. Engraving, Mr. and Mrs. Chas. Kean in “ The Wife’s Secret," 1848. Lent 
 by Mrs. F. M. Paget. 
 
 584. Water-colour of Frances Fitzwilliams. Lent by Walter Withall, Esq. 
 
 585. Portrait of Fred Robson. Lent by Fredk. Robson, jun., Esq. 
 
 586. Mr. John Maddison Morton. Eograving by T. W. Hunt, from a painting in 
 the Vernon Gallery. Lent by Miss Sarah Thorne. 
 
 587. Tom Mathews, as clown. Lent by Wm. Clarkson, Esq. 
 
 588. Miss Adelaide Kemble. Print ; lent by Rev. H. de Courcelles, M.A. 
 
 589. Portrait of Frederick Robson. Lent by Walter J. Brookes. 
 
 590. Madame Vestris, Miss Glover, Mr. Williams, and Mr. Lister in “ Paul 
 Pry,” 1828. Lent by Miss E. L. Meadows. 
 
 591. Macready as Macbeth, with autograph. Drawn in colours by T. Harrington 
 Wilson, 1851 ; lent by Rev. H. de Courcelles, M.A. 
 
 592. Portrait of Helen Faucit (Lady Martin), with autograph, 1847. Lent by 
 Rev. H. de Courcelles, M.A. 
 
 593. Portrait of Miss Agnes El worthy. Lent by Mrs. Selina Shackel. 
 
33 
 
 594. Mr. John Reeve and Mr. Buckstone in the characters of Marmaduke and 
 Magog. Engraved by J. G. Murry, 1830; lent by Edward Nelson Haxell, 
 Esq. 
 
 595. Water-colour portrait of Fred. Robson. By Arthur Miles, 1861 ; lent by 
 Henry Emden, Esq. 
 
 596. Mrs. Anna Cora Mowatt, leading lady, Marylebone Theatre, 1849. Lent 
 by G. A. Loveridge, Esq. 
 
 597. Portrait of Tom Robertson. Etched by Rob. Macbeth, A.R.A. ; lent by 
 Mrs. O’Conner. 
 
 598. Portrait of Miss Julia Fortescue. Lent by Arthur Hood, Esq. 
 
 599. Mrs. Nesbitt (Lady Boothby) as Constance in the “ Love Chase,” drawing 
 in colours. By T. Harrington Wilson ; lent by T. Harrington Wilson, Esq. 
 
 600. Tyrone Power, in his three characters in “ The Groves of Blarney.” By C. 
 J. LewD, 1845 ; lent by Lionel Brough, Esq. 
 
 601. Water-colour of Miss Woolgar (Mrs. Alfred Melon) as Laura in “ Sweet- 
 hearts and Wives.” By T. Harrington Wilson, 1849 ; lent by T. Harrington 
 Wilson, Esq. 
 
 602. Oil painting of Benjamin Webster in “ The Dead Heart.” Lent by A L. 
 Henderson, Esq. 
 
 603. Charles Mathews as Tim in “The Old and Young Stager.” Lent by the 
 Knights’ Club. 
 
 604. Water- colour portrait of William Grieve. Lent by Algernon Graves, Esq. 
 
 605. Mrs. Nesbitt as Constance in “ The Love Chase.” Lent by Mrs. Emily 
 Williams. 
 
 606. Mr. Charles Leclercq, father of Miss Rose Leclercq. Lent by Miss Rose 
 Leclercq. 
 
 607. Portrait of Frederick Yates, engraved from the painting by James Lons- 
 dale, 1826. Lent by Miss Clara Lee. 
 
 608. E. L. Davenport as Hamlet. Lent by W. Clarkson, Esq. 
 
 609. Coloured photograph of Miss Decima Moore and Mr. Chaucey Olcott in 
 “ Miss Decima.” Lent by Mrs. H V. Corrie. 
 
 610. Coloured photograph of Miss Gertrude Kingston in “ The Passport.” Lent 
 by Mrs. H. V. Corrie. 
 
 611. Coloured photograph of W. S. Penley as Charley's Aunt. Lent by Mrs. 
 H. V. Corrie. 
 
 612. Coloured photograph of Mrs. Patrick Campbell and Mr. George Alexander 
 in “ The Second Mrs. Tanqueray.” Lent by Mrs. H. V. Corrie. 
 
 613. Coloured photograph of H. Beerbohm Tree as Svengali in “ Trilby.” L n nt 
 by Mrs. H. Y. Corrie. 
 
 614. Coloured photograph of Henry Irving as Dr. Primrose. Lent by Mrs. H. V. 
 Corrie. 
 
 615. Coloured photograph of J. L. Toole in “ Walker London.” Lent by Mrs. 
 H. Y. Corrie. 
 
 616. Coloured photograph of Miss Florence St. John. Lent by Mrs. H. V. 
 Corrie. 
 
 617. Miss Ellen Tree (Mrs. Charles Kean) as Rosalind , with autograph, 1836. 
 Lent by Rev. H. de Courcelles, M.A. 
 
 618. Coloured engraving of Kathleen Mary Fitzwilliams. Lent by Walter 
 Withall, Esq. 
 
 619. Thomas Hailes Lacy. Lent by Rev. H. de Courcelles, M.A. 
 
 620. Portrait of Benjamin Webster, with autograph, 1847. Lent by Arthur 
 Hood, Esq. 
 
 621. Crayon drawing of Henry Irving as Louis XI. Lent by Miss Brooke Alder. 
 
 8 
 
6 22. Co’oure l photograph of MLs Maude Millett. Lent by Mrs. H. V. Corrie. 
 
 623. Coloured photograph of Miss Geraldine Ulmar in “ La Cigale.” Lent by 
 Mrs. H. V. Corrie. 
 
 624. Coloured photograph of Miss Winifred Emery in “ Sowing the Wind.” Lent 
 by Mrs. H. Y. Corrie. 
 
 625. Coloured photograph of Mrs. Bernard Beere as Fedora. Lent by Mrs. H. V. 
 Corrie. 
 
 626. Coloured photograph of Miss Marie Tempest in “ The Geisha ” Lent by 
 Mrs. H. V. Corrie. 
 
 627. Portrait of Henry Irving. Lent by F. W. Hawkins, Esq. 
 
 628. Drawing in crayon of E. A. Sothern. Lent by Lionel Brough, Esq. 
 
 629. Portrait of William Farren, with autograph ; presented to Mr. Leigh Murray 
 by Mr. Farren, 1851. Lent by Miss Clara Lee. 
 
 630. Henry Irving as Vanderdecken. Lent by Henry Van der Weyde, Esq. 
 
 631. Autograph letter of J. R Planche, February 25, 1877. Lent by Miss Hilda 
 Booker. 
 
 632 Autograph letter of Samuel Phelps, February 25, 1877. Lent by Miss Hilda 
 Brooker. 
 
 633 Autograph letter of Charles Kean, March 22, 1853. Lent by E. H. Corbould, 
 Esq., R.I. 
 
 634. Autograph of the late W. C. Macready. Lent by Mrs. C. Grainger. 
 
 635. Portraits of Mr. and Mrs. G. V. Brookes, 1853. Lent by W. J. Lawrence, Esq. 
 
 636. Portrait of G. Y. Brookes, with facsimile autograph. Lent by W. J. 
 Lawrence. 
 
 637. Portrait of Grimaldi. By Cruikshank ; lent by the proprietors of the 
 Dancing Times. 
 
 638. Oil painting of seascape. By Charles Tomkins; lent by Mrs. Robert 
 Barclay. 
 
 639. Marine sketch in sepia. By Clarkson Stanfield, R.A. ; lent by Walter 
 Withall, Esq. 
 
 640. Engraving of Frances Fitzwilliam. By Hall ; lent by Walter Withall, Esq. 
 
 641. Tinsel print of J. P. Cooke as William. Lent by Oswald Simpson, Esq. 
 
 642. Tinsel print of Miss Scott as Black Fjye'd Susan. Lent by Oswald Simpson, 
 Esq. 
 
 643. Water-colour portrait of Charles Tomkins (1798 1844). By V. Novello; lent 
 by Mrs. Robert Barclay. 
 
 644. Mrs. Kate Terry and Miss Ellen Terry. A photograph from an unfinished 
 picture by G. F. Watts, R.A. ; lent by Arthur Lewis, Esq. 
 
 645. George Bennett as Bichard III. Sketch by George Cattermole; lent by 
 Lionel Brough, Esq. 
 
 646. “ The Painting Room, Drury Lane Theatre, 1870.” Drawing by Pitt ; lent 
 by T. Allan Glasse Esq. 
 
 647. John Blanchard, WJlliam Blanchard, and Mrs. Hamblin. Drawing in 
 Indian ink by John Blanchard. Lent by Mrs. E. L. Blanchard. 
 
 648. Benjamin Webster in “ The Roused Lion,” with autograph, 1848. Lent by 
 Arthur Hood. 
 
 649. Water-colour of Miss Violet Cameron. By Frederick Story, 1883 ; lent by 
 Lionel Brough, Esq. 
 
 650. Portrait of E. S. Willard. Lent by E. S. Willard, Esq. 
 
 651. Portrait of Mrs. Stirling, and three autographs, 1867. Lent by William 
 Wright, Esq. 
 
 652. Portrait of Bob Keeley, husband of Mrs. Keeley. Lent by Messrs. Deakip 
 & Co. 
 
653. Charles Kean’s Ballet Master as Caliban in The Tempest,” with auto- 
 graph notes by Mrs. C. Kean. Water-colour by 0. Byrne ; lent by Mrs-. 
 F. M. Paget. 
 
 654. Miss Kate Terry as -Ariel. Lent by Arthur Lewis, Esq. 
 
 655. Portrait of John Liston, 1847. Lent by Mrs. Woodln. 
 
 656. Water-colour portrait of Mr. 0. Smith. Lent by Messrs. C. and W. May. 
 
 657. Madame Taglioni in “ La Sylphyde.” Messrs. Mitchell & Co. 
 
 658. Madame Vestris. Lent by Rev. Hector de Courcelles, M.A. 
 
 659. Coloured print of T. P. Cooke as Harry Halyard , with autograph letter. 
 Lent by Wm. Wright, Esq. 
 
 660. Buckstone and Mrs. Fitzwilliams in ‘ Good for Nothing.” Lent by Walter 
 J. Brookes, Esq. 
 
 661. Macready as Hamlet. Lent by Cecil Crofton, Esq. 
 
 662. Coloured portrait of E. A. Sothern. Lent by Wm. Wright, Esq. 
 
 663. Photograph of Miss Kate Terry, 1867. Lent by Arthur Lewis, Esq. 
 
 664. Engraving of W. G. Ross as Sam Hall. Lent by Edward Humphrey, Esq. 
 
 665. Vouchers and tickets for Almack’s Assemblies at Willis’ Rooms. Lent by 
 the Cavendish Publishing Company. 
 
 666. “ Boxing Night.” Engraving by George Cruikshank ; lent by Oscar Barrett, 
 Esq. 
 
 667. Photograph of Miss Ellen Terry, 1867. Lent by Arthur Lewis, Esq. 
 
 668. Coloured portrait of H J. Montague. Lent by William Wright, Esq. 
 
 669. Water-colour of Norwood in 1840. By Charles Tomkins; lent by Mrs. 
 Robert Barclay. 
 
 670. Photograph of Miss Mary Anderson, with autograph. Lent by Mrs. Gran- 
 ville Ellis. 
 
 671. Mrs. Honey as Psyche. Lent by Rev. Hector de Courcelles, M.A. 
 
 672. Coloured engraving of Mrs. Egerton as Highland Chieftain. Lent by Mrs. 
 Woodin. 
 
 673. Engraving of Macready as Benedick. Lent by Cecil Crofton Esq. 
 
THEATRE PLANNING AND CONSTRUCTION. 
 
 This collection has been arranged with a view of illustrating the 
 great progress made in theatre planning and construction duriug 
 the latter half of the Victorian Era. The arrangement of the 
 Architectural Room has been in the hands of Mr. Edwin O. Sachs, 
 a member of the Drama Committee. His experience as an architect, 
 particularly interested in theatres, and as the author of an encyclo- 
 paedic work on modern playhouses, has enabled him to bring 
 together a large number of drawings and illustrations of architects 
 and civil engineers whose treasures are seldom, if ever, viewed by 
 the general public. Where original drawings have not been avail- 
 able, Mr. Sachs has supplemented them by copies or prints from his 
 own collection, and has had special diagrams prepared for the 
 purposes of this Exhibition. It will hence be found that every class 
 of theatre building, including the music hall, is represented, as also 
 the various departments of construction, and the work of every archi- 
 tect who has been conspicuously associated with our playhouses. 
 
 GROUP I. 
 
 IMPORTANT LONDON & PROVINCIAL THEATRES OF TO-DAY, 
 
 AND THE 
 
 PRINCIPAL PLAYHOUSES AT THE COMMENCEMENT 
 
 OE THE 
 
 VICTORIAN ERA. 
 
 All the Exhibits in this Groop, excepting the Photographs, have been lent by Mr. Sachs. 
 
 BLOCK PLANS of Modern London Theatres (and Music Halls), specially drawn 
 for the Victorian Era Exhibition, to uniform scale of 1 to 500, with a view 
 of illustrating the relative sizes of these buildings. 
 
 BLOCK PLANS of Provincial Theatres (and Music Halls), specially drawn for 
 the Victorian Era Exhibition, to uniform scale of 1 to 500, with a view of 
 illustrating the relative size of these buildings. 
 
 DRAWINGS pf the three principal London Theatres of the early part of the 
 Victorian Era, specially drawn for the Exhibition, by Edwin O. Sachs. 
 
 CoYent Garden Theatre. — Elevation. Plan. 
 
 Drury Lane Theatre. — Elevation. Plan. 
 
 Her Majesty’s Theatre.^Elevation. Plan. 
 
37 
 
 LITHOGRAPHIC PRINTS of noted London Theatres, executed during the last 
 twenty years, being proof plates from Volumes I. and II, of the work entitled 
 “Modern Opera Houses and Theatres.” By Edwin 0. Sachs, architect 
 (B. T. Batsford). (For further particulars of this book see page 42.) 
 
 NOTE. — This work comprises examples selected from playhouses recently 
 erected in Europe, with descriptions ; further, a treatise on theatre construction 
 and supplements on stage machinery, &c. It is the only comprehensive work on 
 the subject published. It has been in preparation since 1891 ; the first two 
 volumes were issued in 1896 and 1897. (The lithography is by James Akerman.) 
 
 Daly’s Theatre, London. — Front elevation, longitudinal section, transverse 
 section, area plan, first tier plan, second tier plan, third tier plan. 
 
 Mr. R. D’Oyly Carte’s English Opera House.— General view, front elevation, 
 longitudinal section, area plan, first tier plan, second tier plan, third tier 
 plan, front elevation details. 
 
 Garrick Theatre, London. — Elevation, longitudinal section, area plan, first 
 tier plan, second tier plan. 
 
 Grand Theatre, Islington. — Area plan, first tier plan, longitudinal section. 
 
 Her Majesty’s Theatre. — Front elevation, side elevation, longitudinal section 
 area plan, first tier plan. 
 
 Lyric Theatre.— Front elevation, longitudinal section, area plan, first tier plan, 
 second tier plan, third tier plan. 
 
 Trafalgar Theatre, London. — Front elevation, area plan, first tier plan, 
 second tier plan, longitudinal section. 
 
 LITHOGRAPHIC PRINTS of noted Provincial Theat-es erected during the last 
 twenty years, being proof plates from Volumes I. and II. of “ Modern Opera 
 Houses and Theatres.” 
 
 Grand Theatre, Wolverhampton. — Front elevation, longitudinal section, 
 area plan, first tier plan. 
 
 Grand Theatre, Leeds. — Front elevation, longitudinal ‘section, area plan, 
 second tier plan. 
 
 New Theatre, Cambridge. — Longitudinal section, area plan, first tier plan, 
 second tier plan. 
 
 Shakespeare Memorial Theatre, Stratford-on-Ayon.— Back elevation, prin- 
 cipal elevation, front elevation, side elevation, museum section, longitudinal 
 section, transverse section, north section, gallery, basement plan, area plan, 
 first tier plan, second tier plan. 
 
 LITHOGRAPHIC PRINTS of Variety Theatres and Music Halls erected during 
 the last twenty years, being proof plates from the same work. 
 
 Alhambra Theatre of Varieties, London. — Front elevation, longitudinal 
 section, transverse section, area plan, first tier plan. 
 
 Empire Variety Theatre, Lon Ion. — Front elevation, longitudinal section, 
 area plan, second tier plan, details of new vestibule. 
 
 Empire Variety Theatre, Bristol. — Principal elevation, longitudinal section, 
 area plan, first tier plan. 
 
 Oxford Theatre of Varieties, London.— Front elevation, longitudinal section, 
 area plan, first tier plan, second tier plan. 
 
 Palace Theatre of Varieties, Manchester.— Front elevation, longitudinal 
 section, area plan, first tier plan, second tier plan. 
 
38 
 
 PHOTOGRAPHS OF LONDON THEATRES, showing exterior and interior, by 
 Alfred Ellis, 63, Upper Baker-street. 
 
 Covent Garden. Princess’s. Lyric. 
 
 Drury Lane. Criterion. Alhambra. 
 
 Lyceum. Avenue. Empire. 
 
 Haymarket. Strand. Palace. 
 
 Garrick. Prince of Wales’s (ex- Adelphi. 
 
 St. James’s. terior only). Grand. 
 
 Globe. Daly’s. 
 
 COLLECTION OF PHOTOGRAPHS OF STRATFORD-ON-AVON, Shakespeare’s 
 home, lent by the Stereoscopic Company. 
 
 GROUP II. 
 
 EXAMPLES OF PLAYHOUSES, 
 
 REPRESENTING THE WORK OF 
 
 THEATRE ARCHITECTS OF THE LAST TWENTY YEARS. 
 
 COLLECTION OF DRAWINGS AND PHOTOGRAPHS, illustrating the 
 Shakespeare Memorial Theatre and Museum at Stratford-on-Avon, built 
 from the designs of Mr. F. W. Unsworth, and executed under his supervision. 
 Front elevation of Theatre and side elevation of Museum ; front elevation of 
 Museum ; rear elevation of Theatre and side elevation of Museum; area plan 
 of Theatre and ground floor plan of Museum ; first tier plan of Theatre and 
 first floor plan of Museum ; longitudinal section of Theatre ; transverse 
 section through auditorium, Memorial Tower, and Museum staircase. Seven 
 frames, lent by Edwin O. Sachs, Esq. 
 
 View of Memorial Tower, view of Museum and staircase, photographs 
 showing general view of the building, photographs of interiors of the 
 Memorial Museum. Five frames, lent by F. W. Unsworth, Esq. 
 
 Photographs. — One frame, lent by the Stereoscopic Company. 
 
 Details of Memorial Tower. — Two frames, lent by F. W. Unsworth, Esq. 
 
 A COLLECTION OF ARCHITECTURAL DRAWINGS illustrating theatres, 
 designed by Mr. C. J. Phipps, F.S.A., and executed under his supervision. 
 Exhibits lent by Mr. Phipps. 
 
 Her Majesty’s Theatre, London. — Perspective view showing exterior, area 
 plan, first tier plan, perspective view of auditorium. 
 
 Lyric Theatre, London — Colour study showing decoration of auditorium, 
 colour study of foyer, colour study of saloon,, colour study of vestibule, 
 colour study of Itoyal room, photograph of proscenium, photograph of 
 auditorium, photograph of crush room (dress circle), photograph of box 
 office, photograph of exterior, area plan, first tier plan. 
 
 Gaiety Theatre, London. — Colour study of auditorium, area plan, first tier 
 plan. 
 
 Ha> market Theatre, London. — Perspective view of auditorium. 
 
 Lyceum Theatre, London. — Colour study for decoration of auditorium. 
 
 Prince of Wales’s Theatre, London.^First tier plan. 
 
 Theatre, Wolverhampton. —Area plan, first tier plan. 
 
 Theatre -—Colour study showing proscenium opening. 
 
39 
 
 COLLECTION OF PRINTS illustrating some examples of theatres and music- 
 halls designed by Mr. Runtz, and executed under his supervision. 
 
 New Theatre, Cambridge. — View of old theatre, auditorium of new heatre, 
 crush room of new theatre, grand saloon of new theatre, dress circle and 
 corridor of new theatre, lounge of new theatre. Lent by Messrs Sprague & 
 Go., lithographers. 
 
 Royal Music Hall, Holborn, London. General view. 
 
 Empire Palace of Varieties, Middlesbrough. — General view. One frame 
 lent by Messrs. Sprague & Co., lithographers. 
 
 PRINTS showing examples of theatres. By Mr. W. G. R. Sprague. 
 
 New Broadway Theatre. — General view. 
 
 Shakespeare Theatre, Lavender Hill. — General view. Lent by Messrs. 
 Sprague & Co., lithographers. 
 
 COLLECTION OF DRAWINGS, PHOTOGRAPHS AND MODELS of Theatr 
 Buildings and Music Halls, designed by Messrs. Wylson & Long, and 
 executed under their supervision. Lent by Messrs. Wylson & Long. 
 
 Oxford Music Hall, London. —General view of exterior, view of Tottenham 
 Court-road front, photograph of interior. 
 
 Empire Theatre of Varieties, Bristol. — Photograph of interior, ditto. 
 
 Lyric Theatre, Bath. — Photograph of interior. 
 
 Winter Gardens, Blackpool. — Perspective view of exterior, colour detail of 
 front, model of interior. 
 
 Empress Theatre, Brixton. — Five working drawings. 
 
 Tneatre of Varieties, Dalston. — Four working drawings. Model of interior 
 — One model. 
 
 COLLECTION OF DRAWINGS OF THEATRE BUILDINGS AND MUSIC 
 HALLS designed by Messrs. Darbyshire & Smith, and executed under their 
 supervision. Lent by Messrs. Darbyshire & Smith. 
 
 Sir Henry Irving’s “ Safety Theatre ’’ Plan.— Ground plan, circle plan, and 
 longitudinal section. 
 
 NOTE. — This design is due to the emphatic expression of Sir Henry Irving’s 
 opinion of the absolute necessity of building theatres with a due regard to the 
 safety of the audience, and it was prepared in 1887 after the theatre fire at 
 Exeter. The problem to be solved by Sir Henry Irving’s scheme, as illustrated 
 by the drawings in this Exhibition, involved the working out of certain absolute 
 conditions which may be defined as follows : — 1, Isolated site ; 2, division of 
 auditorium from back of house ; 3, minimum height above street level for 
 any part of the audience ; 4, provision of two separate exits to every section 
 of the audience ; 5, improved construction of the stage with smoke flue ; 6 
 fire-resisting construction throughout ; ground plan ; circle plan ; longitudinal 
 section. 
 
 New Theatre Royal, Exeter (built on the “Irving Safety Theatre” prin- 
 ciples). — Plan of amphitheatre ; plan of entrances and exits ; plan of first 
 and second circles ; longitudinal section. 
 
 Manchester Palace Theatre of Varieties.— Ground and circle plan, plan o 
 pit level, plan of foyer and winter garden, plan of amphitheatre, longitu- 
 dinal section, sections through auditorium, coloured perspective. 
 
 Prince's Theatre, Manchester- — Coloured cross section. 
 
40 
 
 OLLECTION OF ARCHITECTURAL DRAWINGS illustrating theatres, 
 designed by Mr. Frank Matcham, and executed under his supervision. 
 
 The Lyric Theatre, Hammersmith. -Interior view, showing half the house. 
 Empire Palace, Edinburgh — Photo of interior. 
 
 Theatre Royal, Bolton. 
 
 Grand Theatre, Halifax. 
 
 Grand Theatre, Islington. 
 
 Canterbury Music Hall, London. — Photo of interior. 
 
 Empire Palace, Birmingham. — Photo of interior. 
 
 Alhambra, Brighton.— Photo showing half the house. 
 
 Empire Palace, Glasgow. — Photo of interior, showing half house. 
 
 Regent Theatre, Salford.— Three photos of interior. 
 
 Borough Theatre, Stratford. — Two photos of interior. 
 
 Empire Palace, Liverpool — Four photos of interior. 
 
 Theatre Royal, Rochdale. — Photos of interior. 
 
 Opera House, Wakefield. -Interior photo showing half of house. 
 
 Grand Theatre, Hull. — Interior and exterior view. 
 
 Empire Palace, Cardiff.— Interior photos showing auditorium and dress circle. 
 Grand Theatre, Blackpool. — Photos of grand staircase and general view of 
 building. 
 
 Empire Palace, Edinburgh. -Photos of interior. 
 
 Regent Theatre, Salford. — Photo taken from stage, and photo showing half 
 house. 
 
 Theatre Royal, Bury. — Photo of exterior ; general view. 
 
 Empire Palace, Edinburg 1 . — General account of the buildings. 
 
 Alexandra Theatre, Stoke Newington. — View of exterior. 
 
 Grand Opera House, Belfast.— Interior views. 
 
 Grand Opera House, Belfast. — General view, 
 
 Empire Palace, Sheffield. —Interior photo. 
 
 Her Majesty’s Theatre. — Two interior photos. 
 
 GROUP III. 
 
 AN EXAMPLE OF MODERN THEATRE CONSTRUCTION 
 IN ITS MOST ADVANCED FORM. 
 
 [ Numbers to in this Group lent by Mr Sachs.] 
 
 COLLECTION OF DRAWINGS, TRACINGS, AND PRINTS of Mr. K. 
 
 D’Oyly Carte’s English Opera House, Cambridge-circus, London, so arranged 
 as to illustrate some of the principal features in the buildings. 
 
 NOTE. — This structure, which is now known as the Palace Theatre of Varieties, 
 
 : erected in 1891. 
 
 Yiew of Exterior, produced as frontispiece in “ Modern Opera Houses and 
 Theatres,” from a drawing by Mr. Mallows Lent by Edwin O. Sachs, Esq. 
 
 Sketches of Exteriors and Interiors, from various drawings, reproduced 
 in a monograph by Mr. D’Oyly Carte. Lent by Messrs. Sprague & Co. 
 
 Line Drawing of Front Elevation, by T. E. Collcutt. Lent by T. E. 
 Qollcutt, Esq. 
 
41 
 
 A Set of Diagrams illustrating the construction of the auditorium, prepared 
 by Mr. Edwin 0. Sachs, from the working drawings of the Horsley Iron 
 Company, engineers, for reproduction in Engineering : Key plan of dress 
 circle steel and iron work, key plan of steel and iron work on second tier, 
 detail short cantilever on second tier, detail of short cantilever on first tier, 
 detail of cantilever on second tier, detail of short cantilever on second tier, 
 details of various cantilevers on second tier, details of stanchions for 
 auditorium, details of steel cantilevers carrying dress circle. Lent by 
 Edwin 0. Sachs, Esq. 
 
 A Set of Diagrams showing roof construction of auditorium, prepared by Mr. 
 Edwin 0. Sachs from the working drawings of the Horsley Iron Company, 
 engineers, for reproduction in Engineering : Diagram showing key plan of 
 iron work, roof of auditorium ; principal roof girders over auditorium ; 
 details of roof over auditorium. Lent by Edwin O. Sachs, Esq. 
 
 Diagram showing roof over stage, prepared by Mr. Edwin 0. Sachs from the 
 working drawings of the Horsley Iron Company, engineers, for reproduction 
 in Engineering : Details of principal girder carrying roof over stage, and 
 gridiron to stage. Lent by Edwin 0. Sachs, Esq. 
 
 Plan of Stage Floor, being a print used for mounting scenery. Lent by 
 Edwin 0. Sachs, Esq. 
 
 GROUP IV. 
 
 EXAMPLES OF THEATRE CONSTRUCTION, FITTINGS, 
 
 AND APPLIANCES. 
 
 [Numbers in this Group lent by Mr. Sachs.] 
 
 SKETCHES of the effect of stage lighting, being reproductions from drawings 
 by Professor Herkomer, R.A., and Mr. Sword (drawn under the Professor’s 
 directions), from Volume III. of “ Modern Opera Houses and Theatres.” 
 Study of an Actor, as seen from the gallery, where footlights are used. 
 Study of an Actor, as seen from the stalls, where footlights are used. 
 Study of a Head, where footlights are used. Study of a Head, where foot- 
 lights are not used. 
 
 DIAGRAMS OF APPLIANCES used for stage lighting where gas or electricity 
 are employed, specially prepared by Messrs. Strode & Co. Arrangement of 
 gas cocks for gas-board ; arrangement of gas-board plate ; arrangement of 
 footlights for gas installation ; arrangement of footlights for gas installation ; 
 arrangement of gas battens for gas installation ; arrangement of side lights 
 for gas installation ; arrangement of batten lights, float lights, and side 
 lights for electric installation ; arrangements of switch board for electrical 
 installation. 
 
 DIAGRAMS ILLUSTRATING ATYPICAL LONDON WOOD STACE, prepared 
 by Edwin 0. Sachs, for his articles on “ Modern Theatre Stages,” in Engi- 
 neering. Transverse section, longitudinal section, plan of stage floor, plan 
 of first mezzanine. 
 
 DIAGRAMS OF THE STAGE at Mr. It. D’Oyly Carte’s Royal English Opera 
 House, London, prepared by Edwin O. Sachs, for his articles on “Modern 
 Theatre Stages,” from working drawings of the designer, Mr. Walter Dando. 
 Longitudinal section, transverse section, plan of stage, joist plan, details ©f 
 “slider ” and “ batten.” 
 
42 
 
 DIAGRAMS OF HYDRAULIC STAGE APPLIANCES, designed and constructed 
 for the Lyric Theatre, London, by* Messrs. Clarke, Bunnett & Co., London, 
 engineers. Plan, longitudinal section. 
 
 DIAGRAM OF AN HYDRAULIC FIRE RESISTING THEATRE CURTAIN 
 
 (Max Clarke patent), constructed by Messrs. Clarke, Bunnett & Co., engi- 
 neers, London, at the Lyric Theatre, London. 
 
 MODEL OF A FIRE-RESISTING CURTAIN, designed and constructed by the 
 United Asbestos Company, and specially prepared for the Victorian Era 
 Exhibition. Lent by the United Asbestos Company. 
 
 PRINTS OF THEATRE STAGES, being illustrations from a series of articles 
 entitled “Modern Theatre Stages,” by Edwin O. Sachs, published in 
 Engineering x 1896 and 1897. D’Oyly Carte’s English Opera House. — Plans 
 and details of stage Type of English Wood Stage. — Plans and details. 
 
 “ Faust ” ballet at the Empire Theatre of Varieties. — Details of special 
 appliances. Lent by the proprietors of Engineering . 
 
 PRINTS OF IRON CURTAINS, being illustrations from the above. Lent by the 
 proprietors of Engineering. 
 
 A LIST OF FIRES IN THEATRES DURING THE VICTORIAN ERA, from 
 
 a collection of Theatre Fire Records, compiled by Edwin 0. Sachs, E.S.S., and 
 specially extracted and arranged for the purposes of the Exhibition. 
 
 SKETCHES from Notable Theatre Fires of the Victorian Era, from collections 
 in connection with the Theatre Fire Records, by Edwin 0. Sachs. 
 
 Glasgow Theatre. — View of stage after fire, view of auditorium after fire, view 
 of corridor after fire. Particulars of fire on form with illustrations. 
 
 MODEL OF STAGE. — One model. Lent by Messrs. Wylson & Long. 
 
 GROUP V. 
 
 ARCHITECTURAL, TECHNICAL, AND LEGAL PUBLICATIONS 
 ON THEATRE CONSTRUCTION. 
 
 “ MODERN OPERA HOUSES AND THEATRES.” Examples Selected from 
 Playhouses Recently Erected in Europe, with Descriptive Text. A Treatise 
 on Theatre Planning and Construction, and Supplements on Stage Machinery, 
 Theatre Fires, and Protective Legislation, in three large folio volumes. By 
 Edwin 0. Sachs, Architect. Published by B. T. Batsford, High Holborn, 
 London. Volume I. bound in morocco, Volume II. bound in buckram, 
 Volume III., specimen plate. 
 
 NOTE. — This work is the only comprehensive publication on the subject that 
 has ever been produced. It has been in preparation since 1891, and the first 
 volume was issued last year. Volume II. was published this year, and 
 Volume III. will be issued shortly. It comprises 200 plates, 500 pages of text, 
 with 1,000 diagrams. 
 
 “ FIRES IN THEATRES.” By Eyre M. Shaw. Second edition. Published by 
 E. &/ F. N Spon, London. One book. Lent by Messrs. Spon. 
 
 A COLLECTION OF PARLIAMENTARY PUBLICATIONS, referring to the 
 government, management, and construction of theatres during the Victorian 
 Era. Printed by Messrs. Eyre & Spottiswoode, for Her Majesty’s Stationery 
 Office. Lent by Messrs. Eyre & Spottiswoode. 
 
43 
 
 An Act for the better preventing thefts and robberies, and for regulating places 
 of public entertainment, and punishing persons keeping disorderly houses. 
 November 10, 1847 (reprinted 1890). 
 
 Copies of any communications which have been addressed to the Secretary of 
 State for the Home Department in the course of the present year, complain- 
 ing of the state of the laws in reference to dramatic entertainments. 
 Printed July 8, 1842. 
 
 An Act for regulating theatres. August 22, 1843 (reprinted 1892). 
 
 Copies of a letter relating to precautions against fire, addressed by the Lord 
 Chamberlain to the managers of theatres, dated February 7, 1864, and of a 
 memorandum by the Lord Chamberlain, dated February 5, 1864, and trans- 
 mitted by him to the managers of theatres ; together with a copy of 
 regulations for better protection against accidents by fire. Printed February 
 17, 1864. 
 
 Returns showing the various forms of Exits Licences by the Lord Chamberlain. 
 Printed May 5, 1881, 
 
 Report from the Select Committee of 1866 on Theatrical Licences and Regula 
 tions, together with the Proceedings of the Committee. Printed June 28, 
 1866. 
 
 Report from the Select Committee of 1892 on Theatres and Places of Enter- 
 tainment, together with the Proceedings of the Committee. Printed June 
 2, 1892. 
 
 EARLY LONDON THEATRES.” By T. Fairman Ordish, F.S.A. With 
 illustrations and maps ; published by Elliott Stock, London. Lent by 
 Messrs. Elliott Stock. 
 
 MACHINERY IN THEATRES.” By R. M. Stevenson; published by T. J. 
 Wheale, of High Holborn. Lent by Mr. B. T. Batsford. 
 
 HISTORICAL AND DESCRIPTIYE Accounts of Theatres of London.” By 
 E. W. Brayley ; published by J. Taylor. Lent by Mr. B. T. Batsford. 
 
 FIRES AND PUBLIC ENTERTAINMENTS.” A Study of some 1,100 Notable 
 Fires at Theatres, Music Halls, Circus Buildings, and Temporary Structures 
 during the last 100 Years. By Edwin O. Sachs, F.S.S.; published by 
 Charles & Edwin Layton, London, 1897. Lent by Messrs. Layton. 
 
MUSIC SECTION 
 
 HONORARY COMMITTEE OF THE MUSIC SECTION. 
 
 Sir Arthur Sullivan, Mus. Doc , 
 Hon. R.A.M., Chairman. 
 
 Sir Alexander C. Mackenzie, Mus. 
 Doo. (Principal of the Royal Aca- 
 demy of Music), Vice-Chairman. 
 W. Bendall, Esq. 
 
 D. J. Blaikley Esq. 
 
 J. P. Bridge, Esq., Mus. Doc., Gres- 
 ham Professor. 
 
 C. I. Boosey, Esq. 
 
 F. H. Cowen, Esq., Hon. R.A.M. 
 
 F. Cellier, Esq. 
 
 T. Chappell, Esq. 
 
 Robert M. Cocks, Esq. 
 
 W. H. Cummings, Esq., F.S.A., Hon. 
 R.A.M. (Principal of the Guildhall 
 School of Music). 
 
 J. Spencer Curwen, Esq., P. R.A.M. 
 (Pres. Tonic Sol-Fa Co’lege). 
 
 G. Donaldson, Esq. 
 
 E. Enoch, Esq. 
 
 Wilhelm Ganz, Esq. 
 
 Edward German, Esq. 
 
 Otto Goldschmidt, Esq., Hon.R.A.M., 
 R.C.O. 
 
 Arthur G. Hill, Esq., M.A., F.S.A. 
 Arthur Frederick Hill, Esq. 
 Alfred Littleton, Esq. 
 
 Hamish MacCunn, Esq. 
 
 W. G. McNaught, Esq. 
 
 Sir Herbert S. Oakeley. 
 
 Hubert Parry, Esq., Mus. Doc. 
 (Director of the Royal College of 
 Music). 
 
 Cavaliere Alberto Randegger, Hon 
 R.A.M. 
 
 George Rose, Esq. (Messrs. John 
 Broadwood & Sons). 
 
 W. Barclay Squire, Esq., F.S.A. 
 
 C. Villiers Stanford, Esq., Mus. 
 Doc. (Professor of the University 
 of Cambridge). 
 
 Albert Yisetti, Esq. 
 
 Henry J. Wood, Esq. 
 
 Pelluet Delsart, Esq., Hon. Sec. 
 
 MUSIC IN ENGLAND DURING THE REIGN OF 
 QUEEN VICTORIA, 1837=1897. 
 
 “ Progress ” has been the dominant note of this most wonderful 
 reign, and music has every reason to rejoice and be glad for the 
 position she holds to-day as compared with that of sixty years ago. 
 The outlook in 1837 was not very cheering. In regard to Church 
 music, it is difficult to realise that, with the exception of the 
 cathedrals, there were no surpliced choirs in London. The musical 
 service — if such it could be called— was an affair of a few charity 
 children, who, seated round the organ, nasally sang florid chants 
 and dreary hymn-tunes. The only orchestral performances of any 
 artistic importance were those of the Philharmonic Society, estab- 
 lished in 1813 ; but as many orchestral concerts might now be heard 
 in a fortnight in London as were given during the whole of the 
 season of 1837. The one music school was the Royal Academy of 
 
45 
 
 Music (opened in 1823), which had a handful of resident pupils, who 
 were located in the present building in Tenterden-street. Text-books 
 were dry and dear. Musical journalism was represented by the 
 Musical World, which contained some very interesting articles. 
 Gentlemen essayed the flute, and ladies showed their fair arms in 
 harping upon their harps. The lady violinist was unknown ; for a 
 lady to have fiddled would have been regarded as a social crime. 
 Even so late as 1860 the Spectator said: — “Female violinists are 
 rare, the violin being, we do not know why, deemed an un f eminine 
 instrument. Female violoncellists are rarer still, and we have 
 never met with one.” The opera — a foreign exotic — was the only 
 “ fashionable ” thing in music, and thither Society went, much as 
 Society does now. The Sacred Harmonic Society, founded by 
 amateurs in 1832, was doing good work. The music at the Queen’s 
 coronation (June 28, 1838) was described as “ a libel on the present 
 state of the art in this country.” Still less worthy of the occasion 
 was the music at Her Majesty’s marriage (February 10, 1840), 
 which was of the feeblest kind, and formed a strong contrast; to 
 that arranged by the Prince Consort for the Princess Royal’s 
 wedding (1858), when Mendelssohn’s “Wedding March” was first 
 used as a nuptial voluntary. 
 
 But it is time to narrate a few of the important musical events 
 of these sixty years at the Birmingham Festival. In 1837 
 Mendelssohn conducted his 4 St. Paul,” which had been pro- 
 duced at Liverpool in 1836. There was then no railway to 
 Birmingham, and the London performers were instructed to journey 
 thither on two separate days, as there was not sufficient coach accom- 
 modation for all to travel on one day ! A bright era dawned for the art of 
 music in England when Prince Albert became the illustrious Consort 
 of our beloved Queen. The Prince was not only a highly cultivated 
 man, but an accomplished musician. His taste and discrimination 
 in music were in the highest degree beneficial to the progress of true 
 art in the country of his adoption, and his premature death in 1861 
 was a serious loss to music in England. The year of the Queen’s 
 marriage (1840) was that in which English organs began to be con- 
 structed to the CC (or German) compass, whereby the colossal works 
 of J. S. Bach could be properly performed. The forties were 
 celebrated for the beginning (in 1841) of John Hullah’s movement— 
 which Punch called a 44 Hullabaloo ! ” — for teaching popular singing; 
 
40 
 
 also for the foundation of the widely used Tonic Sol-fa system, in- 
 vented by a Miss Glover, of Norwich, and systematised (also in 1841) 
 by the Rev. John Curwen, a congregational minister. John Ella 
 started (in 1845) his Musical Union for chamber music. Alfred 
 Novello began (in 1846) the cheap issue of oratorios, anthems, and 
 part-songs, which have so largely contributed to the spread of 
 choral music throughout the English-speaking world. The Musical 
 Times was started in 1844. The production of Mendelssohn’s 
 “ Elijah,” under the composer’s direction, at the Birmingham 
 Festival of 1846, and the first appearances in England of Rubin- 
 stein (1842) and Jenny Lind (1847) must be recorded. Costa was 
 a shining light in the musical firmament at this time. He was 
 conductor at the opera, of the Sacred Harmonic and Philharmonic 
 Societies, and of the Birmingham Festivals. It was owing to his 
 partiality for brilliancy that the pitch was gradually raised, to the 
 ’ detriment of the voices. The error of Costa’s ways is now being 
 mended, and the sooner the pitch is universally lowered the better. 
 But credit should be given to Costa for having revolutionised the 
 orchestra and orchestral playing, for having had the Exeter Hall 
 organ tuned to equal temperament (in 1848), and for introducing 
 ladies into the alto part of the chorus, which had hitherto been sung 
 exclusively by male voices — “ bearded altos,” as Mendelssohn called 
 them. The native musicians of the forties included Sterndale 
 Bennett, Balfe, Goss, Hatton, Vincent Wallace, and S. S. Wesley. 
 
 The half-century began most auspiciously in the Great Exhibition, 
 erected in Hyde Park, and opened in 1851. This unique feature of 
 the Queen’s beneficent reign was the inception of the Prince Consort. 
 Three years later the huge glass edifice was rebuilt at Sydenham, 
 under which roof, for upwards of forty years, classical music has 
 had an honoured home. The unwearied labours of Mr. August 
 Manns and Sir George Grove are gratefully recalled in this connec- 
 tion — the former as the eminent conductor and true friend to 
 English music, the latter as the writer of the invaluable analytical 
 concert programmes (the first of which appeared January 26, 1856). 
 In 1855 Richard Wagner (who had previously visited London in 
 1839) conducted the Philharmonic Society for one season only. 
 He shared the same fate as Schumann at the hands of the 
 leading musical critics of the day, the most eminent of whom wrote 
 that Schumann’s “ ‘ Paradise and Peri’ has gone to the tomb of the 
 
47 
 
 a Lohengrins.’” Madame Schumann first visited these shares- in 
 1856; and Gounod’s “Faust” was first performed (without action) 
 at the Canterbury Music Hall, London, on April 24, 1860, its first 
 stage representation being at Covent Garden on June 11, 1863. 
 Other events between 1859-60 were the founding, or operations, of the 
 following musical institution# : In 1852, the New Philharmonic 
 Society (now defunct) ; the Bach Society (founded 1849, dissolved 
 1870) ; in 1855, Henry Leslie’s choir (also defunct) ; the first Handel 
 Festival, 1857 ; and the Monday Popular Concerts, started in 1859. 
 G. A. Macfarren was a leading musician ; and a name now well- 
 kaown to fame first came before the public when (in 1856) Arthur 
 Sullivan, then a Chapel Royal chorister of fourteen s immers, was 
 elected the first holder of the Mendelssohn Scholarship. 
 
 In 1862 the Jubilee of the Philharmonic Society was celebrated, 
 and in the same year Sir Julius Benedict’s opera “ Tae Lily of 
 Killarney ” was produced. In 1867 the name of Joseph Barnby was 
 brought prominently forward in connection with the choir bearing 
 his name. In the organ world W. T. Best and Henry Smart were 
 the representative men. 
 
 In 1871 the Royal Albert Hall, built in memory of the Prince 
 Consort, was opened. Five years later the Bach Choir (under the 
 direction of Mr. Otto Goldschmidt) was formed. In the same year 
 the National Training School for Music was started at Kensington, 
 which, in 1883, was succeeded by the Royal College of Music, at first 
 under the able direction of Sir George Grove (whose celebrated 
 “ Dictionary of Music and Musicians ” will hand his name down to 
 posterity), and afterwards of Dr. Hubert Parry. The series of those 
 inimitable comic operas, with which the names of W. S. Gilbert and 
 Arthur Sullivan are so strongly associated, began, in 1875, with 
 “ Trial by Jury.” Two exceptional series of orchestral concerts 
 were given at the Royal Albert Hall under the direction of Messrs. 
 Novello & Co. ; the first, given daily for six months at the Inter- 
 national Exhibition of 1873 ; the second, every evening for seven 
 weeks during 1874. In the seventies began the Wagner propa- 
 ganda, which has since assumed such large proportions, when 
 “Lohengrin” (in 1875), “Tannhauser” (in 1876), and “ Rienzi ” (in 
 1879) were heard or the first time in London. Wagner paid his 
 last visit to England, and conducted some of his works, in 1877. 
 
 From 1880 to the present time it is only possible to chronicle the 
 
48 
 
 most important events. First and foremost is what we may proudly 
 designate the rise or revival of the English School, as exemplified 
 in the works of Cowen, Mackenzie, MacCunn, Parry, Stanford, and 
 Sullivan, who3e “Golden Legend” was produced at the Leeds 
 Festival of 1886. In 1882 Wagner’s works received a great 
 impetus in popular favour when his later and more developed 
 operas began to be introduced to English audiences. Gounod’s 
 “Redemption” was also produced at the Birmingham Festival. 
 In addition to the names already recorded, mention must be made 
 of the good work done in their several spheres by such men as Sir 
 John Stainer, Professor Bridge, Dr. E. J. Hopkins, Dr. G. C. Martin, 
 and the late Sir Charles Halle; and in the ranks of musical jour- 
 nalism by J. W. Davison, H. F. Chorley, and Mr. Joseph Bennett. 
 One of the most extraordinary developments of the last few years 
 has been that of the Guildhall School of Music, founded in 1880, 
 and which now (under the skilful guidance of Mr. W. H. Cum 
 mings) boasts of no less than 3,500 pupils. Mention must also be 
 made of the Royal College of Organists (with which the name of 
 Dr. E. H. Turpin is worthily associated), Trinity College, and the 
 Incorporated Society of Musicians. 
 
 The Music Section of the Victorian Era Exhibition supplies many 
 deficiencies in this necessarily brief sketch, and furnishes a practical 
 guide to the history of music in England during the last sixty years. 
 Here will be found th-3 portraits of 200 celebrated men and women 
 in the realm of music. In close proximity are many manuscripts 
 of absorbing interest by native composers, and also the autograph 
 pianoforte score of Mendelssohn’s oratorio “Elijah,” kindly lent by 
 the composer’s daughter. The music publishers’ section, which is a 
 worthy appendage to the historic section, has also many attractive 
 features. 
 
 In conclusion, the Music Section of Mr. Imre Kiralfy’s great Exhi- 
 bition is one in which the visitor may spend a delightful time to his 
 pleasure and profit. It forms an object-lesson in the art of music 
 which cannot fail to be of the greatest possible value and interest to 
 English people. 
 
 London, May, 1897. 
 
 F. G. Edwards. 
 
MUSIC CATALOGUE. 
 
 HISTORICAL SUB-DIVISION. 
 
 A.— OIL PAINTINGS. 
 
 1. Hamish MacCuan (1868), composer, b. Greenock. By J. Pettie,R.A. ; lent by 
 Mrs. Pettie. 
 
 2. Robert Lindley (1776-1855), violoncellist, b. Rotherham. Lent by Messrs. 
 J. & J. Hopkinson. 
 
 3. Sir George Alexander Maofarren (1813-1887), composer, b. London. Pro- 
 fessor of Music, Cambridge ; Principal of the Royal Academy of Music. By 
 Mrs. L. Goodman; lent by W. Macfarren, Esq. 
 
 4. Alfredo Piatti (1822), violoncellist, b. Bergamo. First appeared in England 
 in 1844. By Sir Arthur Clay, Bart. ; lent by the artist. 
 
 5. Madame Emma Calve (1866), vocalist, b. France. First appeared in London 
 in 1892. By Frank Eugene ; lent by Austin Brereton, Esq. 
 
 6. Thomas Attwood (1765-1838), composer and organist, b. London. Pupil of 
 Mozart. Lent by the Royal College of Music. 
 
 7. Joseph Alfred Novello (1810-1896), vocalist and music publisher, b. London. 
 By B. Cross ; lent by A. H. Littleton, Esq. 
 
 8. Robert Lucas de Pearsall (1795-1856), composer, b. Clifton. Lent by the 
 Dowager Countess of Harrington and Mrs. Swinnerton Hughes. 
 
 9. Adolf Ganz (1796-1869), violinist and composer, b. Mainz. Conducted 
 German operas in London, 1840-1842. Lent by W. Ganz, Esq. • 
 
 10. Sir Walter Parratt (1841), organist and Master of Her Majesty’s Music, b. 
 Huddersfield. By G. E. Moira ; lent by the President and Fellows of 
 Magdalen College, Oxford. 
 
 11. Madame Clara Anastasia Novello (1818), vocalist, b. London. By Pietro 
 Novello ; lent by T. W. Taphouse, Esq. 
 
 12. Sir George Alexander Macfarren (1813-1887). By Cyrus Johnson, Esq., R.I.; 
 lent by the artist. 
 
 13. John Farmer (1836), composer and organist, b Nottingham. By H. S. 
 Marks ; lent by J. Farmer, Esq. 
 
 14. Jacques Blumenthal (1829), composer and pianist, b. Hamburg, settled in 
 London in 1848. By G. F. Watts, R.A. ; lent by M. Blumenthal. 
 
 15. Pablo de Sarasate (1844), violinist, b. Pamplona. First appeared in England 
 in 1861. By Felix Moscheles ; lent by the artist. 
 
 16. Domenico Dragonetti (1755-1846), double-bass player, b. Venice. First 
 appeared in London in 1794. Lent by Messrs. J. & J. Hopkinson. 
 
 17. Joseph Joachim (1831), violinist, b. Kittsee. First appeared in London in 
 1844. By G. F. Watts, R.A. ; lent by the artist. 
 
 18. Sir Charles Halle (1819-1895), pianist and conductor, b. Hagen. Came to 
 London in 1848. By C. E. Hall6 ; lent by the artist. 
 
 19. Johann Baptist Cramer (1771-1858), composer and pianist, b. Mannheim. 
 Came to London at an early age. By J. C. Horsley, R.A. ; lent by Messrs. 
 Broadwood. 
 
 20. Thomas Forbes Walmisley (1783-1866), organist and composer, b. London. 
 By MacCaul ; lent by A. Walmisley, Esq. 
 
21. Jacob Ludwig Felix Mendelssohn Bartholdy (1809-1817), composer, b. 
 
 Hamburg. First visited England in 1820. By Professor E. Magnus ; lent 
 by Walter Macfarren, Esq. 
 
 22. Sir George Thomas Smart (1776-1867), organist and conductor, b. London. 
 By C. Hodgson ; lent by the Royal Society of Musicians. 
 
 28. Harry Plunket Greene (1865), vocalist, b. Dublin. By H. G. Herkomer ; lent 
 by the artist. 
 
 24. John Frederick Bridge (1844), composer and organist, Gresham Professor of 
 Music, b. Oldbury. By A. J. Foster ; lent by Professor Bridge. 
 
 25. Stephen Heller (1815-1888), pianist and composer, b. Pesth. Played in 
 England in 1862. By C. E. Hall6 ; lent by the artist. 
 
 26. Sidney Nelson (1800-1862), composer, b. London. Lent by Mrs. A. Nelson. 
 
 27. Ignaz Moscheles (1794-1870), pianist and composer, b. Prague. First visited 
 London in 1822. By F. Moscheles ; lent by Miss Charlotte Roche. 
 
 28. Nicolo Paganini (1784-1840), violinist, b. Parma. By G. Patten, A.R.A, ; 
 lent by A. F. Patten, Esq. 
 
 29. Sir Henry Rowley Bishop (1786-1855), composer and conductor, b. London. 
 By T. Foster ; lent by Mrs. Henry Condron. 
 
 30. Miss Marie Brema, vocalist, b. Liverpool. By Olga Podznanska ; lent by 
 Miss Brema. 
 
 31. Samuel James Arnold (1774-1852), manager of the English opera (Lyceum 
 Theatre), b. London. By James Lonsdale ; lent by Mrs. Walter Arnold. 
 
 32. Thomas Attwood Walmisley (1814-1856), organist and composer, b. London. 
 By F. Walmisley ; lent by A. Walmisley, Esq. 
 
 33. Henry David Leslie (1822-1896), conductor and composer, b. London By 
 Julia B. Folkard ; lent by Mrs. Leslie. 
 
 34. Henry Russell (1815), vocalist and composer, b. Sheerness. By Mrs. L. 
 Goodman ; lent by G. Ellis, Esq. 
 
 35. Sir George Job Elvey (1816-1893), organist and composer, b. Canterbury. 
 By Val Prinsep, R A. ; lent by Lady Elvey. 
 
 36. Sir George Grove, C.B (1820), writer on music, b. Clapham. First Director 
 of the Royal College of Music. By C. W. Furse ; lent by Sir George 
 Grove. 
 
 37. Charles Edward Horn (1786-1819), as Seraskier in “ The Siege of Belgrade,” 
 composer and vocalist, b. London. By Pocock ; lent by the Royal Society 
 of Musicians. 
 
 38. Thomas Molineux (1802-1891), double-bass player, b. Manchester. Lent by 
 the Royal Society of Musicians. 
 
 39. Arthur Somervell (1863), composer, b. Windermere. By C. S. Harrison ; 
 lent by Mrs. A. Somervell. 
 
 40 Miss Sarah A. Glover (1785-1867), inventor of the tonic sol-fa method. Lent 
 by Messrs. J. Curwen & Sons. 
 
 41. John Fane, sixth Earl of Westmoreland (1784-1839), composer, b. London. 
 Founder of the Royal Academy of Music. By Mrs. L. Goodman ; lent by 
 the Royal Academy of Music. 
 
 42. Joha Parry (1776-1851), composer, b. Denbigh. Lent by the Royal Society 
 
 of Musicians 
 
 43. Sir Alexander Campbell Mackenzie (1847), composer, b. Edinburgh. Principal 
 of the Royal Academy of Music, 1888. By H Ethel Rose ; lent by the 
 Royal Academy of Music. 
 
 44. David S. Bispham (1857), as the Duke in Messager’s “ La Basoche,” 
 vocalist, b. Philadelphia. First appeared in London in 1891. By H. G . 
 Herkomer ; lent by D. Bispham, Esq. 
 
51 
 
 45. William Crotch (1775-1847), b. Noiwicb, Professor of Music, Oxford. Prin- 
 cipal of the Royal Academy of Music, 1 823. By Sir William Beechey, R.A. ; 
 lent by the Royal Academy of Music. 
 
 46. John Sinclair (L790-1857), vocalist, b. Edinburgh. By G. H. Harlow; 
 lent by the Royal Society of Musicians. 
 
 47. Rev. John Curwen (1816-1880), founder of the Tonic Sol-fa Association, 
 b. Heckmondwike. Lent by J. Spencer Curwen, Esq. 
 
 48. Madame Lind-Goldschmidt (1820-1887), as Norma, b. Stockholm. First 
 appeared in London in 1847. After Soedertnark ; lent by Otto Goldschmidt, 
 Esq. 
 
 49. Mile. Nathalie Janotha, pianist, b. Warsaw. First appeared in London in 
 1878. By W. Spindler ; lent by Mile. Janotha. 
 
 50. William Vincent Wallace (1814-1865), composer, b. Waterford. By Sir G. 
 Hay ter, R.A. ; lent by J. Outram, Esq. 
 
 51. Miss Catherine Stephens, afterwards Countess of Essex (1791-1882), vocalist, 
 b. London By G. H. Harlow ; lent by T. W. Taphouse, Esq. 
 
 52. Henry Beaumont Walmisley (1830-1857), organist, b. Westminster. By 
 Frederick Walmisley ; lent by A. Walmisley, Esq. 
 
 53. Miss Louisa D. A Redeker (Mrs. Felix Semon), b. Hanover. First appeared 
 in London in 1876. By R. Lehmann ; lent by Mrs. Semon. 
 
 54. John Sims Reeves (1822), as Fra Diavolo, vocalist, b. Woolwich. Lent by 
 Madame Sims Reeves. 
 
 55. Henry John Gauntlett (1805-1876), organist and composer, b. Wellington. 
 Lent by Miss Gauntlett. 
 
 56. Robert Lindley (1776-1855). Lent by Alfred H. Littleton, Esq. 
 
 57. Domenico Francesco Maria Crivelli (1794-1856), composer and vocalist, b. 
 Brescia. By Becker ; lent by the Royal Society of Musicians. 
 
 58 Sir William Sterndale Bennett (1816-1875), composer, b. Sheffield. Professor 
 of Music, Cambridge ; Principal of the Royal Academy of Music (1866). 
 Lent by Stanley Lucas, Esq. 
 
 59. J. Edward German (1862), composer, b. Whitchurch. By E. W. Appleby ; 
 lent by the artist. 
 
 60. Frederic Hyman Cowen (1852), b. Jamaica. By L. J. Cowen ; lent by F. H. 
 Cowen, Esq. 
 
 61. Mrs. Mary Augusta Salmond, pianist. By J. H. Walker ; lent by Mrs. 
 Salmond. 
 
 62. Anton Grigorevich Rubinstein (1830-1894), pianist and composer, b. Wech- 
 wotynetz. First appeared in England in 1842. By R. Lehmann ; lent by 
 the artist. 
 
 68. Wilhelm Ganz (1830), pianist and conductor, b. Mainz. By H. W. Ganz ; 
 lent by W. Ganz, Esq. 
 
 64. Sir Robert Prescott Stewart (1825-1894), composer, b. Dublin. By Sir T A. 
 
 Jones, P.R.H.A. ; lent by the Royal Irish Academy of Music. 
 
 65. Miss Jessie Bond, vocalist. By B. Gall. Lent by the artist. 
 
 66. Joseph Joachim (1831). By Miss Grace Donkin; lent by Professor Stanford. 
 
 67. Ignaz Jan Paderewski (1860), pianist and composer, b. Podolia. First 
 appeared in London in 1890. By H.R.H. Princess Louise, Marchioness of 
 Lome. Lent by the artist. 
 
 68. Charles Villiers Stanford (1852), composer, b. Dublin. Professor of Music, 
 Cambridge. By H. Herkomer, R.A. ; lent by Professor Stanford. 
 
 69. Mdme. Wilma M. F. Norman-Neruda, afterwards Lady Halle, violinist, b. 
 Briinn. First appeared in London in 1849. By the Hon. J. Collier ; lent 
 by Lady Halle. 
 
52 
 
 70. William Charles ‘Levey (1837-1894), composer, b. Dublin. By Sir T. A. 
 Jones, P. R.H.A.; lent by the Royal Irish Academy of Music. 
 
 71. Sir George Grove, C.B. (1820). By Henry Wyndham Phillips ; lent by Sir 
 George Grove. 
 
 72. John Barnett (1802-1890), composer, b. Bedford. By Roger; lent by Mrs. 
 Barnett. 
 
 73. The Rev. Sir F. A, Gore Ouseley, Bart. (1825-1889), composer, b. London. 
 Lent by the Warden of St. Michael’s College, Tenbury. 
 
 73.*John Pyke Hullah (1812-1884), composer and writer on music, b. Worcester. 
 By Ralph Bowen ; lent by the Royal College of Music. 
 
 B.-WATER COLOURS, PASTELS, PENCIL 
 DRAWINGS, ETC. 
 
 74. Madame Jenny Lind-Goldschmidt (1820-1887), as Amina , in “ La Somnam- 
 bula.” By Max Hess ; lent by Otto Goldschmidt, Esq. 
 
 75. Eugene Oudin (1858-1894), as the Templar, in ‘ 4 Ivanhoe,” vocalist, b. New 
 York. First appeared in London in 1891. By Percy Anderson ; lent by 
 Mrs. Oudin. 
 
 76. Franz Hueffer (1843-1889), writer on music, b. Munster, musical critic of the 
 
 Times in 1878. By Mrs. Hueffer ; lent by the artist. 
 
 77. Charles Hubert Hastings Parry (1848), composer, b. Bournemouth. Director 
 of the Royal College of Music. By H. Rathbone ; lent by C. H. H. Parry, 
 Esq., Mus. Doc. 
 
 78. Samuel Sebastian Wesley (1810-1876), organist and composer, b. London. By 
 W. K. Briggs ; lent by the Royal College of Music. 
 
 79. John Francis Barnett (1837), pianist and composer, b. London. By G. Bach ; 
 lent by J. F. Barnett, Esq. 
 
 80. Arthur Goring Thomas (1850-1892), composer, b. Ratton. Lent by the Hon. 
 
 Mrs. Thomas. 
 
 81. Giuseppe Mario, Marchese di Candia (18 10-1883), vocalist, b. Cagliari. First 
 appeared in London in 1839. By Lord Leighton, P.R. A. ; lent by Mrs. Godfrey 
 Pearse. 
 
 82 Miss Liza Lehmann (Mrs. Bedford), vocalist and composer, b. London. By 
 R. Lehmann ; lent by the artist. 
 
 83. John Blockley (1800-1882), composer and publisher, b. London. By C. Kinn- 
 lein ; lent by J. Blockley, jun., Esq. 
 
 84. Sir Julius Benedict (1804-1885), conductor and composer, b. Stuttgart ; set- 
 tled in London in 1835. By T. B. Wirgman ; lent by Lionel Benson, Esq. 
 
 85. Carl A. N. Rosa (1842-1889), conductor and violinist, b. Hamburg. First 
 appeared in England in 1866. By G. A. Mackenzie ; lent by Mrs. Rosa. 
 
 86. Franz Liszt (1811-1886), composer and pianist, b. Raiding. First visited London 
 in 1824. By R. Lehmann ; lent by the artist. 
 
 87. Giacomo Meyerbeer (1791-1864), composer, b. Berlin. Visited London in 1847. 
 By R. Lehmann ; lent by the artist. 
 
 88. Joseph Joachim (1831). By R. Lehmann ; lent by the artist. 
 
 89. Madame Clara Schumann (1819-1896), pianist, b. Leipzig. First appeared in 
 London in 1856. By R. Lehmann ; lent by the artist. 
 
 90. Giuseppe Verdi (1813), composer, b. Roncole. Visited London in 1847, 1855, 
 
 1862, and 1875.. By R. Lehmann ; lent by the artist. 
 
 91. Charles Francois Gounod (1818-1893), composer, b. Paris. Visited London in 
 1870. By R. Lehmann ; lent by the artist. 
 
92. Ignaz Moscheles (1794-1870). By R. Lehmann ; lent by the artist. 
 
 93. Sir William Sterndale Bennett (1816-1875). By David ; lent by the Misses 
 M. E. and C. Bache, 
 
 94. Walter Bache (1842-1888), pianist, b. Birmingham. Lent by the Misses M. E. 
 and C. Bache. 
 
 95. John Templeton (1802-1886), vocalist, b. Riccarton, N.B. By A. Blaikley ; 
 lent by D. J. Blaikley, Esq. 
 
 96. Jacob Ludwig Felix Mendelssohn Bartholdy (1809-1847). By H. Miicke ; 
 lent by Mrs. Benecke. 
 
 97. William Dance (1755-1840), violinist, b. London. By G. Dance, R.A. ; len 
 by the Royal Society of Musicians. 
 
 98. William Horsley (1774-1858), composer and organist, b. London. By J. C. 
 Horsley, R.A. ; lent by Mrs. Horsley. 
 
 99. Charles Kensington Salaman (1814), composer and pianist, b. London. By 
 S. A. Hart, R.A. ; lent by C. K. Salaman, Esq. 
 
 100. Henry Russell (1815). By A. Blaikley ; lent by D. J. Blaikley, Esq. 
 
 101. Madame lima de Murska (1836-1889), vocalist, b. in Croatia. First appeared 
 in London in 1865. Lent by Madame du Barry. 
 
 102. Madame Clara Schumann (1819-1896). By Ethel Webling; lent by Miss 
 Agnes Zimmermann. 
 
 103. Francis Edward Bache (1833-1858), pianist and composer, b. Birmingham. 
 Lent by the Misses M. E. and C. Bache. 
 
 104. Francis Edward Bache (1833-1858). By F. Bandel ; lent by the Misses M. 
 E. and C. Bache. 
 
 105. Mrs. German Reed (Miss P. Horton) as Francesco Vergoni (1818-1895), 
 vocalist, b. Birmingham. Lent by Mrs. A. German Reed. 
 
 106. “ Music,” a design. By F. D. Walenn ; lent by the artist. 
 
 107. Antonio Tamburini (1800-1876), vocalist, b. Faenza. First appeared in 
 London in 1832. Lent by Lionel Benson, Esq. 
 
 108. Sir George Alexander Macfarren (1813-1887). By W. Beale ; lent by the 
 Royal Academy of Music. 
 
 109. Joseph Binns Hart (1794-1844), organist, b. London. Lent by A. J. Hart, 
 Esq. 
 
 110 Vincent Novello (1781-1861), composer, b. London. By E. P. Novello ; 
 lent by A. H. Littleton, Esq. 
 
 111. Samuel Lover (1797-1868), poet, painter, vocalist, and composer, b. Dublin. 
 Lent by John Blockley, Jun., Esq. 
 
 112. Madame Marie Roze (1846), vocalist, b. Paris. First appeared in London 
 in 1872. Lent by T. Godwin, Esq. 
 
 112.* Madame L. E. Vestris (1797-1856), vocalist, b. London. By A. E. Chalon, 
 R.A.; lent by Mrs. E. M. Ward. 
 
 C.— LITHOGRAPHS, ENGRAVINGS, ETC. 
 
 113. Sir George Alexander Macfarren (1813-1887). Lent by E. Kiver, Esq. 
 
 114. Apollon M. R. Barret (1804-1879), oboist, of French origin, for many years 
 in the opera orchestra. By Baugniet ; lent by G. Horton, Esq. 
 
 115. A. Nicholson, oboist. By Baugniet ; lent by G. Horton, Esq. 
 
 116. Copy of a medallion of William Vincent Wallace (1814-1865). Lent by W. 
 Marston, Esq. 
 
 117. Senora Manuela Perea-Nena and Don Felix Garcia, dancers. Lent by the 
 proprietors of the Dancing Times. 
 
54 
 
 118. Johannes Brahfns (1833-1897), composer. By Engelbach ; lent by A. Lusk, 
 Esq. 
 
 119. William Harrison (1843-1868), vocalist, b. London. By Baugniet ; lent by 
 Clifford Harrison, Esq. 
 
 120. Sir Michael Costa (1808-1884), conductor and composer, b. Naples. Came 
 to England in 1829. By Baugniet ; lent by G. Horton, Esq. 
 
 121. H. Brod (1799-1839), oboist, b. Paris. By Van Giel ; lent by G. Horton, 
 Esq. 
 
 122. Maria Taglioni (1833-1891) in “La Gitana,” dancer, b. Berlin. By J. 
 Bouvier ; lent by the proprietors of the Dancing Times. 
 
 123. Ella’s Musical Union, 1852. By Baugniet ; lent by the Royal Academy of 
 Music. 
 
 124. The Quartett. Portraits of Professor Joachim, Messrs. Ries, Straus, and 
 Piatti. By Bruck-Lajos ; lent by Miss Agnes Zimmermann. 
 
 125. Jacob Ludwig Felix Mendelssohn Bartholdy (1809-1847). (a) Engraving, 
 
 vignette, (6) lithograph after Muller, (c) engraving by H. Adlard, after W. 
 Hensel. Lent by A. Lusk, Esq. 
 
 126. Michael William Balfe (1808-1870), composer and vocalist, b. Dublin. By 
 F. Salabert ; lent by W. Ganz, Esq. 
 
 127. Ferdinand Hiller (1811-1885), composer and pianist, b. Frankfurt. Visited 
 England in 1871. By E. Kuhnel ; lent by Miss Agnes Zimmermann. 
 
 128. Wilhelm Richard Wagner (1813-1883), composer, b. Leipzig. Appeared in 
 London in 1855, Lent by A. Lusk, Esq. 
 
 129. Mile. Fanny Elssler, in “La Tarentule,” dancer. By J. Bouvier; lent by 
 the proprietors of the Dancing Times. 
 
 130. J. L. F. Mendelssohn Bartholdy (1809-1847), and H. C. Schleinitz (1802- 
 1881). Lent by Miss Agnes Zimmermann. 
 
 131. Frederic Francois Chopin (1809-1849), composer, b. near Warsaw. Appeared 
 in London in 1848. Lent by Andrew Lusk, Esq. 
 
 132. Hector Berlioz (1803-1869), composer, b. near Grenoble. Was in England 
 in 1847, 1851, and 1852. By. C. Patschke ; lent by A. Lusk, Esq. 
 
 133. Louis Spohr (1784-1859), composer, b. Brunswick. Visited London in 1820, 
 1839, and 1852. By G. Engelbach ; lent by A. Lusk, Esq. 
 
 134. Mile. Fanny Elssler, in “ The Brigand of Terracina,” dancer. By Weld 
 Taylor ; lent by the proprietors of the Dancing Times. 
 
 135. Madame Jenny Lind-Goldschmidt (1820-1887). By H. Sagert, after E. 
 Magnus * lent by O. Goldschmidt, Esq. 
 
 136. Madame Giulia Grisi (1811-1869), singer, b. Milan. First appeared in 
 London in 1834. By Neyelen ; lent by Mrs. Godfrey Pearse. 
 
 137. J. L. F. Mendelssohn Bartholdy (1809-1847). By G. Feckert, after E. 
 Magnus ; lent by A. Lusk, Esq. 
 
 138. J. L. F. Mendelssohn Bartholdy (1809-1847). By Jensen, after Hilde- 
 brandt ; lent by A. Lusk, Esq. 
 
 139. Wilhelm Richard Wagner (1813-1883). By Hanfstaengl, after C. Stocker- 
 Escher ; lent by A. Lusk, Esq. 
 
 140. Fanny Cerito as “La Vivandiere,” dancer. By J. Bouvier; lent by the 
 proprietors of the Dancing Times. 
 
 141. Miss Louisa F. Pyne (Madame Bodda) (1832), vocalist. By Baugniet; lent 
 by Madame Bodda-Pyne. 
 
 142. Franz Liszt (1811-1886), pianist and composer. By Mittag, after Kruger ; 
 lent by A. Lusk, Esq. 
 
 143. Mile. Marie Guy Stephan in “ Une Soiree de Carnaval,’’ dancer. By J, 
 Bouvier ; lent by the proprietors of the Dancing Tinies. 
 
144. Ella’s Musical Union, 1851. By Baugniet ; lent Jjy the Royal Academy of 
 Music. 
 
 145. Miss Kate Loder (Lady Thompson) (1826), pianist and composer, b. Bath. 
 By C. Baugniet ; lent by Lady Thompson. 
 
 146. Robert and Clara Schumann. Lent by A. Lusk, Esq. 
 
 147. Nicolo Paganini (1784-1840). A lock of his hair and a piece of a violin string 
 which he used in his last concert are framed with the portrait ; lent by Mrs. 
 Holyoake. 
 
 148. John William Hobbs (1799-1877), vocalist and composer, b. Henley . Lent 
 by W. H. Cummings, Esq. 
 
 149. Mdme. Alwina Valleria (1848), vocalist, b. Baltimore. Lent by the Royal 
 College of Music. 
 
 150. Henri Vieuxtemps (1820-1881), violinist, b. Yerviers. First appeared in 
 London in 1834. By Baugniet ; lent by V. Rubens, Esq. 
 
 151. Joseph Joachim (1831). By E. Kiihnel ; lent by A. Lusk, Esq. 
 
 152. William Richard Bexfield (1824-1853), composer, b. Norwich. By Bau- 
 gniet ; lent by W. B. Bexfield, Esq. 
 
 153. John Liptrot Hatton (1809-1886), composer, b. Liverpool. By Kniehuber ; 
 lent by Miss Hatton. 
 
 Caricatures. Lent by the Proprietors of Vanity Fair. 
 
 154. Luigi Arditi. By Ape. 
 
 155. Dan Godfrey. By Spy. 
 
 156. Richard Wagner. By Spy. 
 
 157. Pietro Mascagni. By Lib. 
 
 158. Charles Francois Gounod. By T. 
 
 159. Sims Reeves. By Spy. 
 
 160. F. P. Tosti. By Ape. 
 
 161. Corney Grain. By Spy. 
 
 162. Professor Sir John Stainer. By Spy. 
 
 163. Franz Liszt. By Spy. 
 
 164. August Manns. By Spy. 
 
 165. Edward Lloyd. By Lib. 
 
 166. George Grossmith. By Spy. 
 
 167. Sir George Grove. By Spy. 
 
 168. Sir Arthur Seymour Sullivan. By Ape. 
 
 169. Jean de Reszke. By Spy. 
 
 170. Sir Joseph Barnby. By Spy. 
 
 171. Pablo Sarasate. By Ape. 
 
 172. Eduard Strauss. By E. B. N. 
 
 173. Sir Michael Costa. 
 
 174. Giuseppe Verdi. By T. 
 
 175. Sir Charles Halle (1819-1895). By J. B. Black ; lent by Messrs. Forsyth 
 Brothers. 
 
 176. Frederick Gye (1809-1878), operatic manager, b. Finchley. By Baugniet ; 
 lent by E. Gye, Esq. 
 
 177. William Crotch (1775-1847). By J. Thomson, after W. Derby ; lent by the 
 Royal Academy of Music. 
 
 178. Philip Cipriani Hambly Potter (1792-1871), pianist and composer, b. 
 London. Principal of the Royal Academy of Music, 1832. By S. Bendixen ; 
 lent by the Royal Academy of Music. 
 
50 
 
 179. Charles Lucas (1808-1869), composer and violoncellist, b. Salisbury. 
 Principal of the Royal Academy of Music, 1859. By G. B. Black ; lent by 
 the Royal Academy of Music. 
 
 180. Sir William Sterndale Bennett (1816-1875). By T. O. Barlow, after Sir J. 
 E. Millais, P.R.A. ; lent by the Royal Academy of Music. 
 
 181. Giuditta Pasta (1798-1865), vocalist, b. Como. First appeared in London in 
 1816. Lent by W. H. Cummings, Esq. 
 
 181a. Edward James Loder (1818-1865), composer, b. Bath. By Hanhart, after 
 Mitchell; lent by W. H. Cummings, Esq. 
 
 181b. Henry Hugo Pierson (1815-1873). ByLammel; lent by W. H. Cummings, 
 Esq. 
 
 D.-PHOTOGRAPHS. 
 
 182. Miss Alice Mary Smith (Mrs. Meadows White) (1889-1884), composer. Lent 
 by his Honour Judge Meadows White. 
 
 183. Giuseppe Mario, Marchese di Candia (1810-1883). Lent by Mrs. Godfrey 
 Pearse. 
 
 184. Jean Lassalle (1847), vocalist, b. Lyons. First appeared in London in 1879. 
 Jean de Reszke (1852), vocalist, b. Warsaw. First appeared in London in 
 1874. Edouard de Reszke (1855), vocalist, b. Warsaw. First appeared in 
 London in 1880. Lent by W. Ganz, Esq. 
 
 185. Joseph Joachim (1831). By Mrs. Cameron ; lent by Miss Agnes Zimmermann. 
 
 186. Senora Perea-Nena, Spanish dancer. Lent by the proprietors of the 
 Dancing Times. 
 
 187. Charles Edward Horsley (1822-1876). Lent by Mrs. A. Whitelegge. 
 
 188. Pietro Mascagni (1863), composer, b. Leghorn. Visited London in 1893. 
 Arrigo Boito (1842), composer, b. Padua, Visited London in 1880. Lent by 
 W. Ganz, Esq. 
 
 189. Charles Kensington Salainan (1814). By the late Eugene Oudin ; lent by 
 C. K. Salaman, Esq. 
 
 190. Thomas Wingham (1846-1893), composer, b. London. Lent by E. Kiver, Esq. 
 
 191. Francis Edward Bache (1833-1858). Lent by the Misses M. E. and C. 
 Bache. 
 
 192. Henry Smart (1813-1879), organist and conductor, b. London. Lent by W. 
 S. Dunkley, Esq. 
 
 193. Rosina Wright, dancer. Lent by the proprietors of the Dancing Times. 
 
 194. Arthur Goring Thomas (1850-1892). Lent by C. I. Thomas, Esq. 
 
 195. J. L. F. Mendelssohn-Bartholdy (1809-1847). From Hensel’s sketch, taken 
 after death ; lent by Professor Sir H. S. Oakeley. 
 
 196. William Vincent Wallace (1849-1865). Lent by W. Marston, Esq. 
 
 197. Von Joel ( ), whistler at Evans’ supper rooms. Lent by the proprietors 
 
 of the Dancing Times. 
 
 198. Walter Bache (1842-1888). Lent by the Misses M. E. and C. Bache. 
 
 199. Henry Smart (1813-1879). Photograph on round plate. Lent by Mrs 
 Henry Joachim. 
 
 200. William Smith Rockstro (1823-1895), composer and writer on music, b. 
 North Cheam. By Samuel Butler ; lent by J. A. Fuller Maitland, Esq. 
 
 201. Madame Arabella Goddard (1838), pianist, b. St. Servais. Lent by Madame 
 Arabella Goddard. 
 
 2 02 . 
 
 203. 
 
 204. 
 
 205. 
 
E.-PROGRAMMES, ETC. 
 
 206. Programme, printed on white satin, of Madame Jenny Lind’s Concert, July 
 31, 1848. Lent by Otto Goldschmidt, Esq. 
 
 207. Two playbills, Covent Garden, Italian Opera, 1847, 1849. Lent by Mrs. 
 Titford. 
 
 208. Playbill, Her Majesty’s Theatre, Italian Opera, 1846. Lent by Mrs. Titford. 
 
 209. Playbill, Covent Garden, 1845, Jullien’s Bal Masque. Lent by Clifford 
 Harrison, Esq. 
 
 210. Sacred Harmonic Society, programme of “ The Messiah,” 1849, with seal of 
 the Society, and autograph letters from Miss Birch, Miss Dolby, Messrs. 
 Lockey, and H. Phillips. Lent by Mrs. Vinter. 
 
 211. Two Concert Programmes : (n) Mrs. Anderson’s Concert, May 26, 1848 ; ( b ) 
 Madame Goldschmidt-Lind’s Farewell Concert, June 30, 1856. Lent by 
 Mrs. Titford. 
 
 212. Operatic contracts signed by Sir Michael Costa and G. Ronconi, dated 1854 
 and 1862. Lent by Ernest Gye, Esq. 
 
 213. Playbill of “ Faust,” English Opera, under the management of W. Harrison. 
 Lent by Clifford Harrison, Esq. 
 
 214. Playbill, Theatre Royal, Brighton, September 2, 1839. Benefit of W. 
 Harrison. Lent by Clifford Harrison, Esq. 
 
 215. Programme of music performed at the opening of the Exhibition of 1851 in 
 Hyde Park. Lent by Mrs Vinter. 
 
 216. Playbill, Her Majesty’s Theatre. Festival performance in honour of the 
 Princess Royal’s marriage, January 25, 1858. Lent by Clifford Harrison, 
 Esq. 
 
 217. Playbill, Her Majesty’s Theatre, Italian Opera, 1847. Lent by Mrs. 
 Titford. 
 
 218. Programme, Italian Opera, Covent Garden, 1855. Printed on satin for the 
 use of H.M. the Queen. Lent by R. H. Rowen, Esq. 
 
 219. Diploma, awarded Mr. Henry Leslie in commemoration of the success of 
 his choir at the Paris Exhibition, 1878. Lent by Mrs. Leslie. 
 
 220. Operatic contracts for Covent Garden, signed by L. Lablache and E. 
 Tamberlick ; dated 1852 and 1854. Lent by Ernest Gye, Esq. 
 
 221. Operatic contract for Covent Garden, signed by Signor Mario July 30, 1864. 
 Lent by E. Gye, Esq. 
 
 222. Six programmes of the Sacred Harmonic Society, 1842-1858. Lent by Mrs. 
 Titford. 
 
 223. Playbill, Her Majesty’s Theatre, Italian Opera, 1849. Lent by Mrs. Titford. 
 
 224. Operatic contract for Covent Garden, signed by Madame Grisi, dated 1861, 
 Lent by Ernest Gye, Esq. 
 
 225. Playbill in verse, Theatre Royal, Norwich, about 1840. Lent by Clifford 
 Harrison, Esq. 
 
 226. Programme, Sir Julius Benedict’s Jubilee Concert, June 7, 1884. Lent 
 by W. A. Baskcomb, Esq. 
 
 227. Two playbills, Drury Lane, 1841, German Opera. Lent by Clifford 
 Harrison, Esq. 
 
 228. Seven playbills of the Royal English Opera Company, Covent Garden. 
 Lent by E. Clifford Harrison, Esq. 
 
 229. Playbill, Olympic Theatre, 1839, under Madame Vestris’s management 
 Lent by Clifford Harrison, Esq. 
 
 230. Programmes of Sir Charles Halle’s concerts in Manchester, in three 
 frames. Lent by Forsyth Brothers. 
 
58 
 
 231. Two playbills, Her Majesty’s Theatre. Italian Opera, 1847-8. Lent by 
 Mrs. Titford. 
 
 232. 
 
 233. 
 
 234. 
 
 F.— BUSTS, MEDALLIONS, ETC. 
 
 235. Madame Marie Emma Albani-Gye. Bust by Count Gleichen. Lent by 
 Ernest Gye, Esq. 
 
 236. Sir Charles Halle (1819-1895). Medallion in plaster. By Miss E. Halle; 
 lent by the artist. 
 
 237. Michael William Balfe (1808-1870). Marble medallion. By Malempre; lent 
 by the Royal Irish Academy of Music. 
 
 238. Madame Jenny Lind-Goldschmidt. Marble bust (1820-1887). By J. 
 Durham, A.R.A. ; lent by Capt. Goldschmidt. 
 
 239. Sir Joseph Barnby (1838-1896), conductor and composer, b. York. Principal 
 of the Guildhall School of Music. Plaster bust. By H. Hampton ; lent by 
 the artist. 
 
 240. Madame Giulia Grisi (1811-1869). Marble bust. By G. F. Fuller ; lent by 
 Mrs. Godfrey Pearse. 
 
 24 L Giuseppe Mario, Marchese di Candia (1810-1883). Marble bust. By G. F. 
 Fuller ; lent by Mrs. Godfrey Pearse. 
 
 242. Sir Michael Costa (1808-1884). Bronze bust. By E. A. Olivieri ; lent by 
 Mrs. Lionel Benson. 
 
 243. 
 
 F-AUTOGRAPHS. 
 
 244. William Michael Balfe (1808-1870). Andante, dated May 28, 1867 ; lent by 
 the Royal Irish Academy of Music. 
 
 245. Jacques Offenbach (1819-1880), composer, b. Cologne. Conducted in England 
 in 1857. Gigue for piano, dated 1874 ; lent by C. D. Enoch, Esq. 
 
 246. Louis Spohr (1784-1859). Letter to L. Schloesser, dated January 21, 1853 ; 
 lent by A. Schloesser, Esq. 
 
 247. Ignaz Moscheles (1794-1870). Letter to L. Schloesser, dated October 8, 1884 ; 
 lent by A. Schloesser, Esq. 
 
 248. Charles Francois Gounod (1818-1893). Letter to Mr. Ballin, dated Febru- 
 ary 22, 1876 ; lent by J. S. Ballin, Esq. 
 
 249. Ferdinand Hiller (1811-1885). Letter, dated July 23, 1870; lent by W. H. 
 Cummings, Esq. 
 
 250. Louis Spohr (1784-1859). Letter to J. A. Strumpff, dated 1844; lent by 
 the Royal College of Music. 
 
 251. Gioacchino Antonio Rossini (1792-1868, composer), b. Pesaro. First visited 
 London in 1823. Letter to Sir Michael Costa, dated November 6, 1856 ; 
 lent by the Royal College of Music. 
 
 252. Wilhelm Richard Wagner (1813-1883). Fragment of “Tristan und Isolde,” 
 for pianoforte, dated Paris, June, 1860 ; lent by A. Schloesser, Esq. 
 
 253. William Vincent Wallace (1814-1865). Letter to R. L. Cocks, dated June 
 21, 1858 ; lent by A. Schloesser, Esq. 
 
 254. Gustave Hippolyte Roger (1815-1879), vocalist, b. Chapelle St. Denis. 
 Appeared in London in 1847. Fragment from Boieldieu’s “ Dame Blanche ’’ : 
 lent by A. Schloesser, Esq. 
 
50 
 
 255. John Braham (1774-1856), vocalist, b. London. Letter, dated March 31, 
 1835 ; lent by 0. C. Quekett, Esq. 
 
 256. F. F. Chopin (1809-1849), Waltz in A flat, dated December 10, 1842 ; 
 lent by A Schloesser, Esq. 
 
 257. Christine Nillsson (1843), vocalist, b. Wexis. First appeared in London in 
 1867. Letter ; lent by W. H. Cummings, Esq. 
 
 258. Clara Anastasia Novello (1818). Letter to Mr. Cummings, dated 1891 
 lent by W. H. Cummings, Esq. 
 
 259. Hector Berlioz (1803-1869). Concert programme, May 23, 1843, and letter 
 to L. Schlosser, dated February 2, 1856 ; lent by A. Schloesser, Esq. 
 
 260. Wilhelm Richard Wagner (1813-1883). Letter to L. Schloesser, dated July 8, 
 1852 ; lent by A. Schloesser, Esq. 
 
 261. Elias Parish Alvars (1816-1849), harpist, b. Teignmouth. Four bars of 
 music, dated 1843 ; lent by A. Schloesser, Esq. 
 
 262. Edward Hagerup Grieg (1843), composer, b. Bergen. Visited London in 
 1888. Fragment of Ballade, Op. 24 ; lent by A. Schloesser, Esq. 
 
 263. Theresa Tietjens (1833-1877), vocalist, b. Hamburg. First appeared in 
 London in 1858. Letter, dated November 12, 1875 ; lent by A. Schloesser 
 Esq. 
 
 264. Giacomo Meyerbeer (1791-1864) Music ; lent by A. Schloesser, Esq. 
 
 265. Charlotte Helen Sainton Dolby (1821-1885) and Prosper Sainton (1813-1890). 
 Letters to Mr. Cummings ; lent by W. H. Cummings, Esq. 
 
 266. Clara Schumann (1819-1896). Letter to Miss Agnes Zimmermann, dated 
 February 26, 1888 ; lent by Miss Agnes Zimmermann. 
 
 267. Samuel Lover (1797-1868). Two letters to J. Blockley, dated February 20 and 
 March 14, 1861 ; lent by J. Blockley, jun., Esq. 
 
 268. Madame Annette Essipoff (1850), pianist, b. Russia. Appeared in London in 
 1875. Letter, dated February 9, 1879 ; lent by A. Schloesser, Esq. 
 
 269. Heinrich Wilhelm Ernst (1814-1865), violinist. First appeared in London 
 in 1844. Music, dated 1842 ; lent by A. Schloesser, Esq. 
 
 270. Giulio Regondi (1822-1872), concertina player, b. Geneva. Settled in Lon- 
 don in 1831. Music ; lent by A. Schloesser, Esq. 
 
 271. Jules Schulhoff (1825), pianist, b. Prague. Appeared in England in 1851. 
 Music ; lent by A. Schloesser, Esq. 
 
 272. Anton Grigor’evich Rubinstein (1830-1894). Music ; lent by A. Schloesser, 
 Esq. 
 
 273. John Bernard Sale (1779-1856), composer, b. Windsor. Taught H.M. The 
 Queen music, about 1826. Biographical notes, dated December 28, 1823 ; 
 lent by W. H. Cummings, Esq. 
 
 274. Walter Bache (1842-1888). Memoranda for study, 1872 ; lent by Misses M. 
 E. and C. Bache. 
 
 275. William Beale (1784-1854), composer, b. Landrake. “Invitation to the 
 Feather’d Race,” song, dated 1824 ; lent by W. H. Cummings, Esq. 
 
 276. Edward James Loder (1812-1865), composer, b. Bath. Letter, dated January 
 12, 1843 ; lent by W. H. Cummings, Esq. 
 
 277. John William Hobbs (1799-1877). “ The Church,” song, dated 1850; lent 
 by W. H. Cummings, Esq. 
 
 278. Pauline Viardot-Garcia (1821), vocalist, b. Paris. First appeared in London 
 in 1839. “There be none of beauty’s daughters,” song, dated 1873; lent 
 by T. W. Taphouse, Esq. 
 
 279. Giovanni Battista Rubini (1795-1854), vocalist, b. Romano. First appeared 
 in London in 1831. Letter, dated March 3, 1818 ; lent by W. H. Cummings, 
 Esq. 
 
280. Charles Edward Horn (1786- 1849). Letter, dated August 21, 1835 ; len 
 by W. H. Cummings, Esq. 
 
 281. Henryk Wieniawski (1835-1880), violinist, b. Lublin. First appeared in 
 London about 1850. Music ; lent by A. Schloesser, Esq. 
 
 282. Sir Michael Costa (1808 1884). Letter, dated May 5, 1885; lent by 0. C. 
 Quekett, Esq. 
 
 283. Franz Liszt (1811-1886). Prelude omnitonique for piano ; lent by A. 
 Schloesser, Esq. 
 
 284. Hans Guido von Billow (1830-1894), pianist and conductor, b. Dresden. 
 Appeared in England in 1878. Letter to Miss Agnes Zimmermann, dated 
 April 27, 1875 ; lent by Miss Agnes Zimmermann. 
 
 285. Henri Vieuxtemps (1820-1881), violinist, b. Verviers. First appeared in 
 London in 1834. Letter to Mr. Rubens, dated April 1, 1870 ; lent by Y. 
 Rubens, Esq. 
 
 286. L. G. A. Jullien (1812-1860), conductor, b. Sisterton. First conducted 
 in London in 1838. Agreement with orchestra, dated October 12, 1842 ; 
 lent by W. H. Cummings, Esq. 
 
 287. Ebenezer Prout (1835). “ The Red Gross Knight,” cantata. First per- 
 formed at Huddersfield in 1887. Full score ; lent by Professor Prout. 
 
 288. Manuel Garcia (1805), teacher of singing, b. Madrid ; settled in London in 
 1850. Fragment of Cavatina from Rossini’s “ Tancredi,” showing the 
 “ fioriture ” added by Mr. Garcia in the style of the period. Lent by M. Garcia, 
 Esq. 
 
 289. Sir Julius Benedict (1804-1885). “ Comrades,” song, with orchestral 
 
 accompaniment, full score ; lent by W. H. Cummings, Esq. 
 
 290. William Hayman Cummings (1835), composer and vocalist, b. Sidbury, 
 
 Principal of Guildhall School of Music, 1896. “ The Fairy Ring,” cantata, 
 
 full score ; lent by W. H. Cummings, Esq. 
 
 291. Alice Mary Smith (Mrs. Meadows White) (1839-1884). Ode to the North- 
 East Wind, full score ; lent by his Honour Judge Meadows White. 
 
 292. Francis Edward Bache (1833-1858). Bon Matin, for pianoforte, dated 1856 ; 
 lent by Misses M. E. and C. Bache. 
 
 293. John Sims Reeves (1822). Letter to W. Blockley, dated March 14, 1861 ; 
 lent by W. Blockley, jun., Esq. 
 
 294. Sir Robert Prescott Stewart (1825-1894). Letter to Mr. Cummings, dated 
 September 28, 1872 ; lent by W. H. Cummings, Esq. 
 
 295. Ignaz Moscheles, 1794-1870. “ Die Zigeunerin,” song ; lent by T. W. 
 Taphouse, Esq. 
 
 296. Rev. Sir F. A. Gore Ouseley (1825-1889). “ In Jewry is God known,” anthem 
 lent by the Rev. the Warden, St. Michael’s College, Tenbury. 
 
 297. Sir Herbert Stanley Oakeley (1830), composer to Her Majesty in Scotland. 
 Troubadour Song, dated 1849 ; lent by T. W. Taphouse, Esq. 
 
 298. Henry Smart (1813-1879). “ Paquita,” song, with orchestral accompaniment, 
 dated 1864 ; lent by W. H. Gummings, Esq. 
 
 299. Alberto Randegger (1832), composer and conductor, b. Trieste. Full score 
 of “Fridolin,” cantata, produced at Birmingham, 1873; lent by A. 
 Randegger, Esq. 
 
 300. John Francis Barnett (1837). “ The Ancient Mariner,” cantata, full score, 
 dated 1867 ; lent by the composer. 
 
 301. J. Edward German (1862). “ Yalse Gracieuse,” from Suite in D minor, full 
 score ; lent by the composer. 
 
 302. Charles Kensington Salaman (1814). “ I arise from dreams of thee,”' song. 
 Revised version, 1879 ; lent by the compose 
 
61 
 
 303. John Barnett (1802-1890). “ My soldier wears a tartan plaid,” song ; lent 
 
 by Mrs. Vinter. 
 
 303. * John Liptrot Hatton (1809-1886). “Come back, Annie,” song; lent by 
 
 Miss Hatton. 
 
 304. Daniel Francois Esprit Auber (1782-1871), composer, b. Paris. First 
 appeared in London in 1802. March, composed for the opening of the 
 Exhibition, 1862, full score ; lent by the Royal College of Music. 
 
 305. Frederic Clay (1840-1889), composer b. Paris. “ The Sands of Dee,” song ; 
 lent by T. W. Taphouse, Esq. 
 
 306. William Smith Rockstro (1823-1895). First violin part of Symphony in E 
 flat ; lent by J. A. Fuller Maitland, Esq. 
 
 307. J. L. F. Mendelssohn Bartholdy (1809-1817). Pianoforte score of “ Elijah ” ; 
 lent by Mrs. Benecke. 
 
 308 Charles Hubert Hastings Parry (1848). “ De Profundis,” for 8 part chorus ; 
 
 soli and orchestra, full score ; lent by the composer. 
 
 309. J. L. F. Mendelssohn-Bartholdy (1809-1847). Letter to William Bartholo- 
 mew, dated July 3, 1846, relating to the English translation of “Elijah”; 
 lent by F. G. Edwards, Esq. 
 
 310. Charles Villiers Stanford (1852). “The Revenge,” full score, with 
 signature of Lord Tennyson ; and a document signed by Robert Cecil, 
 first Earl of Salisbury, Lord Howard of Eflingham, and other Elizabethan 
 statesmen; lent by Professor Stanford. 
 
 311. Sir John Goss (1800-1880), composer and organist, b. Fareham. “ O Praise 
 the Lord of Heaven,” anthem, dated 1868 ; lent by W. H. Cummings, Esq. 
 
 312. Thomas Tallis. Motet for 40 voices, edited by A. H. Mann. Performed by 
 the Madrigal Society in 1836 and 1890, with facsimiles of the autographs of 
 the performers ; lent by the Madrigal Society. 
 
 313. John Field (1782-1837), b. Dublin. Nocturne in F ; lent by W. H. 
 Cummings, Esq. 
 
 314. Sir Arthur Seymour Sullivan (1842), composer, b. London. First sketches 
 for “ The Mikado.” Lent by the composer. 
 
 315. Robert Licas de Pearsall (1795-1856), “List, Lady.” Six-part madrigal, 
 dated 1847 ; lent by the Dowager Countess of Harrington and Mrs. S winner- 
 ton Hughes. 
 
 316. Johann Baptist Cramer (1771-1858). New practical school for the piano- 
 forte ; lent by W. H. Cummings, Esq. 
 
 317. Henry Hugo Pierson (1815-1873). Roman dirge, “ Salve Eternum,” for 
 chorus and orchestra, Op. 32. Full score, dated 1850; lent by the Royal 
 College of Music. 
 
 318. George Alexander Lee (1802-1851), composer, b. London. 1 I cannot marry 
 Kraut.” Orchestral accompaniment to the song, with a letter to Mrs. 
 Hamby, dated December 27, 1828 ; lent by W. H. Cummings, Esq. 
 
 319. Robert Lucas de Pearsall (1795-1856). “ Ich stand im All,” song, with organ 
 accompaniment, dated 1847 ; lent by the Dowager Countess of Harrington 
 and Mrs. Swinnerton Hughes. 
 
 320. Arthur Somervell (1863). Full score of “Helen of Kirkconnel,” orchestral 
 ballad ; lent by A. Somervell, Esq. 
 
 321. Edward Francis Fitzwilliam, composer, b. Deal (1824-1857). Mass in A, 
 full score, dated 1845 ; lent by W. Gandy, Esq. 
 
 322. Sir Henry Rowley Bishop (1786-1855). Pas de deux for orchestra, full 
 score, dated 1816 ; lent by T. W. Taphouse, Esq. 
 
 323. Sigismund Neukomm (1778-1858), composer, b. Salzburg. First visited 
 England in 1829. “Make Haste, O God,” for contralto, &c. ; lent by 
 W. H. Cummings, Esq. 
 
324. Charles Francois Gounod (1818-1893). “ The Redemption,” vocal score, with 
 autographs of the composer and performers at the first performance, Bir- 
 mingham, 1882 ; lent by W. H. Cummings, Esq. 
 
 325. Louis Spohr (1784-1859). Chorale, dated July, 1847 ; lent by W. H. Cum- 
 mings, Esq. 
 
 326. John Lodge Ellerton (1807-1873), composer, b. Chester. Trio in E fiat, 
 dated 1845 ; lent by the Royal College of Music. 
 
 327. Charles Neate (1784-1877), composer, b. London. Symphony in E flat, full 
 score, dated 1814 ; lent by the Royal College of Music. 
 
 328. John Barnett (1802-1890). “ The Mountain Sylph,” full score ; lent by 
 
 Mrs. Barnett.- 
 
 329. Arthur Goring Thomas (1850-1892). “ The 8 wan and the Skylark,” cantata > 
 
 pianoforte score, with 3£ pages of the full score, all that was completed by 
 the composer ; lent by W. Barclay Squire, Esq. 
 
 330. Vincent Novello (1781-1861). Nine chants, dated 1844 ; lent by T. W. 
 Taphouse, Esq. 
 
 331. Sir George Job Elvey (1816-1893). Cantata, composed for Her Majesty s 
 birthday, 1850, full score ; lent by Lady Elvey. 
 
 332. Thomas Attwood (1765-1838). Introduction to the Coronation Anthem , 
 dated August, 1831 ; lent by W. H. Cummings, Esq. 
 
 333. John Farmer (1836). “ Many Years Ago,” a song for old Harrovians, dated 
 
 1897 ; lent by the composer. 
 
 334. William Crotch (1775-1847). “ The Lord is King,” anthem, full score, dated 
 April, 1838 ; lent by W. H. Cummings, Esq. 
 
 335. P. Cipriani H. Potter (1792-1871). Symphony in G minor, arranged as a 
 pianoforte duet ; lent by Walter Macfarren, Esq. 
 
 336. Charles Lucas (1808-1869). Three symphonies, dated 1826-1834, full 
 scores ; lent by Stanley Lucas, Esq. 
 
 337. Sir William Sterndale Bennett (1816-1875). Caprice, Op. 22, for pianoforte 
 and orchestra, full score ; lent by the Royal Academy of Music. 
 
 338. Sir William Sterndale Bennett (1816-1875). “ The Wood Nymphs,” over- 
 
 ture, full score, dated Leipzig, 1838 ; lent by Mrs. Rupert Owen. 
 
 339. Sir George Alexander Macfarren (1813-1887). “ May Day,” cantata, full 
 
 score, dated 1856 ; lent by the Royal Academy of Music. 
 
 340. Sir Alexander Campbell Mackenzie (1847). “ The Rose of Sharon,” oratorio, 
 full score ; lent by the Royal Academy of Music. 
 
 341. Robert Nicholas Charles Bochsa (1789-1856), composer and harpist, b. 
 Montmedy. Came to London in 1817. Fantasia for harp on Bishop’s 
 “ Cortez ”; lent by the Royal College of Music. 
 
 342. Adolph F. Hesse (1809-1863), organist and composer, b. Breslau. Played 
 in London in 1851. Andante from a symphony; lent by W. H. Cummings, Esq. 
 
 343. Sir William George Cusins (1833-1893), composer, b. London. Master of 
 
 Her Majesty's music, 1870. “ The Eyes of the Lord,” air from “ Gideon, 
 
 full score ; lent by W. H. Cummings, Esq. 
 
 344. Frederick Corder (1852), composer, b. Hackney. “ Philomel,” a musical 
 satire, dated 1879, full score ; lent by the composer. 
 
 345. William Crotch (1775-1847). Eleven lectures on music, delivered in 1808 ; 
 lent by J. Blockley, jun., Esq. 
 
 346. Bernhard Molique (1803-1869), composer, b. Niirnberg. Lived in London, 
 1849-1866. “Flying Leaves,” for flute and piano; lent by W. H. 
 Cummings, Esq. 
 
 347. Clara Schumann (1819-1896). Letter, dated May 8, 1890 ; lent by Mrs. 
 Vernon Mellor. 
 
348. Giacomo Meyerbeer (1791-1864). Letter to Madame Lind-Goldschmidt, 
 dated 1845 ; lent by Otto Goldschmidt, Esq. 
 
 349. Wilhelm Richard Wagner (1813-1883). Letter to A. Roeckel, dated 
 August 24, 1851 ; lent by J. L. Roeckel, Esq. 
 
 350. J. L. F. Mendelssohn Bartholdy (1809-1847). Wedding March from music 
 to “A Midsummer Night’s Dream,” pianoforte transcription; lent by 
 W. H. Cummings, Esq. 
 
 351. Madame Jenny Lind-Goldschmidt (1820-1887). Vocal Exercises, the last 
 line illustrating Madame Goldschmidt’s method of teaching the shake ; 
 lent by Otto Goldschmidt, Esq. 
 
 352. J. L. F. Mendelssohn Bartholdy (1809-1847). Two letters to Madame Lind- 
 Goldschmidt, dated September 23 and October 31, 1846 ; lent by O. 
 Goldschmidt, Esq. 
 
 353. H.R.H. Princess Christian of Schleswig-Holstein. Unpublished Thema by 
 Robert Schumann, in the handwriting of Her Royal Highness ; lent by 
 H.R.H. Princess Christian. 
 
 354. J. L F. Mendelssohn Bartholdy (1809-1847). “ Paulus,” full score, with 
 inscriptions by the composer and H.R.H the Prince Consort ; lent by the 
 Royal College of Music 
 
 355. Charles Francois Gounod (1818-1893). Letter to Mr. Ballin, dated February 
 23, 1876 ; lent by J. S. Ballin, Esq. 
 
 356. Frederic Francois Chopin (1809-1849). Fugue in A minor and part of the 
 notes to the “ Methode des Methodes ” ; lent by Mile. Janotha. 
 
 357. H.R.H. Princess Beatrice (Princess Henry of Battenberg). Two Kyries for 
 four voices, dated 1881 and 1887 ; lent by H.R.H. Princess Beatrice. 
 
 358. Madame Jenny Lind-Goldschmidt (1820-1887). Letter to Lady Smart, dated 
 May 30, 1860 ; lent by Mrs. Vernon Mellor. 
 
 359. Henry Brinley Richards (1817-1885), composer, b. Carmarthen. “ God 
 Bless the Prince of Wales,” poetry by G, Linley ; lent by Mrs. Brinley 
 Richards. 
 
 360. Thomas Attwood (1765-1838). Exercises, corrected by W. A. Mozart; lent 
 by Professor Bridge. 
 
 361. Gioacchino Antonio Rossini (1792-1862). Sketch for the piano ; lent by 
 Mrs. Brinley Richards. 
 
 362. Sir Arthur Seymour Sullivan (1842). “ The Mikado,” full score ; lent by Sir 
 
 A. S. Sullivan. 
 
 363. Sigismund Thalberg (1812-1871),- pianist and composer, b. Geneva. First 
 appeared in London in 1830. Andante for the piano ; lent by Mrs. F. 
 Moscheles. 
 
 364. Edward Taylor (1784-1863), composer and Gresham Professor, b. Norwich. 
 Ode for the opening of Gresham College, 1843 ; lent by the Royal College 
 of Music. 
 
 365. James William Davison (1813-1885), composer and critic, b. London. 
 Overture to “ Fortunatus,” full score, dated 1834 ; lent by J. A. Fuller 
 Maitland, Esq, 
 
 366. Henry Robert Gadsby (1842). “ The Lord of the Isles,” cantata, full score ; 
 lent by the composer. 
 
 367. John Pyke Hullah (1812-1884). “ Autumn Leaves,” song, with orchestral 
 
 accompaniment, full score ; lent by W. H. Cummings, Esq. 
 
 368. William Richard Bexfield (1824-1853). “Israel Restored,” oratorio, full 
 score ; lent by W. B. Bexfield, Esq. 
 
 369. Jacques Blumenthal (1829), composer and pianist. Settled in London in 
 1848. A Twilight Song, dated 1863 ; lent by W. H. Cummings, Esq. 
 
64 
 
 370. Sir Henry Rowley Bishop (1786-1855). Songs, &c., with orchestral accom 
 paniments arranged for Her Majesty’s Concerts of Ancient Music, 1844 
 lent by the Royal College of Music. 
 
 371. Sir Michael Costa (1808-1884). “ Egbert and Ethelberga.” Serenata for the 
 marriage of H.R.H. the Prince of Wales with H.R.H. the Princess Alexandra 
 of Denmark ; lent by the Royal College of Music. 
 
 372. Hamish MacCunn (1868). “ Lord Ullin’s Daughter,” ballad for chorus and 
 
 orchestra, full score, dated 1887 ; lent by the composer. 
 
 373. Robert Lucas de Pearsall (1795-1856). Requiem for four voices, brass 
 instruments, double-bass, and organ, full score ; lent by the Dowager 
 Countess of Harrington and Mrs. Swinnerton Hughes. 
 
 374. Frederic Hyman Cowen (1852). “ Ruth,” a dramatic oratorio, full score, 
 
 dated 1887 ; lent by the composer. 
 
 375. John Frederic Bridge (1844). Overture, “ Morte d’Arthur,” full score, 
 dated 1885 ; lent by the composer. 
 
 376. 
 
 377. 
 
 378. 
 
 G. PRINTED MUSIC, MISCELLANEOUS, ETC. 
 
 379. H.R.H. the Prince Consort (1819-1861). “ Invocazione all ’Armonia,” “ We 
 praise Thee, O God,’’ and “ Te Deum ” ; lent by Otto Goldschmidt, Esq. 
 
 380. Ivory conductor’s baton, presented in 1878 by Princess Christian of 
 Schleswig-Holstein to Mr. Otto Goldschmidt (first conductor of the Bach 
 Choir), and signed by Her Royal Highness ; lent by 0. Goldschmidt, Esq. 
 
 381. Gold medal, won by Mr. Henry Leslie’s choir at the Paris Exhibition, 1887 ; 
 lent by Mrs. Leslie. 
 
 382. Wooden fan, on the sticks of which are written musical quotations, signed 
 by Brahms, Rubinstein, Madame Schumann, L. Straus, Stockhausen, Lady 
 Hall6, Sir Charles Halle, Piatti, and Joachim. On the reverse side are paint- 
 ings by celebrated artists. Lent by Miss Agnes Zimmermann. 
 
 383. Prize medals of the Madrigal Society ; lent by the Madrigal Society. 
 
 384. Folding music stand, painted with arabesques by F. Mendelssohn Bar- 
 tholdy ; lent by Mrs. Felix Moscheles. 
 
 385. SAvres china vase, won by Mr. Henry Leslie’s choir at the Paris Exhibition, 
 1878 ; lent by Mrs. Henry Leslie. 
 
 386. Costume worn by Signor Mario in Meyerbeer’s “ Les Huguenots”; lent by 
 Mrs. Godfrey Pearse. 
 
 387. Costume worn by Signor Mario in Donizetti’s “ La Favorita ” ; lent by 
 Mrs. Godfrey Pearse. 
 
65 
 
 MUSICAL EDUCATION. 
 
 At the period when Her Gracious Majesty began to reign the 
 advantages of musical education were not recognised, and it had 
 no place in the national training. It is true that the Royal 
 Academy of Music, intended exclusively for professional musicians, 
 had been established in 1822, but when the Queen came to the 
 •throne the number of students at that institution was very limited, 
 although they were quite sufficient to meet the requirements of the 
 public. In 1825 there were only 100 students, and the affairs of 
 the Academy were so bad financially that it was nearly decided to 
 abandon the enterprisa altogether. In 1834 a sum of £2,250, part 
 of the proceeds of a great festival in Westminster Abbey, was 
 handed over to the authorities, and the Academy was enabled to 
 continue its work. 
 
 The only other musical training then obtainable in this country 
 was that of the cathedral choirs, and even in some of these the 
 authorities had so disregarded their solemn trust that the musical 
 establishments had become a byword and s a reproach. A con- 
 siderable number of the musicians who have made their mark 
 during the Queen’s reign were trained in the choirs of St. Paul’s 
 Cathedral, Westminster Abbey, and the Chapel Royal. 
 
 In the national, parochial, and village . schools music was not 
 taught at all, and the children learned by ear the dozen or so 
 of hymn tunes necessary for the service of the Church. As early 
 as 1835 Lord Brougham had made great efforts in the cause of 
 education generally, and had pleaded that the simple elements 
 of vocal music should be taught in the National Schools, but he 
 met with very little sympathy or encouragement. Joseph Mainzer, 
 an able and emhusia9tic teacher of vocal music in classes, having 
 had much success in Paris, came to London in 1839, and accom- 
 plished much excellent work in spreading a taste for vocal music. 
 He was succeeded by John Hullah, who, having the advantage of 
 the countenance and assistance of the Government, became very 
 popular as a teacher of singing classes in schools and at literary 
 institutions. After Hullah came Curwen, who adopted and 
 developed a system which was extensively advocated by Miss 
 
 c 
 
66 
 
 Glover, and which has since been widely adopted. To-day music 
 is taught in every school in the land, with more or less accuracy of 
 method, and with corresponding success. 
 
 The education of the professional musician at the commencement 
 of the Queen’s reign, even when acquired at the Royal Academy of 
 Music, was not attended with encouraging facilities. Of text-books 
 there were only two, and these were dry and difficult of compre- 
 hension ; indeed, it is a wonder how the musical youth of the early 
 years of the reign could have found pleasure or profit in the bulky 
 tomes of Albrechtsberger and Cherubini. x\t the present day every 
 musical study has its abundant, and generally excellent, literature, 
 one of the main features of the modern manuals being the simplicity 
 and practicability of the precepts contained therein. 
 
 In 1876 the “ National Training School for Music” was opened, 
 with eighty-two pupils. This eventually became, in 1883, the 
 Royal College of Music, and obtained a Royal Charter. This 
 institution affords instruction to a large number of students, and is 
 fortunate in possessing a magnificent building and nearly sixty free 
 scholarships. There is also the Guildhall School of Music, estab- 
 lished by the Corporation of the City of London in 1880, which now 
 gives musical education to nearly 4,000 students, and is a powerful 
 machine for the dissemination of the knowledge and love of music. 
 This institution is housed in a fine building, specially erected on the 
 Victoria Embankment, and operations have already commenced to 
 add a new wing, which will give the additional advantages of a fine 
 concert hall and twenty-seven new class rooms, affording full facilities 
 for the complete instruction of amateur and professional students. 
 When the Queen began her reign, there did not exist a single music 
 school in the provinces ; now there are many, one of the most 
 flourishing being at Manchester. 
 
07 
 
 MUSICAL EDUCATION CATALOGUE, 
 
 1. View of the London College of Music; and beneath a shield containing 
 
 specimens of gold and silver medals, to be competed for, in commemoration 
 of Her Majesty’s Diamond Jubilee. Lent by the London College of Music. 
 
 2. Portrait of Joseph Robinson, Esq. Lent by the Royal Irish Academy of 
 
 Music, Dublin. 
 
 3. The Hampstead Conservatoire, Swiss Cottage. Lent by the Secretary of the 
 
 Hampstead Conservatoire. 
 
 4. Coloured photo of the Music Class Room, University of Edinburgh. Lent by 
 
 Sir Herbert Oakele^. 
 
 5. A Rehearsal at the Royal Irish Academy of Music, Dublin. Lent by the 
 
 Royal Irish Academy of Music, Dublin. 
 
 6. Portrait of Charles P. Smith, First Secretary, Guildhall School of Music. 
 
 Lent by W. H. Cummings, Esq. 
 
 7. The Guildhall School of Music : sketch elevation of proposed extension. Lent 
 
 by W. H. Cummings, Esq. 
 
 8. The Guildhall School of Music. Sir Horace Jones, architect, 1886. Lent by 
 
 W. H. Cummings, Esq. 
 
 9. Portrait of Hilton Carter, Esq., Secretary, Guildhall School of Music. Lent 
 
 by W. H. Cummings, Esq 
 
 10. Portrait of Weist Hill (1829-1891), First Principal of the Guildhall School of 
 Music. Lent by W. H. Cummings Esq 
 
 11. Portrait of William H. Cummings, Principal, Guildhall School of Music. 
 Lent by W. H. Cummings, Esq. 
 
 12 . Portrait of Sir Joseph Barnby (1833-1896), Second Principal of the Guildhall 
 
 School of Music. Lent by W. H. Cummings, Esq. 
 
 13. Portrait of Pearse Harrison, Esq., Chairman of the Music Committee of the 
 Guildhall School of Music. Lent by W. H. Cummings, Esq. 
 
 14. Original Premises of the Guildhall School of Music. Lent by W. H. Cum- 
 mings, Esq. 
 
 15. Portrait of Mrs. C. P. Smith, Lady Superintendent, Guildhall School of 
 Music. Lent by W. H. Cummings, Esq. 
 
 16. The Queen’s Hall Orchestra. Lent by Robert Newman, Esq. 
 
 17. Promenade Concert on a Wagner Night at the Queen’s Hall. Lent by 
 Robert Newman, Esq. 
 
 18. Portrait of Chevalier Alberto Randegger. Lent by Mrs. Alberto Randegger. 
 
 19. Portrait of Sir Arthur Sullivan (historical). Lent by the Royal Irish 
 Academy. 
 
 20. Portrait of Signor Mascagni (historical). Lent by Messrs. Ascherberg. 
 
68 
 
 MUSICAL PUBLICATIONS COMMITTEE. 
 
 Bobert M. Cocks, Esq. | E. Enoch, Esq. 
 
 A. H. Lyttelton, Esq! 
 
 MUSICAL PUBLICATIONS. 
 
 This section is unique of its kind, and contains a splendid collec- 
 tion of mementos of the leading lights of the “divine art" who 
 have flourished during Her Majesty’s reign, and who are either of 
 British birth or have been intimately associated with England and 
 with those musical works which have for sixty years held the heart 
 of our music-loving English people. 
 
 Here will be found printed copies of great and well known com- 
 positions, some of them beiog the finest examples of music-printing 
 the world can produce, accompanied in many cases by the manu- 
 scripts of the works themselves, in the actual handwriting of the 
 composers, with a great number of autograph letters, portraits, &c., 
 all of which are of especial interest and charm. Thus, amongst other 
 precious relics of the great dead, will be found the contract entered 
 into by Mendelssohn with the firm of Novello & Co. as to the Eng- 
 lish rights of the Oratorio “ St. Paul ” ; the manuscript of Gounod’s 
 colossal “Mors et Vita," on the title-page of which, in the com- 
 poser’s hand, is the touching record, “The Work of my Life ; 
 while amongst others there are mementos in the handwriting of 
 the Abbe Liszt, the phenomenal pianist ; of Wagner, the composer 
 of the immortal “ Tristan und Isolde,’’ “ Tannhauser,” &c. ; Rubin- 
 stein, the great Russian pianist, whose playing has delighted thou- 
 sands who will read these lines ; Balfe, whose “ Bohemian Girl ’’ 
 still charms English opera-goers ; Wallace, the composer of the 
 evergreen “ Maritana ’’ ; and last, but by no means least, Arthur 
 Sullivan, who holds his own with his great predecessors, and of 
 whom England is so justly proud. Beside these there are auto- 
 graphs and printed copies of works by a large number of English 
 composers whose names are household words wherever music is 
 known. 
 
 The music publications section is, in fact, such a collection of 
 musical mementos of Victoria’s glorious reign as has never before 
 
69 
 
 been possible. Nor would it have been possible now but for the 
 co-opsration of such famous publishing houses as Novello, Cocks, 
 B )osey, Cramer, Augener, Ashdown, Ascherberg, Forsyth, Patey & 
 Willis, Schott, Morley, Weekes, and Williams, who have all 
 generously and unstintingly lent their priceless treasures, from 
 which the Music Publications Committee have made a most careful 
 selection with a view to completely illustrating the progress made 
 during the sixty years. That committee consists of Mr. A, H. 
 Littleton, of the firm of Novello, Ewer & Co. ; Mr. Robert M. 
 Cocks, of Robert Cocks & Co. ; and Mr. E. Enoch, of Messrs. 
 Enoch & Sons. These gentlemen, in carrying out their voluntary 
 labour of love, have liberally given their time and their talents, as 
 well as that cultured experience which only comes to men who 
 have spent their lives in selecting and giving to the world all 
 that is “ of good report” in the realm of music. The result is a 
 gathering the extent of which exceeds everything before attempted, 
 the value of which is beyond all price, and the surpassing interest 
 of which is without parallel. 
 
 MUSICAL PUBLICATIONS CATALOGUE. 
 
 CASE No. 1. — Contents lent by Messrs. Enoch & Sons. 
 
 Tosti, Paolo. Portrait, printed copy, 50 solfeggi ; manuscript and printed 
 copy, song, “ May Time.” 
 
 Moszkowski, M. Autograph letter, and printed copy “Pres du Berceau,” 
 pianoforte piece. 
 
 Rodney, Paul. Manuscript and printed copy, song, “ Alone on the Raft.” 
 
 Marches!, Mathilde. Autograph letter and printed copy, “Vocal Method.” 
 
 Roeckel, J. L. Portrait, manuscript, and printed copy, song, “ A Bird in 
 Hand.” 
 
 Benedict, Sir Julius. Manuscript score and printed copy, “ Overture to ‘The 
 Tempest.’ ” 
 
 Clay, Frederic. Manuscript and printed copy, song, “ But one golden hour.” 
 
 Wellings, Melton. Manuscript and printed copy, song, “ Some Day.” 
 
 Oudin, Eugene. Manuscript and printed copy, song, “ Zelina.” 
 
 Sainton- Dolby, Madame. Manuscript and printed copy, song, “ The life that 
 might have been.” 
 
 Chaminade, C. Portrait, manuscript, and printed copy, song, “ The Silver 
 Ring.” 
 
 Beyan, Frederick. Manuscript and printed copy, song, “The Admiral’s 
 Broom.” 
 
 Ganne, Louis. Portrait, manuscript, and printed copy, “ La Czarine,” piano. 
 
 Cowen, F. H Manuscript and printed copy, song, “ Tears.” 
 
 Blumenthal, J. Manuscript and printed copy, song, “ 0 Maiden Mine.” 
 
70 
 
 Lehmann, Liza. Manuscript and printed copy, song, “ Mirage.” 
 
 Royle, T. Popplewell. Manuscript and printed copy, “ Toreador Waltz. 
 
 Lohr, F. N. Manuscript and printed copy, song, “ Paradise Square.” 
 
 Lane, Gerald. Manuscript and printed copy, song, “ Life’s Lullaby.” 
 
 Gatty, Alfred Scott. Manuscript and printed copy, song, “ All for Her.” 
 
 CASE No. 2. — Contents lent by Messrs. Robert Cocks & Co. 
 
 Czerny, Carl. Two autograph letters, two manuscripts, and a printed copy, 
 “ School of Practical Composition ” ; also printed copy, “ March composed 
 for the Coronation of Her Majesty Queen Victoria.” 
 
 Rimbault, E. F. Printed copy, with illustration, “The Pianoforte, its Origin, 
 Progress, and Construction.” 
 
 Hopkins, E. J., and Rimbault, E. F. Printed copy, “ The Organ, its 
 History and Construction.” 
 
 Leybach, J. Autograph letter and printed copy, “ Theme Allemand.” 
 
 Rosellen, H. Autograph letter and printed copy, “ Reverie in G.” 
 
 Schuloff, J. Autograph letter and printed copy, “ Carnival de Venise.” 
 
 Dreyschock, A. Autograph letter and printed copy, “ Bluette, Nocturne.” 
 
 West, G. F. Portrait and printed copy, “ Polish Dance.” 
 
 Abt, Franz. Portrait, autograph letter, manuscript, and printed copy, 
 “ Kathleen Aroon.” 
 
 Lindsay, Miss (Mrs J. W. Bliss). Portrait, manuscript, and printed copies, 
 “Tired,” “When sparrows build,” “The Bridge,” with portraits of Jean 
 Ingelow and Longfellow. 
 
 Wrighton, W. T. Portrait and printed copy, “ Thy Voice is Near.” 
 
 Pinsuti, Ciro. Portrait, manuscript, and printed copy, “ Don’t Forget Me.” 
 
 Richards, Brinley. Portrait and printed copy, “ God Bless the Prince of 
 Wales.” 
 
 Hatton, J. L. Manuscript and printed copy, “ The Gallant Tars of England.” 
 
 Corder, F. Portrait and printed copy, “ The Orchestra, and How to Write for 
 it.” 
 
 Hamilton. Printed copy, “ Pianoforte Tutor,” with autograph letter of Charles 
 Czerny, editor of the earlier editions. 
 
 Dubourg, George. Printed copy, “ The Violin.” 
 
 Glen, Annie. Portrait and printed copy, “ How to Accompany.” 
 
 Holland, Edwin. Portrait and printed copy, “ Voice Production.” 
 
 Bishop, Sir H. R., composer of “ Home, Sweet Home.” Autograph signature. 
 
 Thorp, G. E., and Nicholl, W. Portraits and printed copies, “The Natural 
 Use of the Voice,” and “ Lessons on Breathing and Breath Control.” 
 
 Marx, Dr. A. B. Autograph letter and printed copy, “ The Universal School 
 of Music.” 
 
 Peiniger, Otto. Portrait and printed copy, “ A Violin Method.” 
 
 Kalkbrenner, F. Portrait, autograph letter, and printed copy, “ Treatise on 
 Harmony.” 
 
 Spohr, Dr. Louis. Portrait, autograph letter and priated copy, “ Violin 
 School.” 
 
 Macfarren, Walter. Portrait and printed copy, “ Pianoforte Method.” 
 
 Schumann, R. Autograph letter and printed copy, “Arabeske.” 
 
71 
 
 Strauss, Johann. Autograph letter and printed copy, “ Annen Polka.” 
 
 Wallace, W. Yincant. Autograph letter, maiuscript, and printed copy, 
 “ Robin Adair.” 
 
 Heller, Stephen. AutDgraph letter and printed copy, “ Tarantella.” 
 
 CASE No. 3.— Contents lent by Messrs. Novello, Ewer & Co. 
 
 Liszt, Franz. Two autograph letters, cast of hand, taken during his visit to 
 London in 1886, and printed copy of “ St. Elizabeth.” 
 
 Mendelss jhn, Bartholdy F. Assignment and printed copy of St. Paul ; assign- 
 ment for Books I. and III. of the celebrated “ Lieder ohne Worte,” &c., with 
 an original printed copy signed “I. M. for M. B ” (Ignace Moscheles for 
 Mendelssohn Bartholdy) ; autograph title-page and printed copy, “ Anti- 
 gone ” ; assignment and printed copy, “ Lobgesang ” (Hymn of Praise). 
 
 Musical Times. First number, Jubilee number, and number for May, 1897. 
 
 Barnby, Sir Joseph. Manuscript score and printed copy, “ Rebekah.” 
 
 Goss, Sir John. Autograph letter and printed copies, “ Te Deum ” and “The 
 Lord is my strength.” 
 
 Herkomer, Hubert. Printed copies, “ Six Violin Pieces,” with illustrations; 
 “ An Idyll,” with illustrations. 
 
 Day, C. R. Printed copy and original drawing, by W. Gibb, “ Musical 
 Instruments of Southern India.” 
 
 Dvorak, A. Two autograph letters, manuscript, and printed copy, “A Patriotic 
 Hymn.” 
 
 Gade, N. W. Autograph letter and printed copy, “The Crusaders.” 
 
 Littleton, H. Portrait. 
 
 Noyello, J. A. Portrait. 
 
 NoYello, Yincent. Portrait and printed copy, “A Short History of Cheap 
 Music.” 
 
 Gounod, C. Assignment and printed copy, “Mors et Vita” ; manuscript score 
 and printed copy, “ There is a green hill far away.” 
 
 Bridge, Dr. J. F. Manuscript and printed copy, “ The Flag of England.” 
 
 Parry, Dr. C. H. H. Manuscript and printed copy, “Judith.” 
 
 Stainer, Dr. J. Manuscript and printed copy, “ The Daughter of Jairus.” 
 
 Cowen, F. H. Manuscript and printed copy, “Four English dances in the 
 olden style.” 
 
 Sullivan, Sir Arthur. Manuscript and printed copy, “In Memoriam.” 
 
 Mackenzie, Sir A. C. Manuscript and printed copy, “ Colomba.” 
 
 CASE No. 4. — Contents lent by Messrs. Schott & Co., E. Ashdown, Ltd., Mr. 
 J Williams, Messrs. Robert Cocks & Co. 
 
 Lent by Schott & Co. 
 
 Liszt, F. Manuscript and printed copy, ‘*Aux Cypres de la Ville d’Este.” 
 
 Wagner, Richard. Manuscript and printed copy, “ Stehe Still” (“Stand Still”). 
 
 Rubinstein, A. Manuscript and printed copy, “ Gavotte.” 
 
 Lent by Edwin Ashdown, Ltd. 
 
 Ganz, W. Autograph letter, manuscript, and printed copy, “ Octave Exercises.” 
 
 Heller, Stephen. Two manuscripts and autograph letter, “ Studies, Op. 16, 47.” 
 
 Smith, Sydney. Autogcaph letter, manuscript, and printed copy, “Robert le 
 Diable.” 
 
 Kuhe, W. Autograph letter, manuscript, and printed copy, “ Anna Bolena.” 
 
72 
 
 Lent by Mr. J. Williams. 
 
 Chaminade, C. Manuscript and printed copy, “ Villanelle.” 
 
 Hatton, J. L. Manuscript page, “ Hints on Singing,” unpublished. 
 
 Godard, Benjamin. Manuscript and printed copy, “ Old World Ballet.” 
 Cellier, Alfred. Manuscript and printed copy, “ Charity begins at home.” 
 Thomas, A. Goring. Manuscript and printed copy, “ Suite de Ballet.” 
 Sullivan, Sir Arthur. Manuscript original sketches for “ Cox and Box.” 
 
 Lent by Robert Cocks & Co. 
 
 Stern, Leo. Portrait, manuscript, and printed copy, “ Gavotte Ancienne.” 
 KulUk, T. Autograph letter and printed copy, “ Perles d’Ecume.” 
 
 Kucken, F. Autograph letter, manuscript, and printed copy, “The Young 
 Recruit.” 
 
 Thome, Francis. Portrait and printed copy, “ Minuetto.” 
 
 Schloesser, Ad. Portrait and printed copy, “ Scale and Arpeggio Tutor.” 
 Yincent, G. F. Portrait and printed copy, “ Jedediah the Scarecrow.” 
 humorous operetta. 
 
 CASE No. 5. — Contents lent by Messrs. Ascherberg & Co. 
 
 Smart, H. Manuscript, “ The fairy flower of Spring ” (unpublished). 
 Slaughter, W. Manuscript, “ Castles in the Air.” 
 
 Lambelet, N. Manuscript, “ La Vie.” 
 
 Lutz, Meyer. Manuscripts and printed copies, “ Johnny Jones and his Sister 
 Sue,” “ Pas de Quatre.” 
 
 Hervey, Arthur. Manuscript and printed copy, “ Hope.” 
 
 Solomon, Edward. Manuscript and printed copy, “ Don’t Know.” 
 
 Bevan, Frederick. Manuscript and printed copy, “ The Drummer Boy.” 
 Bucalossi, P. Manuscript and printed copy, “ Love's Noon Day.” 
 
 Cobb, Gerard F. Manuscript and printed copy, “ The Storm Queen.” 
 
 Smith, Sydney. Manuscript and printed copy, “ Arlequin et Colombine.” 
 Behrend, A. H. Manuscript and printed copy, “ Man and Wife.” 
 
 Roeckel, J. L. Manuscript and printed copy, “ Gladness or Sadness.” 
 
 Leoni, Franco. Manuscript and printed copy, “ Laugh, little stream.” 
 Mascagni. Pietro. Manuscript alterations and printed copy, “ Pregliiera. ” 
 Cowen, F. H. Manuscript and printed copy, “ Where shadows are not.” 
 Leoncavallo, R. Manuscript and printed copy, “ Declaration,” “ To-night 
 and To-morrow.” 
 
 CASE No. 6. — Contents lent by Messrs. Forsyth Brothers. 
 
 Heller, Stephen. Manuscripts and printed copies, “ Voyage autour de 
 ma chambre,” “No. 1 of Six Vaises,” “No. 1. Un cahier de Vaises,” 
 “ First and Second Sonatinas.” 
 
 Smith, Sydney. Manuscripts and printed copies, “ Nordisa ” (F. Corder), 
 “ Au Cirque,” “ Chanson de Noel,” “ Minuet.” 
 
 Lohr, F. N. Manuscripts and printed copies, “ England’s Sons,” “ Fairy 
 Music.” 
 
 Pauer, Ernst Manuscript and printed copy, “ Album for the Young.” 
 Hecht, Ed. Manuscripts and printed copies, “ Prelude,” “ Courante.” 
 
73 
 
 Halle, Chas. Manuscripts and printed copy, “ Daily Exercises preparatory 
 to Schubert’s 12 Liindler,” “ Daily Exercises preparatory to Gluck’s Tam- 
 il ourin,” and printed copy with fingering in Charles Halle’s writing. 
 
 Corder, F. Manuscript score and printed copy, “ The Sword of Argantyr.” 
 Macirone, Clara An c’a. Manuscript and printed copy, “ Suite de Pieces.” 
 Stanislaus, F. “The Lancashire Witches,” and Libretto by R. T. 
 
 Gunton. Printed copies with manuscript title and page. 
 
 Hiller, Ferdinand. Manuscript and printed copy, “Prince Parrot.” 
 
 CASE No. 7 (on wall). — Contents lent by Messrs. Robert Cocks & Co. 
 
 Bonser, A. H. Portrait and printed copy, “ Twilight Fancies.” 
 
 Leoni, Franco. Portrait, manuscript, and printed copy, “ Stars ” ; printed 
 copy, “Vanity Fair,” No. 1 of Four Vocal Duets, with portrait of the 
 author, Mark Ambient. 
 
 Palliser, Sybil. Manusc ipt and printed copy, “ I wonder.” 
 
 Mattei, Tito. Manuscript and printed copy, “ To be my love.” 
 
 Palmieri, B. Portrait and printed copy, “ Priere.” 
 
 Hedgcock, Walter W. Portrait and printed copy, “ The Mousmee.” 
 
 Moore, Graham P. Portrait and printed copy, “ Archaic Dances.” 
 
 Allitsen, F« ances. Portrait, manuscript, and printed copy, “ King and Slave,” 
 with portrait of the authoress, Adelaide Procter. Printed copy of “ A Song 
 of the Four Seasons,” with portrait of the author, Austin Dobson. 
 
 Barns, Ethel. Portrait, manuscript, and printed copy, “ Valse Caprice.” 
 
 Sauret, Emile. Portrait, manuscript, and printed copy, “ Quatre Morceaux 
 de Salon.” 
 
 Wolff, Johannes. Portrait, manuscript, and printed copy, “ Romance.” 
 
 King, Oliver. Portrait, manuscript, and printed copy, “ A Rustic Wooing.” 
 Printed copy, “ Proserpina,” with portrait of the authoress, Ellis Walton. 
 
 Godfrey, Arthur E. Portrait, manuscripts, and printed copies, “ Happy 
 Darkies Barn Dance,” “ Living Pictures.” 
 
 Bucalossi, Ernest. Portrait, manuscript, and printed copy, “ La Gitana 
 Valse.” 
 
 Hawley, Stanley. Portrait, manuscript, and printed copy, “The Bells” 
 printed copy of “ Lorraine, Lorraine, Lorree,” with portrait of the author, 
 Charles Kingsley. 
 
 St. Quentin, Edward. Portrait, manuscripts, and printed copies, “ God bless 
 Victoria,” song and march, with portrait of the author, Clement Scott ; also 
 the original pen-and-ink drawings for title pages. 
 
 Thomas, J. R. Autograph letter, manuscript, and printed copy, “ Happy be 
 thy dreams.” 
 
 Pizzi, Emilio. Portrait, manuscript, and printed copy, “ The Bric-a-Brac 
 Will.” 
 
 Mascheroni, Angelo. Portrait, manuscript, and printed copy, “ For all 
 Eternity,” with portrait of the author, S. A. Herbert ; also printed copy of 
 “ My Paradise,” with portrait of the author, P. Mazzoni. 
 
 Gambogi, F. E. Portrait, manuscript, and printed copy, “ Take, 0 take tho 
 lips away.” 
 
 Behrend, A. H. Portrait and printed copy, “ The light upon the river.’ 
 
74 
 
 Parkyns, Beatrice. Portrait, manuscripts, and printed copies, “ My tears are 
 turned to flowers,” “ Shepherd’s Love Song.” 
 
 Overbeck, E. Portrait, manuscript, and printed copy, “I’ve wept in 
 dreams.” 
 
 Wely, Lefebvre. Autograph letter and printed copy, “ Les Cloches du 
 Monastere.” 
 
 White, Maude Yalerie. Portrait, manuscript, and printed copy, “Lebewohl” 
 (“ Good-bye ”). 
 
 Van Lenuep, H. Martyn. Portrait, manuscript, and printed copy, “In 
 Seville’s Groves.” 
 
 Newton, Ernest. Portrait, manuscript, and printed copy, “ Nita Gitana.” 
 
 Kellie, Lawrence. Portrait, manuscript, and printed copy, “Love’s Nocturne,” 
 with portrait of the author, F. E. Weatherly ; printed copy of “ Crossing 
 the Bar,” with portrait of Tennyson; also printed copy of “The City of 
 Night,” with portrait of the author, Mowbray Marras. 
 
 Ascher, Joseph. Autograph letter and printed copy, “ Les Gouttes d’Eau.” 
 
 Cobb, Gerard F. Portrait ani printed copy. “ Vers lilies ” 
 
 Russell, Henry. Portrait, manuscript, and printed copy, “The Cripple’s Song.” 
 
 MacCunn, Hamish. Manuscript and printed copy, “ My bed and pillow are 
 cold.” 
 
 Clarke, J. Autograph letter, and printed copy, “ Catechism o§ Music.” 
 
 Lane, Gerald. Portrait, manuscript, and printed copy, “ Tatters.” 
 
 Cowen, F. H. Portrait, manuscript, and printed copy, “ The Mission of a 
 Rose,” with portrait of the author, Clifton Bingham. 
 
 Mackenzie, Sir A. C. Portrait, manuscript, and printed copy, No. 1 of 
 “Three of Shakespeare’s Sonnets.” 
 
 No 8. — WALL EXHIBIT by Messrs. Ascherberg & Co. 
 
 CASE No. 9. — Contents lent by Messrs. J. B. Cramer & Co., Ltd. 
 
 Piasuti, Giro. Manuscript and printed copy, “ Peace, troubled heart.” 
 Cowen, F. H. Manuscripts and printed copies, “The Coming of May,” “ In 
 Vain.” 
 
 Gounod, Ch. Manuscripts and printed copies, “ The Veiled Picture,” “ Con- 
 stancy,” “ Watchman, what of the night? ” “ L’ Absence,” “ A Dead Love.” 
 Denza, L. Manuscript and printed copy, “ Sing to me.” 
 
 Trotere, H. Portrait, manuscript, and printed copy, “ Asthore.” 
 
 Somerset, Lord Henry. Manuscript and printed copy, “ 0, loved and lost.” 
 Loder, E. J. Manuscript score, and printed copy, “ The Island of Calypso.” 
 Norton, Hon. Mrs. Autograph letter and corrected proof of song. 
 
 Gabriel, Virginia. Manuscript and printed copy, “ The follies of a night.” 
 Yerdi, G. Manuscript score, “ Cantica.” 
 
 Carmichael, Mary. Manuscript and printed copy, “ A June Song.” 
 
 Mattei, Tito. Manuscript and printed copy, “ The Jovial Peasant.” 
 
 Balfe, M. W. Manuscripts and printed copies, “Hidden Voices,” “The 
 Sleeping Queen.” 
 
 Wallace, W. Y. Manuscript score and printed copy, “ Love’s Triumph.” 
 
75 
 
 CASE No 10. — Contents lent by Messrs. Augener & Co. 
 
 Scharwenka, XaYier. Portrait, manuscripts, and printed copies, “Abend- 
 lied,” “Danse Polonaise.” 
 
 Best, W. T. Portrait, manuscript, and printed copy, ‘‘Christmas Pastorale.” 
 
 Prout, Ebenezer. Portrait, manuscript, and printed copy, “Two in One." 
 
 MacCunn, Hamish. Manuscripts and printed copies, “ Thine ami, my faithful 
 fair,” “Had I a cave on some wild distant shore.” 
 
 Moszkowski, Moritz. Autograph title-page and printed copy, “Joan of Arc.” 
 
 Stanford, Dr. C. Y. Manuscripts and printed copies, “Legend,” “May’s 
 Love.” 
 
 Gillet, Ernest. Manuscript and printed copy, “ Romance sans paroles.” 
 
 “ Monthly Musical Record, The.” No. 1, January 1, 1871. 
 
 Abt, Franz. Manuscripts and printed copies, “ The Beauties of Nature,” 
 “ Repose in the Forest.” 
 
 Pauer, Max. Manuscript and printed copy, “ Marsch.” 
 
 Schutt, Edouard. Manuscript and printed copy, “ En Campagne.” 
 
 Pitt, Percy. Manuscript and printed copy, “ Improvisation.” 
 
 Pauer, E. Manuscript and printed copy, “ Beethoven Studies.” 
 
 Roeckel, J. L. Manuscript and printed copy, t; By the Severn Sea.” 
 
 Reinecke, Carl. Manuscripts and printed copies, “ Morning Prayer ” ; 
 “ Kinder-Symphonie.” 
 
 CASE No. 11. — Contents lent by Messrs. W. Morley & Co., Messrs. Weekes & 
 Co., and Messrs. Patey & Willis. 
 
 Lent by W. Morley & Co. 
 
 Loder, E. J. Manuscript and printed copy, “The Diver.” 
 
 Pinsuti, Ciro. Manuscript aid printed copy, “ Laddie.” 
 
 Barri, Odoardo. Manuscripts and printed copies, “ The Old Brigade, “ In the 
 Cloisters.” 
 
 Lloyd, C. Francis. Manuscript and printed copy, “ The Way of Peace.” 
 Hutchinson, Thomas. Manuscript and printed copy, “ Fetters of Gold.” 
 Cowen, F. H. Manuscript and printed copy, “ The Children’s Home.” 
 Newton, Ernest. Manuscript and printed copy, “ The Holy Shrine.” 
 
 Lent by Messrs. Weekes & Co. 
 
 Tours, Berthold. Manuscript and printed copy, “ Gavotte Moderne en ut.” 
 Roberts, J Yarley. Manuscript and printed copy, “Siciliano,” No. 1 of Three 
 Voluntaries. 
 
 Cummings, William H. Portrait, manuscript, and printed copy, “ Domine 
 Dirige Nos.” 
 
 Foster, Myles B. Portrait, manuscript, and printed copy, “ An Ode to 
 Music.” 
 
 Sauer, Emil. Portrait, manuscript, and printed copy, “ Serenade Fran^aise.” 
 Couldery, H. Manuscript and printed copy, “ St. Cecilia.” 
 
 Bowdler, Cyril. Manuscript and printed copy “ Benedictus.” 
 
76 
 
 Lent by Messrs. Patey & Willis. 
 
 Leslie, Henry. Manuscript and printed copy, “ Under the Spreading Oak. 
 Behranl, A H. Manuscript and printed copy, “ Give me my heart.” 
 
 Lohr, F. N. Manuscript and printed copy, “ A Slumber Song.” 
 
 Gaul, Alfred R. Manuscripts and printed copies, “Daybreak,” “The 
 Singers.” 
 
 Cooke, Edith. Manuscript and printed copy, “ The Child’s Dream.” 
 
 Watsoi, Michiel. Manuscript and printed copy, “ The Spanish Gypsey.” * 
 Roeckel, J. L. Manuscript and printed copy, “ A Summer Dream.” 
 Blumenthal, J. Manuscript and printed copy, “The Old, Old Story.” 
 
 PORTRAITS, &c. 
 
 1. Six original drawings of Musical Instruments of Southern India and the 
 
 Deccan. By William Gibb ; lent by Messrs Novello, Ewer & Co. 
 
 2. Portrait of Gounod (1818-1893), with autograph inscription. Lent by Messrs. 
 
 Novello, Ewer & Co. 
 
 3. Portrait of Dvorak. Photograph by Augustus Littleton ; lent by Messrs. 
 
 Novello, Ewer & Co. 
 
 4. Portrait of Liszt (1811-1886). Photograph by Augustus Littleton ; lent by 
 
 Messrs. Novello, Ewer & Co. 
 
 5. Portrait of Henry Littleton (1823-1888), Music Publisher. Photograph by 
 
 Augustus Littleton ; lent by Messrs. Novello, Ewer & Co. 
 
 6. Portrait of Joseph Alfred Novello (1810-1896), Music Publisher. Photograph 
 
 by Augustus Littleton ; lent by Messrs. Novello, Ewer & Co. 
 
 7. Portrait of Johann Strauss (1804-1849), Composer. Lent by Messrs. Robert 
 
 Cocks & Co. 
 
 8. Portrait of W. Vincent Wallace (1814-1865), Composer of ‘'Maritana,” Ac. 
 
 Lent by Messrs. Robert Cocks & Co. 
 
 9. Portrait of A. Goria (1823-1860), Composer. Lent by Messrs. Robert Cocks 
 
 & Co. 
 
 10. Portrait of Carl Czerny (1791-1857), Composer. Lent by Messrs. Robert 
 Cocks & Co. 
 
 11. Portrait of Robert Cocks (died 1887), Musical Publisher. Lent by Messrs. 
 Robert Cocks & Co. 
 
 12. Portrait of W. Sterndale Bennett (1816-1875), Composer. Lent by Messrs. 
 Robert Cocks & Co. 
 
77 
 
 MUSICAL INSTRUMENTS COMMITTEE. 
 
 C. T. Boosey, Esq. I George Rose, Esq. 
 
 A. G. Hlll, Esq. I Henry J. Wood, Esq. 
 
 MUSICAL INSTRUMENTS. 
 
 Like everything else connected with science, art, commerce, and 
 the social life of the people, the manufacture of musical instruments 
 has undergone enormous development in the period of sixty years 
 during which Her Majesty has sat upon the throne of England. 
 The antiquated cottage piano of 1837 has made way for the iron- 
 framed, overstrung, elegant piano of 1897 ; the old “ table ” piano 
 has given place to the resplendent “ grand ” of our own day, as 
 perfect in mechanism as it is rich in tone ; the clumsy brass instru- 
 ments played at Her Majesty’s coronation have gone into the limbo 
 of forgotten things to make way for the “ survival of the fittest ” in 
 the shape of the splendid instruments which are now within the 
 reach of every village band. And in nearly all branches of the 
 manufacture of musical instruments marvellous improvements have 
 taken place. If we except the violin, which seems to have attained 
 its culmination imthe hands of Stradivarius early in the last century, 
 every single musical instrument now in use bears the mark of the 
 inventor and the improver during the Victorian reign. Even in the 
 case of the violin, every single accessory, from the bow to the resin, 
 tells the story of the march of intellect. 
 
 In the Musical Instruments Section will be found the choicest 
 products of the leading firms. The historical development of the 
 pianoforte is shown by the great house of Erard ; and the same firm, 
 t^wbose forefathers we owe so many improvements in the harp, 
 exhibit the various stages of progress in the manufacture of that 
 instrument. Eminent firms, such as Boosey, Besson, Hawkes, and 
 Higham, show what has been done during the reign in the “brass 
 and wood wind,” while all that pertains to the string family is in 
 the capable hands of Mr. G. Withers and Mr. E. Withers. A com- 
 plete view of the advance in the manufacture of musical instruments 
 of all descriptions during the Victorian era is thus afforded. 
 
 MUSICAL INSTRUMENTS CATALOGUE. 
 
 1. S. & P. Erard, 18, Great Marlborough-street, W. 
 
 Pianoforte used by Her Majesty on the occasion of her accession, 1831. 
 Pianoforte used by Anton Rubinstein on the occasion of his first appearance 
 in London, at the Philharmonic Concert, May 16, 1857. Pianoforte in the 
 
78 
 
 Gothic style exhibited by Messrs. Erard at the Paris Exhibition of 1855. 
 Pianoforte manufactured for Napoleon I., and used by the Empress 
 Josephine. Concert grand pianoforte fitted with the piano resonator (Daniel 
 Mayer patent), manufactured by Messrs. Erard, 1897. Boudoir grand piano- 
 forte in Vernis-Martin, the elaborate paintings by Lucien Simmonet. 
 Oblique grand pianofortes, 1897 models. Grecian model harp manufactured 
 in the year of Her Majesty’s accession to the throne. Gothic model harp 
 manufactured in the present year. Various parts as used by the manufac- 
 ture of harps, 1837 — 97. 
 
 2. Boosey & Co., 295, Regent-street, W. 
 
 (1) Collection of wind instruments comprising flute, reed, and brass, as used 
 in the year 1837. Among these instruments are some made considerably 
 before 1837, notably a clarionet believed to have been used during the 1815 
 campaign, formerly the property of Sir William Sterndale Bennett. Such speci- 
 mens, although not illustrating the state of instrument manufacture at the 
 time of Her Majesty’s accession, fairly represent instruments used in actual 
 performances at that date. (2) Collection of wind instruments comprising 
 flute, reed, and brass, as used in the year 1837. The notable differences as 
 compared with instruments in Group 1 are the introduction of the 
 “cylinder” flute, and the perfection of intonation and key mechanism 
 generally to all flute and reed instruments, and in brass instruments the 
 development of the piston-valve, which was in its infancy in 1837, and is 
 now seen in its most advanced stage in the “ compensating pistons ” sup- 
 plied to the instruments in this group. (3) Sundry instruments and models 
 showing the course of inventions and improvements in wind instruments 
 between 1837 and 1897. (4) Sundry parts illustrating the present processes 
 
 of manufacture, turned joints in wood and ebonite, cast and forged keys, 
 brazed and solid drawn tubes. 
 
 3. G. Withers & Co., 22, Leicester- square, W.C. 
 
 Violins, bows, and fittings. 
 
 4. Besson & Co., Ltd., 198, Euston-road, N.W. 
 
 Sole manufacturers of the “ Prototype ” band instruments. Instruments in 
 brass, silver-plated, and sterling silver. “ Victory ” compensation cornets 
 and euphoniums. New contesting instruments. Four-valved flugel horn 
 and four-valved tenor horn. Solo B flat “Zephyr” trombone with patent 
 spring improvement. “ Zephyr ” monster bombardon, 6 lbs. lighter than tl^ 
 ordinary instrument. Rittershausen flute. Improved oboes, clarionets, 
 drums, &c. 
 
 5. Joseph Higham, Ltd., 84, Oxford-street, London, W. ; 127, Strangeways, 
 
 Manchester. 
 
 Military and brass band musical instruments of the celebrated clear bore 
 models, also drums. All of high-class British manufacture. 
 
 6. Edward Withers, 22, Wardour-street, W. 
 
 Violins, ’cellos, &c., strings and fittings. 
 
 7. Hawkes & Son, Denman-street, Piccadilly-circus, W. 
 
 Extensive collection of instruments suitable for military bands, for cavalry, 
 and military regiments. Musical instruments for regimental drum and 
 fife bands. Model instruments. 
 
 In the Music Section will also be found Messrs. J. Curwen & Sons’ stall of 
 charts and apparatus for music-teaching in schools, in tonic sol-fa, and staff 
 notation. 
 
79 
 
 HONORARY CHORAL COMMITTEE. 
 
 W. H. Cummings, Esq., F.S.A., Hon. R.A.M. (Principal of the Guildhall 
 School of Music). 
 
 Dr. W. G. McNaught. 
 
 J. Spencer Curwen, Esq., F.R.A.M. (Pres. Tonic Sol-Fa College). 
 
 GRAND CHORAL COMPETITIONS. 
 
 Outline of the Scheme of the Grand Choral Competitions at the Empress Theatre, 
 in connection with the “ Victorian Era Exhibition.” 
 
 The record reign will be celebrated by a record series of musical 
 events. The primary object is to do honour to Her Majesty, whose 
 love for and gracious influence in promoting the art of music is well 
 known to all her subjects. 
 
 There cannot fail to be a direct benefit accruing to choral 
 societies who compete at a national contest. This fact must be 
 patent to those who have to deal with the finances of choral societies, 
 and to practical Englishmen who spend many an hour in consider- 
 ing how to make choral societies pay. Such societies, as a rule, can 
 only flourish when they receive liberal support both from the classes 
 and the masses. Lists of honorary members or subscribers relieve 
 secretaries and committees from anxiety, but the difficulty is to 
 persuade leading residents in the neighbourhood that their local 
 society is worthy of support, or rather which of the rival societies 
 has the best claim upon them. But when a choir obtains some 
 national recognition, either by a good word from an accredited 
 adjudicator or by the award of a prize or certificate, the people with 
 means are more inclined to patronise and subscribe to so worthy a 
 society. The effect of a prize on the active members is immediate 
 and beneficial. The choir without a record is always suffering in 
 some direction ; balance of parts, or otherwise. On the other hand, 
 the conductor of a prize choir finds that he can impose conditions of 
 membership; requiring good voices, good subscriptions, and good 
 sight-reading ability. The most beneficial drill can be got out of 
 choralists when a competition is in prospect ; early and late special 
 rehearsals, and other means of increasing the efficiency of the choir, 
 whether they win a prize or not. The enjoyment of the singers at 
 these full rehearsals begets a sentiment that lays hold of them for 
 
80 
 
 years, and keeps them in touch with a society of which they might 
 otherwise soon tire. 
 
 The series oh competitions are associated with a holiday for the 
 choir. London will be especially attractive to the singers 
 this year. There cannot be another Diamond Jubilee in our time, 
 and there cannot be another series of Jubilee choral prize winners. 
 
 The memory of such a competition will never fade while life 
 lasts. This is no idle phrase. The wiuners at the national music 
 competitions of a quarter of a century ago are still honoured and 
 respected, for theirs was a famous triumph ; and the winners of the 
 “ Queen’s Prize ” in the Diamond Jubilee will be remembered when 
 the next century is old. 
 
 The colossal Empress Theatre, seating about 5,000 persons, will be 
 devoted to special musical festivals and competitions every week. 
 
 Briefly, the following is the scheme of these choral competitions: — 
 
 Classes I. and II. (named below) will be subdivided for the 
 Series A, B, and C. 
 
 Series A— Welsh Choral Societies. 
 
 „ B— Scottish and North of England Choirs. 
 
 „ C— Midland and Southern (also Irish) Choirs. 
 
 Classes III. to YI. will be open to all British and Irish Choirs. 
 
 Class I.— Mixed Choirs of 90 to 150 Voices. 
 
 ,, II.— Mixed Choirs of 50 to 90 Voices. 
 
 „ III.— Male Voice Choir3 of 30 to 70 Voices. 
 
 ,, IV.— Female Voice Choirs of 30 to 70 Voices. 
 
 ,, V.— Elementary School Choirs of not more than 70 
 
 Voice?. 
 
 ,, VI.— Sunday School and Band of Hope Choirs of not 
 more than 70 Voice ?. 
 
 The dates proposed for the competitions are as follows : — 
 
 June 15. Class Ic.— Mixed Choirs, 90 to 150 Yoices— Midland, Southern, and 
 Irish. 
 
 (Test Piece — “Moonlight,” Failing.) 
 
 „ 17. „ lb — Mixed Choirs, 90 to 150 Voices— Scottish and North of 
 
 England. 
 
 Test Piece — “ The Knight’s Tomb,” G. V. Stanford.) 
 
 „ 19. ,,• YI.— Sunday School and Band of Hops Choirs of not more 
 
 than 70 Voices. 
 
 (Test Piece — “ O, Happy Fair,” Shield.) 
 
 As arranged by H. Leslie. 
 
 „ 24. „ IY.— Female Yoice Choirs, 30 to 70 Yoices. 
 
 (Test Piece — “ The Nightingale,” Weelkes.)' 
 
 As arranged by H. Leslie. 
 
81. , 
 
 « 
 
 July 3. „ Y.- Elementary School Choirs, not more than 70 Voices. 
 
 (Test Piece— lf Jack Frost',” Trio, J. L. Hatton.) 
 
 „ 7. „ lie. — Mixed Choirs, 50 to 90 Yoices —Midland, Southern, and 
 
 Irish. 
 
 (Test Piece — “ A Lover’s Counsel,” 1 Cotven.) 
 
 „ 16. „ la.— Mixed Choirs, 90 to 150 Yoices— Welsh. 
 
 (Test Piece— “Thy Voice, O Harmony,” Webbe.) 
 
 „ 20. „ Ila.— Mixed Choirs, 50 to 90 Yoices— Welsh. 
 
 (Test Piece- — “ Sweet Love for me,” C. V, Stanford.) 
 
 Aug. 4.* „ III.— Male Yoice Choirs, 30 to 70 Yoices. 
 
 (Test Piece — “ The Long Day closes,” Sullivan.) 
 
 ,, 12. „ Ilf?.— Mixed Choirs, 50 to 90 Yoices— Scottish and North of 
 
 England. 
 
 (Test Piece — “ 6, hush thee, my babie,” Sullivan.) 
 
 Sept. 24. „ I. — QUEEN’S PRIZE. 
 
 (Test Piece — “ Hymn to Music,” Dudley Bach.) 
 
 Each choir in every class will also be required . to sing a piece of 
 its own selection. 
 
 The prizes offered are as follows > — 
 
 
 
 
 First ' 
 
 Second 
 
 
 Prize. 
 
 Prize. 
 
 Class I.— Mixed Choirs of 90 to 150 Yoices 
 
 £30 
 
 £20 
 
 ,, II.— Mixed Choirs of 50 to 90 Yoices 
 
 £25 
 
 £15 
 
 ,, III.— Male Yoice Choirs of 30 to 70 Yoices . . 
 
 £20 
 
 £W 
 
 ,, IY.— Female Yoice Choirs of 30 to 70 Yoices 
 
 £20 
 
 £W 
 
 Y. — Elementary School Choirs of not more than 
 
 70 Yoices 
 
 £W 
 
 £5 
 
 ,, YI.— Sunday School and Band of Hope Choirs of 
 not more than 70 Yoices 
 
 £W 
 
 £5 
 
 First Prize. Second Prize. 
 
 Third Prize. 
 
 QUEEN’S PRIZE £60 £30 £W 
 
 This competition will be open to the winners of 1st and 2nd 
 prizes of the previous competitions in Classes I. and II. 
 
 These will be called the “ Diamond Jubilee Prizes.” With each 
 prize will be given a valuable gold medal of special design for the 
 conductor ; and a handsome lithographed certificate, suitable for 
 framing, to every member of winning choirs. In Classes I. and II. , 
 the winners in Series A, B, and C, and also the winners of the 
 Queen’s prize, will be invited to give a concert in the colossal 
 Empress Theatre (seating about 5,000 people) on the day after their 
 contest, dividing between them one-third of the gross receipts at 
 such concerts. 
 
 D 
 
82 
 
 The following are the regulations governing the choral com- 
 petitions : — 
 
 1. — The competitions will take place in the Empress Theatre, Exhibition 
 Grounds, Earl’s Court, London. 
 
 2. — Two prizes will be given in each class, particulars of which will be found 
 on page 81. Prizes may be withheld in whole or in part, if in the opinion of the 
 adjudicator or adjudicators sufficient merit is not shown. 
 
 3. — The competitions are open to all choirs in the United Kingdom whose 
 constitution and membership bring them within any of the classes above men- 
 tioned. The mixed voice choirs must consist of sopranos, altos, tenofs, and 
 basses. 
 
 4. — All the singers must be bona-fide members of the choir, and no person 
 may sing in more than one choir in the same class. 
 
 5. — No professional musician (except conductors) will be allowed to take part 
 in any competition. Professional musicians are defined, for the purpose of these 
 competitions, as those who are in the habit of receiving payment for musical 
 services. Singers who receive an occasional honorarium for musical services 
 are not barred from competing, but those who sing regularly for payment as 
 concert vocalists must not be allowed to compete. 
 
 6. — Each choir will be required to sing one test piece under the particulars in 
 each class. Each choir must also sing a piece of its own selection. Two copies 
 of this piece must be sent to the Secretary of Musical Competitions for the use 
 of the adjudicator, not less than fourteen days before the contest; it must 
 occupy not more than five or six minutes in performance. Should the competi- 
 tion be close, the adjudicator may ask certain choirs to sing again. 
 
 7. — The order in which the choirs will compete will be decided by ballot a few 
 days previous to the competition, by the Committee, and announced to the 
 choirs by post. The convenience of choirs will be considered, as far as possible, 
 in fixing the time for the competitions to begin. Any choir failing to present 
 itself at the time appointed will forfeit its. entrance fee and its place in the 
 ballot, unless the adjudicator consents to hear it at a later time before making 
 his award. 
 
 8. — The decision of the adjudicator will be final in all cases. 
 
 9. — First prize winners will be expected, if required, to sing the test pieces on 
 the evening of the competition, in the Concert Hall. 
 
 10. — Free admission to the Exhibition on the day of the contest will be 
 allowed to all competitors. 
 
 11. — A list of competing choirs will be published as soon as the entries are 
 closed. 
 
 12. — Applications to enter the competitions must be made on the accompany- 
 ing printed form, not later than three weeks before the date of the competition, 
 accompanied by the entrance fee of £1. All communications respecting the 
 competitions should be addressed to Imre Kiralfy, Esq., Director-General, 
 Exhibition-buildings, Earl’s Court, London. S.W., or the Secretary of Musical 
 Competitions, at the same address. 
 
83 
 
 GRAND BRASS BAND CONTESTS. 
 
 The direct benefit to brass bands of competing at a national 
 competition on such a grand scale as that at Earl’s Court is great 
 and beyond question. This fact will be patent to those who have to 
 deal with the finances of musical associations of every kind, and 
 there need be no false modesty in mentioning the fact to English- 
 men, who are practical as well as musical. After a triumph at such 
 a competition as this, not only will a band gain the moral support 
 of the leading townspeople, but substantial support in the shape of 
 subscriptions is sure to increase. When a band has obtained some 
 national recognition by the good word of the adjudicator, or by the 
 award of a prize in money, people of means will not fail to support 
 that band. Moreover, the effect of a prize upon the members 
 themselves is immediate and beneficial. Whoever heard of a prize 
 band having to advertise for players? On the other hand, the 
 conductor finds that he is in a position to impose conditions upon 
 candidates : he can insist upon, and obtain, first-class executants, 
 good sight-readers, and so on. And, when a competition is in sight, 
 what a vast amount of drill the conductor can get out of his forces : 
 early rehearsals, late rehearsals, extra rehearsals, and other things 
 which raise the band’s standard of efficiency, whether they win a 
 prize or not. The enjoyment of the players at these full rehearsals 
 begets a sentiment that lays hold of them at once, and retains its 
 hold for years, thus keeping members in touch with the band, of 
 which they might perhaps otherwise tire. 
 
 The scheme of the Brass Band Competitions is as follows : — 
 
 dates. bands. 
 
 Friday, May 28 .. 1. Yorkshire. 
 
 (Test Piece — “ Souvenir de Richard Wagner.”) 
 
 June 11 2. Lincolnshire, Northamptonshire, Bedford= 
 
 shire, Leicestershire. 
 
 (Test Piece— “ Maritana,”} 
 
 25 .. 3. Staffordshire, Derbyshire Nottingham = 
 
 shire, Shropshire, Cheshire. 
 
 (Test Piece— “ Puritani. ”) 
 
 July 9 .. 4. Northumberland, Cumberland, Durham, 
 
 Westmoreland. 
 
 (Test Piece— “ II Trovatore.”) 
 
'84 
 
 Friday, July 23 .. 5. Lancashire. 
 
 (Test Piece— “ Nabucco,” Verdi .) 
 
 „ August. 6 . . 6. Scotland. 
 
 (Test Piece — “ Attila,” Verdi.) 
 
 20 . . 7. South Wales and Monmouthshire. 
 
 (Test Piece — “Macbeth,” Verdi .) 
 
 , Sept. 3 . 8. North Wales. 
 
 (Test Piece — “ Cambrian Plumes.”) 
 
 ,, ,, 17 9. The Rest of England. 
 
 (Test Piece — “ Gems of V iotorian Melody. ’ ’ ) 
 
 Oct. 1 .10. Grand Final Champion Contest. 
 
 (Test Piece — “ Der Freischiitz. ”) 
 
 The prizes in each of the above contests (except the final) will 
 be as follows : — 
 
 First Prize 
 Second Prize 
 Third Prize 
 Fourth Prize 
 
 £35 
 
 £20 
 
 £12 
 
 £8 
 
 The prizes in the Grand Champion Final' Contest will be as 
 follows : — 
 
 First Prize: £50 in cash, and a specially struck Queen’s 
 Commemoration Gold Medal to each Member of the Band. 
 
 Second Prize: £30 in cash, and a specially struck Queen’s 
 Commemoration Silver Medal to each Member of the Band. 
 
 Third Prize: £20 in cash, and a specially struck Queen’s 
 Commemoration Bronze Medal to each Member of the Band. 
 
 The Grand Champion Final Contest will be con6ned to those bands 
 wdiich win first, second, and third prizes in contests Nos. 1 to 9. 
 
 It is proposed that the first, second, and third prize bands in 
 contests Nos. 1 to 9 shall give a concert on the next afternoon in 
 the gigantic auditorium of the Empress Theatre in the Exhibition, 
 and that they shall share between them one- third' of the gross 
 receipts. The theatre seats about 5,000. 
 
 GENERAL RULES FOR ALL THE CONTESTS. 
 
 1. The whole of the contests are open to amateur brass bands only. 
 
 2. All the players must be bona-fide members of the band in which they are 
 entered, and must not be selected from any other band. 
 
 3. Any performer engaged on the staff of the Militia, or who, within six months 
 pf the date of the contest, has been engaged as a regular member of the band at 
 
85 
 
 any theatre or other public place of amusement or resort, will be considered a 
 professional ; and every performer must be in a position to prove, if required to 
 do so, that he is in some business or profession from which he derives his chief 
 income apart from the playing of music. 
 
 4. Each band will be allowed twenty-four performers in addition to the 
 conductor. 
 
 5. The conductor may be a professional musician, and may conduct as many 
 bands as he thinks fit ; but no conductor, professional or amateur, must play 
 with the band he is conducting. 
 
 6. Each band, on entering, must fill up and send to the Secretary of Musical 
 Competitions, Exhibition-buildings, Earl’s Court, London, S.W., a special form 
 of entry, giving the name of the band, the name and address of the secretary and 
 conductor, and the names and addresses of all the members of the band. 
 
 7. No player will be allowed to play in more than one band, and no player will 
 be allowed to play in more than one of the sectional contests held in connection 
 with the Victorian Era Exhibition. 
 
 8. All the bands winning 1st, 2nd, and 3rd prizes respectively in each of 
 the sectional contests will be eligible for the Grand Champion Final Contest, 
 and no other band will be eligible. The bands taking part in the Grand 
 Champion Final Contest must consist of the players who took part in the sectional 
 contests, and no others. 
 
 9. Each band must play the test piece provided for the section in which it 
 enters, copies of which will be supplied on receipt of the entrance fee. No 
 rearrangement or alteration of the test pieces will be, under any circumstances, 
 permitted, and any band altering or rearranging the said test pieces will be 
 thereby disqualified. 
 
 10. The entrance fee will be £1 for each band, which will be returned to bands 
 competing, whether winners or not. 
 
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 101 & 105, Fulham Rd., 
 
 London, S.W. 
 
 (Opposite Pelham Crescent and Three Minutes’ Walk 
 from South Kensington Station.) 
 
 Works— MARLBOROUGH ST., CHELSEA. 
 
 THE “ FALCON” 
 
 RANGE. 
 
 THE MOST PERFECT RISINCx FIRE. 
 
 Boiler capable of giving a greater quantity of Hot 
 Water than any other. 
 
 ALL KINDS OF KITCHEN RANGES, 
 
 Hot Water fitted to Baths, Lavatories, &c. 
 CHIMNEY PIECES, STOVES AND FENDERS 
 TILES and MARBLE WORK for all Kinds ot 
 Decorative Purposes- 
 
 Every description of Memorial Work, in Marble , 
 atone and Granite, executed on the shortest notice. 
 
 YE OLDE CHELSEA GRATE. 
 
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