THE NATIONAL OPERA-HOUSE—FOUNDATION DIFFICULTIES—PRIMÆVAL REMAINS—TITIENS LAYS THE FIRST BRICK—THE DUKE OF EDINBURGH THE FIRST STONE—THE OPERA AND PARLIAMENT—OUR RECREATION ROOMS.
THE NATIONAL OPERA-HOUSE—FOUNDATION DIFFICULTIES—PRIMÆVAL REMAINS—TITIENS LAYS THE FIRST BRICK—THE DUKE OF EDINBURGH THE FIRST STONE—THE OPERA AND PARLIAMENT—OUR RECREATION ROOMS.
DURINGall this time I was busily engaged selecting plans for the construction of my new National Opera-house, which I then considered a most desirable investment, inasmuch as Her Majesty's Theatre, which had been hastily built, was ill-adapted for the requirements of Italian Opera, whilst Covent Garden was heavily encumbered with liabilities. Indeed, more than one negotiation had already taken place with the Duke of Bedford with a view to its purchase and demolition. I, therefore, saw that sooner or later London would be without a suitable Opera-house. In order to expedite the works it was considered desirable that the foundations should be proceeded with pending the final settlement of the drawings, taking out the quantities, etc., and deciding who the contractors should be.
Mr. Webster, who constructed the best part of the Thames Embankment, was deemed to be the fitting man, and I therefore had an interview withhim on the subject. In this interview he told me he would execute the whole of the foundations up to the datum level for the sum of £5,000.
On consulting with my architect he advised that it would be more economical that this preliminary work should be paid for by measurement, which Mr. Webster ultimately agreed to. No sooner had they dug to a certain depth than it was discovered that no foundation could be obtained. Afterwards screw piles were attempted and all other kinds of contrivances to obviate the expense with which we were threatened in the prosecution of the works. The digging proceeded to a depth of some 40 or 50 feet without discovering anything but running springs and quicksands, covered by a large overlying mass of rubbish, being the accumulation of several ages in the history of Westminster. Many relics of olden times came to light, including the skulls and bones of wild elks and other primitive animals that once roamed about the Thames Valley and were hunted by ancient Britons in the days of the Druids. Various swords, gold and inlaid, often richly-fashioned, told of the feuds of York and Lancaster; while many other objects, concealed for centuries, now came forth to throw a light on the faded scroll of the past.
As the builders had got considerably below the depth of the Thames and consequently that of the District Railway, the water began to pour in, which necessitated some fifteen or twenty steam-pumping machines being kept at work for severalmonths. At length the London Clay was reached, which necessitated various cuttings, some 16ft. wide, down which had to be placed some 40ft. of concrete.
At length the foundations were completed, and the sum I had to pay, according to measurement, was not £5,000, but £33,000. This was really one of the first blows to my enterprise.
Early in September the first brick of my new National Opera-house, prior to the commencement of the substructure, was laid. A number of friends were on the ground at one o'clock, and in a short time a great throng of spectators had assembled around the spot. Punctually at 1.30 Mdlle. Titiens arrived, under the escort of Lord Alfred Paget, Mr. Fowler, the Architect, and myself. The party passed along the wooden platform, and descended a handsomely-carpeted staircase, which led to the foundation of concrete upon which the "brick" was to rest. On reaching the bottom, Mdlle. Titiens, as she leaned on the arm of Mr. Fowler, was presented with an elaborately-engraved silver trowel by Mr. Webster, the Contractor. The fair singer was then conducted to the spot, where a thin, smooth layer of white mortar had been spread on the concrete. The foreman of the masons placed a brick in the midst of this, and Mdlle. Titiens then in a formal manner laid the first brick, using the plumb-line to ascertain that the work had been properly done. Second, third, and fourth bricks were afterwardslaid by Mr. Fowler, Lord Alfred Paget, and myself. Hearty cheers were then given for Mdlle. Titiens by the 600 workmen congregated around, who wished the Queen of Song success and happiness on her approaching Atlantic voyage.
Prior to her departure, Mdlle. Titiens gave four farewell concerts in Ireland; and it was with great difficulty after the last one, at Cork, that she escaped from the concert room at all, so numerous were the encores. The steamer having been signalled, she had to rush straight from the concert room, in her concert dress, with all her jewellery on, to catch the train leaving for Queenstown.
In the autumn of 1875 Mdlle. Titiens was replaced on the provincial tour by Madame Christine Nilsson; and the business again was highly successful. The tour continued until Christmas. I came up to London on the 16th December, to be present at the laying of the first stone of the new Opera-house by H.R.H. the Duke of Edinburgh.
The following was the programme of the ceremonial, which was duly carried out:—
CEREMONY OF LAYING THE FIRST STONEOF THEGRAND NATIONAL OPERA-HOUSE,VICTORIA EMBANKMENT.Holders of Cards of Invitation will not be admitted after 1.15.
"The bands of the Coldstream Guards and Honourable Artillery Company will be in attendance, and a Guard of Honour will line the entrance."His Royal Highness the Duke of Edinburgh and suite will arrive at the entrance on the Victoria Embankment at half-past one o'clock."His Royal Highness will be received by Mr. W. H. Smith, M.P., Sir James Hogg, Chairman of the Metropolitan Board of Works, Mr. F. H. Fowler, the Architect, and Mr. J. H. Mapleson, the Director of the National Opera."On arrival at the platform an address will be read to the Duke of Edinburgh in the name of the founders of the Grand National Opera-house."His Royal Highness the Duke of Edinburgh will then proceed to lay the first stone."The trowel will be handed to His Royal Highness by Mr. Mapleson, the Director; the plumb-rule and level by Mr. F. H. Fowler, the Architect; and the mallet by Mr. W. Webster, the Builder."On the completion of the ceremony His Royal Highness will make a brief reply to the address."The Duke of Edinburgh will then be conducted to his carriage at the entrance by which His Royal Highness arrived, and will drive to the St. Stephen's Club."16th December, 1875."
"The bands of the Coldstream Guards and Honourable Artillery Company will be in attendance, and a Guard of Honour will line the entrance.
"His Royal Highness the Duke of Edinburgh and suite will arrive at the entrance on the Victoria Embankment at half-past one o'clock.
"His Royal Highness will be received by Mr. W. H. Smith, M.P., Sir James Hogg, Chairman of the Metropolitan Board of Works, Mr. F. H. Fowler, the Architect, and Mr. J. H. Mapleson, the Director of the National Opera.
"On arrival at the platform an address will be read to the Duke of Edinburgh in the name of the founders of the Grand National Opera-house.
"His Royal Highness the Duke of Edinburgh will then proceed to lay the first stone.
"The trowel will be handed to His Royal Highness by Mr. Mapleson, the Director; the plumb-rule and level by Mr. F. H. Fowler, the Architect; and the mallet by Mr. W. Webster, the Builder.
"On the completion of the ceremony His Royal Highness will make a brief reply to the address.
"The Duke of Edinburgh will then be conducted to his carriage at the entrance by which His Royal Highness arrived, and will drive to the St. Stephen's Club.
"16th December, 1875."
The following address was then read by Sir James McGarel Hogg:—
YOURROYALHIGHNESS,—
"On behalf of the founders of the Grand National Opera-house, I have the honour to present to your Royal Highness the following address inwhich the objects of the undertaking are set forth:—
"The establishment of a National Opera-house in London has long been contemplated, the obstacle to which, however, was the impossibility of finding a suitable site, and it was not until that vast undertaking was carried out by the Metropolitan Board of Works, which has resulted in reclaiming from the Thames large tracts of land, and in throwing open the great thoroughfare of the Victoria Embankment, that a site sufficient to meet the requirements of a National Opera-house could be obtained; and it is this building that your Royal Highness is graciously pleased to inaugurate to-day.
"The National Opera-house is to be devoted firstly to the representation of Italian Opera, which will be confined as heretofore to the spring and summer months; and, secondly, to the production of the works of English composers, represented by English performers, both vocal and instrumental.
"It is intended, as far as possible, to connect the Grand National Opera-house with the Royal Academy of Music, the National Training School for Music, and other kindred institutions in the United Kingdom, by affording to duly qualified students a field for the exercise of their profession in all its branches.
"The privilege, which it is the intention of the Director to grant to the most promising of these students, of being allowed to hear the works of thegreatest masters performed by the most celebrated artists, will, in itself, form an invaluable accessory to their general training.
"Instead of being compelled to seek abroad further instruction when their prescribed course at the various establishments is finished, they will thus be able to obtain this at home, and more quickly and efficiently profit by example.
"In Paris, when sufficiently advanced, the students can make a short step from the Conservatoire to the Grand Opera; so it is hoped that English students will use the legitimate means now offered and afforded for the first time in this country of perfecting their general training, whether as singers, instrumentalists, or composers, according to their just claims.
"In conclusion I beg leave to invite your Royal Highness to proceed with the ceremony of laying the first stone of the new Grand National Opera-house.
"Grand National Opera house,Victoria Embankment,16th December, 1875."
In designing this, I intended it to be the leading Opera-house of the world; every provision had been made. The building was entirely isolated; and a station had been built beneath the house in connection with the District Railway, so that the audience on leaving had merely to descend the stairs and enter the train. In the sub-basement dressing-rooms,containing lockers, were provided for suburban visitors who might wish to attend the opera. A subterranean passage, moreover, led into the Houses of Parliament; and I had made arrangements by which silent members, after listening to beautiful music instead of dull debates, might return to the House on hearing the division-bell. The Parliamentary support thus secured would alone have given an ample source of revenue.
Having plenty of surplus land, I had arranged with the Lyric Club to lease one corner, whilst the Royal Academy of Music had agreed to take another. The buildings, moreover, were to include a new concert room, together with a large gallery for pictures not accepted by the Hanging Committee of the Royal Academy, to be called the "Rejected Gallery."
There were recreation rooms, too, for the principal artists, including billiard tables, etc., besides two very large Turkish baths, which, it was hoped, would be of service to the manager in cases of sore throat and sudden indisposition generally.
The throat doctors appointed to the establishment were Dr. Morell Mackenzie and Mr. Lennox Brown.
Sir John Humphreys had arranged for the purchase of a small steamer to act as tug to a large house-boat which would, from time to time, take the members of the Company down the river for rehearsals or recreation. The steamer was being built by the Thorneycofts. The house-boat was of unusuallylarge dimensions, and contained a magnificent concert-room.
The nautical arrangements had been confided to Admiral Sir George Middleton, a member of my acting committee; or, in his absence, to Lord Alfred Paget.
When about £103,000 had been laid out on the building another £10,000 was wanted for the roofing; after which a sum of £50,000, as already arranged, could have been obtained on mortgage. For want of £10,000, however, the building had to remain roofless. For backing or laying against a horse, for starting a new sporting club or a new music-hall, the money could have been found in a few hours. But for such an enterprise as the National Opera-house it was impossible to obtain it; and, after a time, in the interest of my stockholders (for there was a ground rent to pay of £3,000), I consented to a sale.
The purchasers were Messrs. Quilter, Morris, and Tod-Heatly, to whom the building was made over, as it stood, for £29,000.
Later on it was resold for £500; and the new buyers had to pay no less than £3,000 in order to get the walls pulled down and broken up into building materials.
The site of what, with a little public spirit usefully applied, would have been the finest theatre in the world, is now to serve for a new police-station. With such solid foundations, the cells, if not comfortable, will at least be dry.
FIRST VISIT TO AMERICA—MAKING MONEY OUT OF SHAKESPEARE—CHATTERTON'S SECRET AGENTS—BIDDING FOR HER MAJESTY'S THEATRE—ILLNESS OF TITIENS—GERSTER'S SUCCESS—PRODUCTION OF "CARMEN."
FIRST VISIT TO AMERICA—MAKING MONEY OUT OF SHAKESPEARE—CHATTERTON'S SECRET AGENTS—BIDDING FOR HER MAJESTY'S THEATRE—ILLNESS OF TITIENS—GERSTER'S SUCCESS—PRODUCTION OF "CARMEN."
ATthe close of the year 1875 I was invited to spend the evening with some friends to see the old year out and the new year in. Amongst the visitors at the house I met an American gentleman who had seen many of my performances; and he assured me that if I would but go to America I should do a very fine business, but that prior to making arrangements I either ought to send over a trusted agent or go myself. So fully did he impress me by his conversation, that, although I had never contemplated such a thing, I went home late that night, or rather early the next morning, put a lot of traps together, and started the same afternoon for America, reaching Queenstown early on the morning of the 2nd January in time to catch the steamer.
I shall never forget my first voyage. I knew noone on board: we were six or seven passengers in all. Few care to leave for a long voyage on New Year's Day. The vessel was not only small, although a Cunarder, but very unsteady. She was known amongst nautical men as the "Jumping Java." Our passage occupied 14 days, and we had to weather several very severe gales. One day we only made 16 knots.
However, I arrived on the other side in due course, and was forcibly struck with the grand country I had entered. As I could remain there only nine or ten days I hastened to visit Chicago, Philadelphia, Boston, Cincinnati, and other places, in addition to New York. I, however, "prospected" by carefully noting all I saw; and afterwards returned to England to join my touring concert party during the latter part of the month. It was then in the provinces. I felt myself fully master of what I intended the following year to undertake; namely, a tour of Her Majesty's Opera Company in America, which later on in these memoirs I shall have occasion to describe. I also organized another tour in the English provinces, with Salvini, who appeared afterwards in all the principal provincial towns with immense success.
In the middle of October, 1875, I had the honour of being invited by the Duke of Edinburgh to Eastwell Park. Thinking the invitation was only for the day, I took nothing with me but a small bag containing an evening suit and a single shirt. When I arrived at Ashford station I was met by twosix-foot men in scarlet liveries, who had arrived with a fourgon, drawn by two splendid horses, into which they proposed to put my luggage. I noticed their efforts to restrain a smile when I handed to them my little hand-bag. Another magnificent equipage had been sent for me personally.
I was received with the greatest possible kindness; and it will interest many of my readers to know that just before dinner the Duchess took me to a buffet on which was laid out caviare, smoked salmon, salt herring (cut into small pieces), dried mushrooms, pickled cucumbers, and the various appetizing delicacies which, with spirits or liqueurs, form the preliminary repast known to the Russians aszakuska.
I had the honour of taking the Duchess in to dinner, where we formed a party of four: the Duke, the Duchess, the equerry in attendance, and myself. After dinner we adjourned to the music-room, where I noticed piles upon piles of music-books. I soon saw that the Duchess was an excellent musician. The Duke, too, received evidence of this; for in difficult passages he was pulled up and corrected again and again. Smoking being permitted and even enjoined, I lighted a cigar and smoked in silence on the sofa, listening with interest to the musical performances, which were in the form of duets for violin and piano, or violin solos with pianoforte accompaniment.
The next morning we were up early, and I wastaken over the estate. The Duchess pointed out to me her own particular fish-pond, in which she sometimes angles with a view to the table.
Then I went out shooting with the Duke; a rather trying business, for I had neither shooting-clothes nor, far worse, shooting-boots. Of course it began to rain, and I was soon wet through to the skin, my ordinary walking boots being soaked in such a manner that when I got back to the house, by which time the leather had partially dried and contracted, I had considerable difficulty in getting them off. The Duke was kind enough to lend me an overcoat.
At luncheon the Duchess asked for the key of the wine cellar, at which the Duke expressed surprise and curiosity. He was reproached for his inquisitiveness, but was not at the time enlightened as to the object for which the keys were wanted.
It appeared later on at dinner that the Duchess had been visiting a curate at some eight miles distance, who was ill, and had been recommended port wine. This, out of his meagre income, he would be unable, she said, to afford.
"With eighty pounds a year and five children, how," she asked, "can he drink port wine and eat new-laid eggs?"—which the doctor had also recommended. She had herself, therefore, driven over in the afternoon through the pouring rain to take them to him.
After lunch we had more shooting, the weatherbeing now a trifle better. We got home in good time for dinner, and in the evening played at billiards. The Duke is an infinitely better player than I am; but by a series of flukes I got ahead of him, and at last found myself within two points of the game, and with the balls so left that it was most difficult for me to avoid making a final cannon. I saw, however, from the expression of the Duchess's countenance, that she had set her heart upon her husband's defeating me; and I must now confess that if I succeeded in not making that cannon, so difficult to miss, I did so simply out of regard for Her Royal Highness's feelings. The Duchess during the game acted as marker.
It was the Duchess's birthday, and in the course of the evening a courier from Russia, who had been anxiously expected all day, arrived with innumerable presents of jewellery. To these offerings the Duchess paid little or no attention. All she cared for was a letter she was awaiting from her father, and, on receiving it, she was soon absorbed in the perusal of its contents.
A few months afterwards, when the Duchess was present at a performance ofFideliogiven at Her Majesty's Opera, I had a new proof of Her Royal Highness's musical knowledge and of her delicate ear. She arrived before the beginning of the overture, and brought with her two huge orchestral scores. The Duchess sat on the floor of the box reading one of them, and turning of course veryrapidly over the leaves during the stretto of the "Leonora" overture. Suddenly she noticed an uncertain note from the second horn, and exclaimed, as if to set the musician right, "B flat!" After the act I asked Sir Michael Costa whether something did not go wrong with one of the horns. "Yes," he said, "but only a person with a very fine ear could have perceived it." I repeated to Her Royal Highness Costa's remark precisely as he had made it.
I opened my season again at Drury Lane early in 1876; but the lessee, Mr. Chatterton, who had been secretly treating with Salvini, did not think it right that in the great national theatre under his control I should be making so much money out of Shakespeare. The only contract I could now get from him had practically the effect of excluding Salvini, and this was really the beginning of Chatterton's ruin. Although I was to pay him the same amount of rental he insisted on retaining the Wednesday and Friday evenings and Saturday mornings for himself. I had therefore to rent another theatre wherein to place Salvini. Mr. Chatterton brought over another Italian tragedian, Signor Rossi, and put him to perform at Drury Lane in opposition to Salvini, whom I had to present at the Queen's Theatre in Long Acre. The consequence was that both of us dropped money, and Mr. Chatterton's losses during that time were, I believe, considerable.
To my Opera Company I had added M. Faure,while retaining all the favourites of the previous year, including Titiens, Trebelli, Nilsson, &c.; Sir Michael Costa remaining as conductor.
At the close of 1876 I again visited the provinces, beginning my usual Italian Opera season at Dublin, with Mdlle. Titiens, who had returned fresh from her American triumphs, supported by Marie Roze, Valleria, Ilma de Murska, Emma Abbot, Trebelli, etc., etc. The tour was indeed a most prosperous one, and it terminated towards the latter part of the December of that year.
Early in 1877, when I applied for the renewal of my lease of the Theatre Royal, Drury Lane, Mr. Chatterton showed much ill-will, which I attributed to his jealousy at my previous success with Salvini, and to my having declined to allow him to engage the Italian tragedian on his own account. He insisted that I should have the theatre but three days a week, and then only from ten in the morning till twelve at night. Not only was I precluded from using the theatre on the other days, but I was to finish my performance always by midnight and then hand him the key. As my rehearsals invariably have to take place on the "off days," when there is no opera, I should have been prevented by this arrangement from rehearsing at all. In fact, I found nothing but impossible clauses and conditions in the contract now offered.
At this time Mr. Chatterton was very anxious to find out whether or not the Earl of Dudley wasprepared to let me Her Majesty's Theatre; and to ascertain this the good offices of some highly attractive young ladies performing in the pantomime were employed. Lord Dudley gave Mr. Chatterton to understand that though he was willing to sell the theatre, of which he saw no probability, he would not under any circumstances let it to Mapleson or any other man. Hence Chatterton continued to insist on his stringent conditions, although I had been his tenant for some eight or nine years, paying a very large amount of rent in addition to cleaning and carpeting his theatre every year, which was very much required after the pantomime.
On learning, in a direct manner, Lord Dudley's decision, I saw that it was hopeless to approach him in the character of a tenant. A purchaser I did not wish to be, as my new Opera-house, it was anticipated, would be ready for opening the following spring. All I, for the present, desired was a theatre where I could, unmolested, continue my season. I therefore made offers to Lord Dudley with a view to purchase, at the same time explaining to him my inability to pay the whole of the amount he then demanded, namely, £30,000. All I could do was to give him a deposit of £6,000 on account, and a further £6,000 in the following November, leaving £18,000 still due, with a clause, in case of any default being made in regard to the second instalment, by which the first was to be forfeited. To this his lordship assented. I had been ready to payhim £7,000 as rent for a single year, but this he would have refused. By paying an instalment of £6,000 I saved £1,000, and equally obtained the use of the theatre. In due course the matter was completed.
During the month of February I entered into possession. There was not a single seat in the house, not a particle of paper on the walls; neither a bit of carpet, nor a chair, nor a table anywhere. I therefore had to go and see Blundell Maple, the well-known upholsterer, who, out of regard for me and the advertisement I promised him, consented to give me a few things I required for the sum of £6,000. It involved the furnishing of the whole of the dressing-rooms, the auditorium, and corridors.
About four miles of carpeting were required, there being so many staircases and passages, all of which were luxuriously covered. New amber satin curtains, the traditional colour of the house, had to be manufactured specially. Stall chairs, appointments, fittings, and looking-glasses were also, of course, required. A room had to be built through solid masonry for the Prince of Wales, as a retiring-room. In fact, it was a very heavy affair; and on my inviting a few friends and members of the Press to a dinner I gave at my club some two days before the opening, they confessed to having believed that the theatre could not be opened for two months. Maple, in order to show what he could do in a short space of time, had purposely left allto the last day, when he sent in some 200 workmen and upholsterers, together with about 300 girls and carpet-sewers, so that the effect was really like the magic of Aladdin's Palace. The theatre, I need scarcely say, was finished in time, and gave great satisfaction.
The new theatre opened on 28th April, Titiens appearing as "Norma;" and a grand performance it was. Sir Michael Costa directed the orchestra, which wentà merveille.
The day following it became evident that the great prima donna was suffering from a complaint which caused her the most serious inconvenience. The next evening Mdlle. Salla appeared with some success inIl Trovatore. On the succeeding Saturday, Mdme. Christine Nilsson made herrentréeinLa Traviata; but immediately afterwards she too fell ill.
It seemed as if the new theatre was to bring nothing but bad luck, as it since has done to all connected with it. Mdlle. Titiens, however, had to make an effort, and she appeared again the next night as "Norma," and the Saturday afterwards in theTrovatore. Meantime Mdme. Nilsson recovered and reappeared on the following Thursday. Mdlle. Titiens was sufficiently well to appear at St. James's Hall, for Mr. Austin's benefit, at which she sang superbly, Mr. Austin, after the performance, assuring me that he had never before heard such magnificent singing. Mdlle. Titiens now informed me that she felt considerably better, and would appearon the following Saturday, 19th May, as "Lucrezia Borgia," which she in fact did. But, as the evening progressed she felt she could hardly get through the opera. Her voice was in its fullest perfection; but her bodily ailments caused her acute agony, and it was not until some time after the conclusion of the opera that she was able to leave the theatre.
The best advice was sought for, and it was decided by the lady herself that the operation, which ultimately caused her death, should be performed. At the end of three weeks, having recovered from the effects of the operation, as she thought, she expressed a wish to return to her duties at the theatre. But, alas! that wish was never to be fulfilled, and I had to go through the season with a loss, as it were, of my right hand.
She lived on in hopes of being able to recover, and she was even announced to appear at the usual period in the following September. But as time drew on it was clear that she was not long for this world. I last saw her on the 29th day of September. Early on the morning of the following Wednesday, October 3rd, she passed away.
I continued the London season of 1877 as best I could without the invaluable services of Mdlle. Titiens, although from time to time we had formed hopes of her reappearing. I again brought Mdme. Nilsson to the front, but found it incumbent on me to discover a new planet, as Mdme. Nilsson,finding she was alone in the field, became somewhat exacting. At last I found one; but, unfortunately, she was just on the point of being married, and nothing could induce her future husband to defer the ceremony. However, by dint of perseverance I succeeded in persuading him, for a consideration, to postpone the honeymoon; and in addition to this I was to pay a very large extra sum per night, while his wife's appearances were strictly limited to two each week.
About this time a great deal of intrigue was going on in order to prevent the success of the new star. I, however, discovered the authors of it, and worked accordingly. Thus I induced several members of the Press to attend after they had been positively assured that she was not worth listening to. Mdme. Gerster's success was really instantaneous, and before her three or four nights were over I had succeeded in again postponing the honeymoon—still for a consideration. Her success went on increasing until the very close of the season, by which time her receipts fairly balanced those of Mdme. Nilsson.
The charges for postponing the honeymoon were put down under a separate heading lest they should by any mistake be regarded as a portion of the prima donna's salary and be used as a precedent in connection with future engagements. At last, when several large payments had been made, the season came to a close, and the young couple, after severalmonths' marriage, were at liberty to begin their honeymoon.
After a journey through Italy and Germany in search of talent I returned to England, when I found the great prima donna's case was hopeless. Although it had been fully anticipated that she would make her reappearance in Dublin, she being in fact announced to sing there, it was, unhappily, decreed otherwise; and on the third night of our opening I had to substitute Mdlle. Salla inIl Trovatore, in which Titiens had been originally announced. I received early that day (October 3, 1887) a telegram stating that she was no more. The Irish public on hearing the sad news at once left the theatre. It cast a gloom over the entire city, as it did throughout the musical world generally. A grand and gifted artist, an estimable woman, had disappeared never to be replaced.
After visiting several of the principal towns I returned to London and reopened Her Majesty's Theatre, reviving various operas of repute, and producing for the first time in this countryRuy Blas, which met with considerable success. My season terminated on the 22nd of December.
At Christmas time I reopened the theatre with an admirable ballet, composed expressly by Mdme. Katti Lanner, in which none but the children of my National Training School for Dancing took part. I afterwards performed a series of English operas, which were successful, Sir JuliusBenedict conducting. Concurrently with this I continued my regular spring concert tour, which did not terminate until the middle of March.
The London season of 1878 opened inauspiciously, the loss of the great prima donna causing a cloud to hang over the theatre. However, Mdme. Nilsson duly arrived, likewise Mdme. Gerster, and each sang so as to enhance her reputation.
Prior to the commencement of the season I had heard Bizet'sCarmenin Paris, which I contemplated giving; and my decision was at once taken on hearing from Miss Minnie Hauk of the success she was then making in that opera at Brussels.
I therefore resolved upon engaging her to appear as "Carmen." In distributing the parts I well recollect the difficulties I had to encounter. On sending Campanini therôleof "Don José" (in which he afterwards became so celebrated), he returned it to me stating he would do anything to oblige, but could not think of undertaking a part in an opera of that description where he had no romance and no love duet except with theseconda donna. Shortly afterwards Del Puente, the baritone, entered, informing me that the part of "Escamillo," which I had sent him, must have been intended for one of the chorus, and that he begged to decline it.
In vain did Sir Michael Costa order the rehearsals. There was always some trouble with the singers on account of the small parts I had given them. Mdlle.Valleria suggested that I should entrust the part of "Michaela" either to Bauermeister or to one of the chorus; as on no account would she undertake it.
This went on for some time, and I saw but little prospect of launching my projected opera. At length, by force of persuasion, coupled with threats, I induced the various singers, whether they accepted their parts or not, to attend a general rehearsal, when they all began to take a great fancy to therôlesI had given them; and in due course the opera was announced for the first representation, which took place on the 22nd June.
The receipts for the first two or three performances were most miserable. It was, in fact, a repetition of what I had experienced on the production ofFaustin 1863, and I frankly confess that I was forced to resort to the same sort of expedients for securing an enthusiastic reception and thus getting the music into the heads of the British public, knowing that after a few nights the opera would be sure to please. In this I was not mistaken, and I closed my season with flying colours.
FIRST AMERICAN CAMPAIGN—DIFFICULTIES OF EMBARKATION—CONCERT ON BOARD—DANGEROUS ILLNESS OF GERSTER—OPERA ON WHEELS—"THE DRESSING-ROOM ROW"—A LEARNED THROAT DOCTOR—GERSTER SINGS BEFORE HER JUDGE—THE PIANOFORTE WAR—OUR HURRIED DEPARTURE.
FIRST AMERICAN CAMPAIGN—DIFFICULTIES OF EMBARKATION—CONCERT ON BOARD—DANGEROUS ILLNESS OF GERSTER—OPERA ON WHEELS—"THE DRESSING-ROOM ROW"—A LEARNED THROAT DOCTOR—GERSTER SINGS BEFORE HER JUDGE—THE PIANOFORTE WAR—OUR HURRIED DEPARTURE.
ATthe end of the season I went abroad to complete my Company for the first American tour, which was to begin about the middle of October. I started my Opera Company from London on the 31st August on its way to America, numbering some 140 persons, including Gerster, Minnie Hauk, Trebelli, Valleria, Campanini, Frapolli, Galassi, Del Puente, Foli, etc., with Arditi as conductor. This also comprised a magnificent chorus of some 60 selected voices, together with the whole of thecorps de balletand principal dancers; and I had decided to give some three or four weeks' performances in Ireland prior to sailing, in order to get things in working order, as wellas to recruit the exchequer for my costly enterprise. Although immense success attended the appearance of my new singers in the Irish capital, they were not sufficiently known to draw the great houses more famous artists would have done. Etelka Gerster almost drove the gods crazy with her magnificent singing; but as she was totally unknown, never having been in Ireland before, the receipts were not commensurate with her artistic success. Minnie Hauk, again, had never appeared in that country; nor had the opera ofCarmenbeen heard, its very name seeming to be unknown. However, the artistic success was beyond measure, and the representations, moreover, served as a kind of general rehearsal for my coming performances in America. On reaching Cork I found the receipts were again below what they ought to have been, and I began to realize that in lieu of increasing my exchequer prior to starting for America I ran the chance of totally exhausting it.
I therefore telegraphed to my representative in New York for £2,000, in order that I might straighten up my position, and pay the balance of our passage money, the boat being then off Queenstown.
I was really anxious on this occasion, and it was not until late in the day that my cable arrived, notifying to me that the money was at my credit in the Bank of Cork. With some difficulty, it being after banking hours, I obtained admittance, whenlo! the money was all payable in Irish notes. These the singers pronounced to be useless for their purpose in America. They absolutely refused to embark, and it was not until towards evening that I was enabled with great difficulty to find gold at the various hotels and shops in exchange for my Irish notes.
At length we departed from Queenstown; though it was late in the evening before I succeeded in getting the last squad on board. Some of the Italian choristers had been assured by Irish humorists that the streets of New York were infested by crocodiles and wild Indians; and these they were most unwilling to encounter. We had a splendid passage across. The day before our arrival in New York it was suggested to give a grand concert in aid of the sufferers by the yellow fever then raging in New Orleans. I recollect on the occasion of the concert the collection made amongst the passengers amounted to some £3 or £4. One Western gentleman asked me particularly, in the presence of the purser, if the money would really be devoted to the relief of the sufferers. He, moreover, demanded that Captain Brooks, the officer in command, should guarantee that the money would reach them. The collection was made by those two charming young pianists, Mdlles. Louise and Jeanne Douste, and by the equally charming young dancer, Mdlle. Marie Muller; and at the conclusion of the concert, in which he had encored every one of the pieces,the careful amateur from the West gave the sum of sixpence. Gerster, Minnie Hauk, Campanini, and the others were irate, at the result of their united labours; and as they thought it might injure them on their arrival in New York, were the public to know of it, they privately subscribed £20 apiece all round to make the return look a little decent.
On our arrival in New York we were met by thousands of people, accompanied by military bands, etc., and although I had left, as it were, a winter behind me, we landed in the midst of a glorious Indian summer.
I set about making my preparations for the opening of my season, which was to commence on the 16th October, and to prepare the way for thedébutof Madame Etelka Gerster, who since our arrival had scarcely been her usual self. This I attributed to the sea voyage. Two days before the opening I gave a dinner, to which I invited several influential friends including members of the New York Press. As I was just about responding to the toast of the evening, wishing health to Madame Gerster and success to the Opera, the waiter beckoned me to the door, whispering that a gentleman wanted to speak to me for one moment. I went out, when Dr. Jacobi, the New York physician, called me into an adjoining room, where the eminent specialist, Dr. Lincoln, was waiting. They had just visited Madame Gerster, and regretted to inform me that a very bad attack of typhoid fever had developeditself, and that consequently there would be no probability of her appearing the following Wednesday, while it was even doubtful in their minds if she would survive. She was in a very bad state.
This was indeed a great blow to me; but I returned to the room, continued my speech, and then went on with my dinner as if nothing had happened.
Making it a point never to think of business when I am not in my office, I decided to turn matters over the following morning, which was the day preceding the opening of the house. Being so far away, it would be impossible to replace Mdme. Gerster. I thereupon persuaded Miss Minnie Hauk to undertake her part inLa Traviata, which she did with success. Del Puente, our principal baritone, refused, however, to sing the part of the father, in consequence, I presume, of this change.
This was a most fortunate thing for the other baritone, Galassi, who replaced Del Puente. It virtually made his fortune. He possessed the ringing quality of voice the Americans are so fond of. He literally brought down the house that evening. I cannot recall a greater success at any time, and henceforth Galassi became one, as it were, of the idols of the American public.
I opened my theatre in London the following night with a very powerful Company, Mdme. Pappenheim making herdébutas "Fidelio"; for I was now working concurrently the London andthe New York Operas. This I did for the whole of that season, closing Her Majesty's Theatre on the 21st December, though the American "Academy" was kept open beyond.
Costumes, properties, and even singers, were moved to and fro across the ocean in accordance with my New York and London requirements. Franceso, who was ballet-master on both sides of the Atlantic, made again and again the voyage from New York to Liverpool, and from Liverpool to New York. On one occasion the telegraph played me false. I had wired to my acting-manager at Her Majesty's Theatre, with whom I was in daily telegraphic communication, desiring him to send me over at once a "2nd tenor." The message was inaccurately deciphered, and out came "2 tenors;" one of whom was kneeling on the quay at New York returning thanks for his safe arrival, when I requested him to re-embark at once, as otherwise he would not be back at Her Majesty's Theatre by Monday week in time to sing the part of "Arturo" in theLucia, for which he was already announced.
I afterwards produced Carmen at the Academy of Music, which met with very great success, as likewise didFaust,Don Giovanni, etc. It was not till the 8th November that Mdme. Gerster was declared out of danger, and I was in constant attendance upon her until the 18th November, when she appeared as "Amina" in LaSonnambula. Her success was really electric, the public going quite wild about her.
I afterwards produced all the great operas I had been giving in London, including theMagic Flute,Talismano,Robert le Diable,etc., etc., my season continuing without intermission some six months, during which time I visited Boston, where public breakfasts and other entertainments were given to my singers. A special train was fitted up expressly for my large Company, and all the carriages elegantly decorated. I had also placed at my disposal by the Railroad Company a carriage containing writing-room, drawing-room, bedrooms, and kitchen stocked with wines and provisions, under the direction of achef.
Whilst at Boston I had the honour of making the acquaintance of Longfellow, who, being anxious to hear Mdme. Gerster, occupied my box one evening, the attention of the audience being very much divided between its occupant and Mdme. Gerster, who on that occasion was singing "Elvira" inI Puritani. He likewise attended the final morning performance, which took place on the last Saturday of our engagement, when Gerster's receipts for "Lucia" reached no less than £1,400. We left that evening for Chicago, a distance of some 1,100 miles, arriving in that city just in time to commence the opera the following Monday, when Gerster appeared and created an excitement only equalled by that of Jenny Lind. I recollect, by-the-bye, an amusing incident that occurred the second night, on the occasion of the performance ofLe Nozze di Figaro.
On the right and left-hand sides of the proscenium were two dressing-rooms alike in every respect. Madame Gerster, however, selected the one on the right-hand side, which at once gave the room the appellation of the prima donna's room. On the following eveningLe Nozze di Figarowas to be performed, in which Marie Roze was to take the part of "Susanna," and Minnie Hauk that of "Cherubino." In order to secure the prima donna's room Minnie Hauk went to the theatre with her maid as early as three o'clock in the afternoon and placed her dresses in it, also her theatrical trunk.
At four o'clock Marie Roze's maid, thinking to be the first in the field, arrived for the purpose of placing Marie Roze's dresses and theatre trunks in the coveted apartment. Finding the room already occupied, she mentioned it to Marie's husband, who with a couple of stage men speedily removed the trunks and dresses, put them in the room opposite, and replaced them by Marie's. He then went back to his hotel, desiring Marie to be at the theatre as early as six o'clock.
At about 5.30 Minnie Hauk's agent passed by to see if all was in order and found Marie Roze's theatrical box and costumes where Minnie Hauk's were supposed to be. He consequently ordered the removal of Marie Roze's dresses and trunk, replaced those of Minnie Hauk, and affixed to the door a padlock which he had brought with him.
Punctually at six o'clock Marie Roze arrived, and found the door locked. By the aid of a locksmith the door was again opened, and Minnie Hauk's things again removed to the opposite room, whilst Marie Roze proceeded to dress herself in the "prima donna's room."
At 6.30 Minnie Hauk, wishing to steal a march on her rival, came to dress, and found the room occupied. She immediately returned to Palmer House, where she resided, declaring she would not sing that evening.
All persuasion was useless. I therefore had to commence the opera minus "Cherubino;" and it was not until the middle of the second act, after considerable persuasion by my lawyers, that Minnie Hauk appeared on the stage. This incident was taken up throughout the whole of America, and correspondence about it extended over several weeks. Pictures were published, also diagrams, setting forth fully the position of the trunks and the dressing-rooms. The affair is known to this day as "The great dressing-room disturbance."
During all this visit to Chicago there was one unbroken line of intending buyers waiting to secure tickets at the box office; and frequently I had to pay as much as twenty dollars for wood consumed during the night to keep the purchasers warm.
About the middle of the second week I produced Bellini'sPuritani, with Gerster as "Elvira," Campaninias "Arturo," Galassi as "Riccardo," and Foli as "Giorgio." On this occasion the house was so crowded that the outer walls began to crack, and in the managerial room, in which I was working, I could put my hand through one of the corners where the two walls met. I communicated with Carter Harrison, who was then Mayor. He at once proceeded to the theatre, and, without creating any alarm, and under the pretext that the house was too full, caused upwards of a thousand people to leave the building. So pleased were they with the performance that they all refused to have their money returned.
We terminated one of the most successful Chicago seasons on record, and the Company started the following morning for St. Louis. As I was suffering from a sharp attack of gout I had to be left behind, and but for the kindness of Lord Algernon Lennox (who had acted as my aide-de-camp at one of our Easter sham-fights) and Colonel Vivian I do not know what I should have done. Both these gentlemen remained in the hotel with me, interrupting their journey to do me this act of kindness, for which I felt very grateful.
On the Company's arriving at St. Louis, Mdme. Gerster declared her inability to sing the opera ofLuciathat evening. My son Henry, who had charge of the Company until I could rejoin it, explained to madame that it would be necessary to have a medical certificate to place before the public. Mdme. Gerster replied she was too honourable anartist to require such a thing, and that when she said she was ill, she was ill. My son, however, brought in a doctor, who insisted upon seeing her tongue. She merely, in derision, said, "There!"—rapidly putting it out as she left the room. The doctor immediately put on his spectacles, and proceeded to write his certificate, saying that there was a little irritation in the epiglottis, that the uvula was contracted, together with the muscles of the throat, and that the tonsils were inflamed. On Mdme. Gerster's husband showing the certificate to his wife she got so angry that she insisted upon singing—just to show what an "ass" the doctor was. Of course, this answered my purpose very well, and my large receipts were saved.
On leaving the hotel at the end of that week the eminent physician presented Mdme. Gerster with a bill of $60 for medical attendance. This, of course, she resisted; and she gave bonds for her appearance when called upon, in order to save her trunks from seizure, which the M.D. had threatened.
Whilst I am on this subject, I may as well inform the reader that two years afterwards when we visited St. Louis the matter was brought before the Court. Feeling sure that this attempt at extortion would not be allowed, and that the Court proceedings would be of very short duration, I attended at nine o'clock, the hour set down for trial, leaving word that I should be home at about half-past ten to breakfast. It was not until eleven that I was called up to thewitness-stand. On my mentioning to my counsel that I felt very faint, as I had not yet eaten anything, he repeated it to the judge, who at once adjourned the Court in order that I might have my breakfast. He enjoined me not to lose too much time in "mastication," and ordered the reassembly of the Court at half-past eleven. On my return my evidence was duly given; but when the defendant, Etelka Gerster, was summoned, the call-boy from the theatre appeared, stating to the judge that as she had to sing "Lucia" that night, and was not very well, it would jeopardize the whole performance if she left the hotel.
His honour, thereupon, considerately ordered the Court to adjourn to Mdme. Gerster's rooms at the Lindell House, where the trial could be resumed. On our arrival there counsel and others amused themselves by looking at various pictures until the prima donna appeared, accompanied by her two dogs, her birds, etc., when the judge entered into conversation with her on musical matters. Later on his honour solicited Mdme. Gerster to kindly sing him a song, especially the "Last Rose of Summer," which he was very partial to, being from the Emerald Isle. At the close of the performance he thought it was useless troubling Mdme. Gerster to go further into the case, which was at once decided in her favour.
Talking of law, I may mention another lawsuit in which I was concerned.
Whilst in Boston in January, 1879, Mdme. Parodi, who lived in an hotel close by the theatre, had need of medical attendance, and the theatrical doctor, who had theentréeto the house, was naturally selected to see what the matter was. He prescribed a gargle for Mdme. Parodi; and Mdlle. Lido, who had been attending on the patient, having shown the doctor her tongue as he went out, he merely said "You want a little Friedrichshall," and left the room.
Nothing more was heard of the matter until January, 1880, when, as I was seated at the breakfast table in the hotel with my wife and family, two Deputy-Sheriffs forced their way unannounced into the room to arrest me for the sum of 30 dollars, which the doctor claimed as his fee. This was the first intimation I had had of any kind, and it was afterwards shown in evidence that the doctor had debited Parodi and Lido in his day-book separately with the amount which he also charged to them collectively. Finding that both ladies had left the city he thought it better to charge the attendance to me. Rather than be arrested, I of course paid the money, but under protest.
The next day I commenced proceedings against the doctor, as well as the Sheriff, for the return of my money, which I contended had been handed over under duress, and was not a voluntary payment on my part. The doctor's counsel contended on the other hand—first, that I had derived benefit fromthe treatment he had given these ladies; secondly, that I was liable. In due course the matter went to trial, and was heard by Judge Parmenter in the Municipal Civil Court at Boston. It was proved that the doctor was the regular physician to the Boston Theatre, and that in consideration of free entrance he attended without fee members of the Company who played there. The Judge, after commenting on the testimony, decided the matter in my favour. I was, however, baulked of both money and costs; for the same afternoon the doctor went home and died.
On my return to New York for the spring opera season I producedDinorah, in which Mdme. Gerster again achieved a triumph. The business went on increasing. About this time a meeting of the stockholders of the Academy of Music was convened, and I ultimately signed a new lease for three more years, commencing October 20th following.
During my first sojourn in America I gave 164 performances of opera, likewise 47 concerts. Concurrently with this I gave 135 operatic performances and 48 concerts in England. The season in New York extended from October 16th to December 28th, 1878, also from February 29th to April 5th, 1879. At Boston the season lasted from December 30th, 1878, to January 11th, 1879; at Chicago from January 13th to 25th; at St. Louis from January 27th to February 1st; at Cincinnati from February 3rd to 8th; at Philadelphia10th to 18th, at Baltimore and Washington 19th to 25th. During this periodLuciawas performed twenty times,Sonnambulanineteen times,Carmentwenty-six times,Faustsixteen times,Trovatorenine times,Flauto Magicoeight times,Puritanieight times,Nozze di Figaroseven times,Rigolettofive times,Don Giovannifive times,Traviatafour times,Lohengrinten times,Barbieretwice,Ruy Blastwice,Dinorahtwice,Talismanoten times,Robert le Diabletwice,Huguenotssix times,Freischutzthree times; making altogether twenty-four morning performances and one hundred and forty evening performances.
About this time the disastrous floods took place at Szegedin, in Hungary. This being Mdme. Gerster's birth-place I proposed a grand benefit concert for the sufferers, in which my prima donna at once joined. By our united efforts we raised about £800, which was remitted by cable to the place of disaster within five days of its occurrence, much (I need scarcely add) to the relief of many of the sufferers.
My benefit, which was fixed for the last night of the season, took place on Friday, April 4th. At quite an early hour crowds collected right down Fourteenth Street and Irving Place, and within a very short time every square inch of available room in the house was occupied. The enthusiasm of the auditors was immeasurable, and they began to show it as soon as the performance opened. The representation consisted of the third act of theTalisman, with Mdme. Gerster as "Edith Plantaganet," andCampanini as "Sir Kenneth;" followed by the fourth act ofFavorita, in which Mdme. Marie Roze undertook therôleof "Leonora;" and concluding with an act ofLa Traviata, with Mdme. Gerster as "Violetta." Mdme. Gerster's performance was listened to with the deepest attention, and rewarded at the end with enthusiastic cheers. Mdme. Gerster afterwards came out three times, but her courtesies were of no avail in quieting the multitude. It was necessary, at the demand of the public, to raise the curtain and repeat the entire act. Then nothing would satisfy the audience but my appearance on the stage; when I thanked the ladies and gentlemen present for their support, notifying, moreover, that, encouraged by my success, I should return to them the next autumn. This little speech was vehemently applauded, especially the references I made to the singers and to the conductor, who, I promised, would come back with me.
During our stay in New York we were supplied with pianos both for the artists individually as well as for use at the theatre by Messrs. Steinway and Sons; and before we left the following flattering but just letter of compliment and of thanks was addressed to the firm:—
"Academy of Music, New York,"December 28, 1878.
"GENTLEMEN,
"Having used your pianos in public and private during the present Opera season we desire to express our unqualified admiration of theirsonority, evenness, richness, and astonishing duration of tone, most beautifully blending with and supporting the voice. These matchless qualities, together with the precision of action, in our opinion, render the Steinway pianos, above all others, the most desirable instruments for the public generally.
"(Signed) ETELKAGERSTER,MARIEROZE,MINNIEHAUK,C. SINICO,CAMPANINI,FRAPOLLI,GALASSI,FOLI,DELPUENTE, ARDITI."
Messrs. Steinway now offered and undertook to supply each leading member of the Company with pianos in whatever town we might visit throughout the United States.
On our arrival in Philadelphia I was surprised to find that every artist in the Company had had a magnificent Steinway placed in his or her bedroom; this in addition to the pianos required at the theatre. But while the Company were dining, a rival pianoforte maker, who had shown himself keenly desirous of the honour of supplying us with instruments, invaded the different bedrooms and placed the Steinway pianos outside the doors, substituting for them pianos made by his own firm—that of Weber and Co. The Webers, however, were ultimately put outside and the Steinways replaced.
Shortly afterwards a pitched battle took place in the corridors between the men employed by therival firms, when the Weber men, being a more sturdy lot, entirely defeated the Steinway men and ejected them bodily from the hotel. The weapons used on this occasion were piano legs, unscrewed from the bodies of the instruments.
Not only did physical force triumph, but the superior strength exhibited by the Weber side was afterwards supplemented by cunning. That very night Weber gave a grand supper to the whole of my Company, and I was at once astonished and amused the next day to find that a new certificate had been signed by them all stating that Weber's pianos were the best they had ever known. A paper to that effect had been passed round after sundry bottles of "Extra Dry," and signatures appended as a matter of course.
Such was the impartiality of my singers that they afterwards signed on behalf of yet a third pianoforte maker, named Haines.
In accordance with numerous solicitations, I agreed to give a Farewellmatinéethe next day. But the steamer had to sail for Europe at two o'clock in the afternoon; and this rendered it necessary that my morning performance should commence at half-past eleven, the box-office opening at eight. In the course of a couple of hours every seat was sold. Towards the close of the performance, Arditi, the conductor, got very anxious, and kept looking up at my box. It was now half-past one, Madame Gerster'srondo finaleinLa Sonnambulahad absolutely to berepeated, or there would have been a riot; and we were some three miles distant from the steamer which was to convey us all to Europe.
At length, to my relief, the curtain fell; but the noise increased, and I had again to show myself, while Arditi and the principal singers and chorus took their departure, Signor Foli, with his long strides, arriving first. I afterwards hastened down in a carriage I had expressly retained. As the chorus had scarcely time to change their dresses, many of them rushed down as best they could in their theatrical attire, followed by a good portion of the audience, who were anxious to get a last glimpse of us all.
Arriving on board the Inman steamerCity of Chester, I found it crowded with personal friends, many of whom had been there at least an hour. Hearty embraces were exchanged by the men as well as the women, and numerous bottles of champagne were emptied to fill the parting cups. The cabins of the steamer were literally piled up with flowers. Trunks and boxes containing the wardrobe of the morning performance were lugged on board.
"All ashore!" shouted the captain. Prior to my arrival, the bell had rung for the seventh and positively last time. The steamer's officers now urged all but passengers to get on shore, and hinted at the probability of some of them being inadvertently carried over to Europe. Thewomen hurried back to escape that dreadful fate.
Ole Bull, whom I had invited to go to Europe with me, darted across the gang-plank carrying his fiddle in a box. The whistle then blew, and the bell rang for the eighth and now absolutely last time. At length the steamer took her departure. A band of music on the wharf had been playing lively airs, to which my chorus responded by singing the grand prayer fromI Lombardi.
To my dismay, I discovered that the prima donna had been left behind; also the property-master, the ladies' costumier, one of the ballet, and five of the chorus. The latter had nothing with them but the theatrical costumes they carried on their bodies. They had previously sent all their worldly belongings on board the ship, and we now saw them gesticulating wildly on the quay as we passed down the bay. They were treated very kindly after our departure; ordinary day clothes were provided for them, and they were sent over by the next steamer.
On entering my cabin I found a silver épergne, a diamond collar-stud, any quantity of literature, several boxes of cigars, bottles of brandy, etc., which had been left anonymously; also an immense basket of fruit. There were, moreover, two large set-pieces of flowers in the form of horse-shoes that had been sent me from Boston, likewise a basket ofrose-buds, lilies, and violets, and an embroidered table-cover.
A few minutes later, a tug carrying a large American flag at the side of an English one steamed up to the pier and took on board a number of ladies and gentlemen who, accompanied by an orchestra, followed the steamer down the bay, giving the Company a farewell ovation of cheering as the vessel passed the Narrows and got out to sea.