Social Victorians/Timeline/1891

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Sometime in 1891

From sometime in 1891 to sometime in 1893 Jean de Reszke was "the leading tenor" of the New York Metropolitan Opera (Baring-Gould II 112, n. 114).

From sometime in 1891 to sometime in 1903 Eduoard de Reszke was "a leading bass" at the New York Metropolitan Opera (Baring-Gould II 112, n. 114).

"[T]he Diwan of the fourteenth century Persian poet Hafiz (the popular name for Shams ed-Din Mohammed), was not translated in its entirety into English prose until 1891" (Baring-Gould I 417, n. 31).

Thomas Lake Harris's God's Breath in Man and in Humane Society was published.

January 1891

31 January 1891, Saturday

"On January 31, 1891, Monsieur Gabriel Bonvalot, Prince Henry of New Orleans and Father Dedeken gave an illustrated talk on their work in Tibet to the French Geographical Society in Paris" (Baring-Gould II 301, n. 5, quoting Winifred M. Christie). Christie offers this lecture as one explanation for how it is that A. C. Doyle's Sherlock Holmes spent two years travelling in Tibet.

February 1891

In February 1891, influenza was spreading through London. Most of the staff at the Theosophical Society headquarters got sick, and Helena Blavatsky, who was very sick with it, died on 8 May 1891. (Esoteric World Chapter 23. The Theosophical Society of America, Online Resources. http://www.theosophical.org/index.php?option=com_content&view=article&catid=23&id=1725&Itemid=53)

During February 1891, "the British section headquarters" of the Theosophical Society "were moved to 19 Avenue Road," St. John’s Wood, London, Annie Besant's home (Esoteric World Chapter 23. The Theosophical Society of America, Online Resources. http://www.theosophical.org/index.php?option=com_content&view=article&catid=23&id=1725&Itemid=53).

11 February 1891, Wednesday

"HORNIMAN MUSEUM will be OPENED by Mr. HORNIMAN on WEDNESDAY, FEB. 11, at 2.30, for the Reception of Guests invited to "Welcome Home" Sir SOMERS VINE. The Museum will be thrown Open Free to the Public from Five o'Clock until Nine p.m., and on other Wednesdays and Saurdays from Two o'Clock until Nine p.m. It is situate [sic] near FOREST-HILL STATION from London Bridge, and near LORDSHIP-LANE STATION, on the L.C. and P. Railway. / F. J. HORNIMAN, F.R.G.S. &c." ([Classified Ad.] Illustrated London News (London, England), Saturday, February 07, 1891; pg. 199; Issue 2703, Col. A)

21 February 1891, Saturday

On 28 February 1891, the ILN has this: "It seems a pity that the very interesting loan collection of pictures and prints relating to Dante and his times that was on view at Onslow College the other night should have been gathered together for that one evening only. The University Extension Society was primarily responsible for the entertainment, and Mrs. Oscar Wilde undertook the organisation and arrangement of the exhibition, which proved a great success. Lady Ashburton, Lady Mount-Temple, and Earl Brownlow lent pictures by Rossetti and Mr. G. F. Watts, and drawings in red chalk and pencil were contributed by Mr. G. F. Watts and Sir Frederick Leighton. There were, besides, some fine Blake engravings, notably the seven designs for the "Inferno," lent by Lord Coleridge; and no less than six chromo-lithographs of the tracing taken by Kirkup from Giotto's portrait of Dante (before its "restoration") on the wall of the Palazzo del Podesta. The original tracing itself would have been a valuable addition to this collection, and, curiously enough, it happens to abide nearby in South Kensington. Its history is an odd one, illustrative of teh futility of dead men's plans. Kirkup (who was a good hater) refused to sell his unique treasure to any of his fellow-countrymen, by reason of an old grudge he bore his native land, but, eventually parted with it to an American virtuoso, whose heirs, however, have brought it over sea to those shores where Kirkup vowed it should never come." (Personal.Illustrated London News (London, England), Saturday, February 28, 1891; pg. 270; Issue 2706, Col. B)

22 February 1891, Monday

<quote>The Duke of Clarence and Avondale was out on Monday with the Holderness Hounds. The house party from Tranby consisted of the Duke of Clarence, Captain Holford, Captain Briam, Mr. Gregson, Mr. Arthur Wilson, Miss Muriel Wilson, Miss Wilson (Warter Priory), Mr. Menzies, Mr. Jack, and Mr. Kenneth Wilson. They arrived at Beverley from Tranby Croft shortly after 11 o'clock, and after a change of horses proceeded to meet at White Cross. The weather, which in the morning had been densely foggy, cleared up, and the sun shone brilliantly as the Prince drove up to the large and expectant company, which included strong contingents of horsemen from Beverley and this part of Holderness. The neighbouring covers were at once tried, and there was no lack of foxes, but the scent on the strong lands was very uncertain, and it was difficult to get a good run. There was a fairly good spin for twenty minutes but it did not result in a kill. One or two foxes were chopped in cover, but they were unable to get them away. It was late in the afternoon before the company returned to Beverley, and the royal party made a short stay at the residence of Mr. Travers — Mr. Arthur Wilson's agent — before proceeding to Tranby Croft.</quote> (1891-02-28 Yorkshire Herald)

28 February 1891, Saturday

On 28 February 1891, the ILN has this: "Mr. Augustus Harris is bringing his fancy-dress balls at Covent-Garden to a close with considerable éclat. Prizes have been offered for the most charming costume worn by a lady, the best comic or burlesque costume, the best historical costume, and the best original and grotesque costume. The prizes, supplied for the occasion by the Goldsmiths' and Silversmiths' Company, of Regent-street, are exceedingly beautiful, including a fine diamond flight of seven pigeons forming five separate brooches, and a diamond owl brooch with ruby eyes." (Personal. Illustrated London News (London, England), Saturday, February 28, 1891; pg. 270; Issue 2706, Col. B)

March 1891

11 March 1891, Wednesday

<quote>L<sc>ondon</sc>: B<sc>ritish</sc> M<sc>useum</sc>. — On March 11th, at the Central Criminal Court, W. Armstrong S. Glanville Richards, thirty-five, was indicted for a misdemeanour in having maliciously damaged certain manuscripts kept at the British Museum. Mr. Forrest Fulton and Mr. Horace Avory conducted the prosecution. Mr. F. Fulton said these proceedings were taken under a section of the Malicious Injury to Property Act. The defendant was a gentleman who had taken a great interest in matters of genealogical research, and in 1883 he had written "The Records of the Anglo-Norman House of Glanville, from 1050 to 1880." There was also another gentleman named Leete, residing at Norwood, who was engaged in the same researches as the defendant. Mr. Leete had produced a work in 1881, in which he traced the genealogy of the family of that name, and owing to this circumstance the defendant and Mr. Leete became known to each other. In August, 1883, Mr. Leete received a letter from the defendant, stating that he was a reader at the reading-room of the British Museum, and had facilities for assisting Mr. Leete in his researches respecting the family of Leete. He added that he had made a valuable discovery amongst the Harleian MSS., which would show a direct connection between the family of Leete and the family of Avenell, which was of very ancient origin. It was alleged that the defendant had made five fictitious additions to the MSS. with the pedigree of the Avenell family. From time to time Mr. Leete paid the defendant money for his services, and the latter forwarded notes and documents with the object of verifying the statements he had made. Some time last year, however, Mr. Leete placed the documents sent by the defendant in the hands of Mr. Corbett Anderson, of the British Museum, for the purpose of having the facts verified, and it was then discovered that very serious alterations had been made in the Harleian MSS. for the purpose, apparently, of tracing the Leete family back for several generations. Mr. Scott, keeper of the MSS. at the British Museum, stated that there did not appear to have been the slightest attempt to disguise the handwriting on the MSS. The manuscripts in question were used as evidence in the House of Lords upon questions of pedigree, and were priceless; but the effect of the alterations was to [202/203] render them practically useless. In his defence, the defendant absolutely denied the allegations made against him. The jury, in finding a verdict of guilty, expressed their deep regret that MSS. of such worth should have been damaged in any way. The recorder sentenced the defendant to two months' imprisonment.</quote> ("Library Notes and News." The Library: A Magazine of Bibliography and Literature. Ed., J. Y. W. MacAlister. May 1891 (Vol. 3., No. 29). Google Books.)

27 March 1891, Friday

Good Friday

29 March 1891, Sunday

Easter Sunday

April 1891

20 April 1891, Monday

Rudolph Aronson, an American?, says, "On April 20th, 1891, I had the pleasure of attending at Princes' Hall, Piccadilly, London, a concert of The Royal Amateur Orchestral Society, considered the finest body of amateur musicians in England. The late Duke of Edinburgh was the leader of the first violins. The Prince of Wales (afterwards King Edward VII) took a strong interest in the Society, and always arranged the dates of the performances himself, besides consulting the Society's able conductor, Mr. George Mount, as to the main feature of the program. [179 / 180 & new paragraph] At this concert, a circle of comfortable fauteuils was reserved for the Prince of Wales and his party. The fauteuils were prettily decorated with flowers, and conveniently near was a small but well stocked buffet. The Prince of Wales and his party smoked, chatted and laughed most heartily. In a word, they all appeared to enjoy thoroughly the absence of restraint which is one of the chief features of these delightful entertainments. The company present included the Duke of Cambridge, the Duke of Teck, the Earl of Latham, Sir Arthur Sullivan, Sir Frederick Leighton and many other well known faces." (Aronson, Rudolph. Theatrical and Musical Memoirs. New York: McBride, Nast, 1913. Pp. 179-180. Google Books, retrieved 24 February 2010.)

23 April 1891, Thursday

Dolmetsch illustrated the music for Frederick Bridge's lecture, "Shakespeare and His Music," at Gresham College (Campbell 35). This was the end of the second series of lectures this spring. At this lecture, "two of the earliest settings of Where the Bee Sucks and Full Fathom Five were sung by the choristers of Westminster Abbey, with Dolmetsch playing the lute and Helene the viola da gamba."

24 April 1891, Friday

A second Gresham lecture, probably on Shakespeare, by Bridges with Dolmetsch illustrating, at which "further settings of the same songs [as the prior night] were given with the addition of some of the music for Purcell's Fairy Queen" (Campbell 35).

27 April 1891, Monday

Arnold Dolmetsch's "A Concert of Ancient Music of the XVI and XVII Centuries" at the Princes Hall, Picadilly. They played "Morley, Ferrabosco, Simpson, Este, Pierson [spelled Peerson now], Tomkins and Locke ... on the viols, lute and harpsichord" (Campbell 37).

"Dolmetsch was well aware that the Gresham [College] lecture had prestige value, but he was intent on giving an independent concert. How he raised the necessary funds is a mystery, but on 27 April 1891 he booked the Princes Hall in Piccadilly for 'A Concert of Ancient Music of the XVI and XVII Centuries'. On the eve of the performance every seat had been sold. On the programme was a footnote in small print which reads:

N.B. Owing to the delicate nature of the tone of the instruments, and the style of the Music, which requires concentration of mind to be thoroughly understood, the doors of the room will be kept closed during the performance of the pieces. Dolmetsch had not only begun to attract audiences, he had started to educate them (Campbell 36).

May 1891

8 May 1891, Friday

Helena Blavatsky died.

17 May 1891, Sunday

Whit Sunday

27 May 1891, Wednesday

Derby Day

29 May 1891, Friday

The Savoy Hotel hosted "a dance with the Vienna Band, Karl Wilhelm Drescher's salon orchestra. Guests included Franz Deym and Henry Wellesley, 3rd Duke of Wellington" as well as, probably Hwfa and Florence Williams.

June 1891

26 June 1891, Friday

There was apparently a regular celebration of Arthur Collins' birthday, 26 June, by Bret Harte, George Du Maurier, Arthur Sullivan, Alfred Cellier, Arthur Blunt, and John Hare (Nissen, Axel. Brent Harte: Prince and Pauper: 239. [1]). Choosing 1885–1902 as the dates because those apparently are the dates of the close relationship between Harte and Collins, ending in Harte's death in 1902.

August 1891

2 August 1891, Sunday

Florence Farr was admitted to the Inner or Second Order: R.R. et A.C. of the Golden Dawn (Gilbert 86 20).

31 August 1891, Monday

Summer Bank Holiday

September 1891

Lohengrin in Paris

Richard Wagner's Lohengrin was first produced on 28 August 1850, conducted by Franz Liszt in Weimar, Germany. After a complex history of attempts to stage the opera in France, Lohengrin opened for a run at the Palais Garnier in Paris on 16 September 1891. Part of that history included riots at performances before the 1891 production because of Wagner's criticisms of France. The opera was in regular performance in the rest of Europe, including the U.K., and of course the "Wedding March" was ubiquitous.

12 September 1891, Saturday

The much-anticipated production of Richard Wagner's Lohengrin in Paris was announced and delayed for more than a week, with reports every day in many newspapers, most of which were copies of other reports. The American Register for Saturday, 12 September 1891, reports the following:

A singular doom seems to hang over the promised and much longed-for performance of "Lohengrin," the première of which, after a most satisfactory general rehearsal — the first and only one — on Tuesday, was finally positively announced for last night, regardless of the threats in speech, writing and print addressed to the administrators of the Opera, the conductor of the orchestra, and several Radical journals. As late as yesterday forenoon the playbills announced "Robert le Diable," which announcement, it was supposed, would later in the day, be replaced by that of "Lohengrin." Crowds of people gathered in front of the Opera about 2 o'clock, and to their surprise saw a new bill posted with "Robert le Diable" on it, and the additional notice, that '"owing to the sudden indisposition of M. Van Dyck (Lohengrin) the performance of Wagner's grand composition would be deferred until Monday." Whether the indisposition of the leading artist is a fact, or whether the unreasonable menaces of a group of discontents have been chiefly instrumental in causing the postponement. is as yet an open question. There is a rumor, that the performance may ultimately be interdicted.

The London Daily Telegraph gives a fuller report of the scene in the square:

Paris, Friday Night. ...

It has been decided by the Government that M. Jules Grévy's funeral is to be carried out at the expense of the State. The Ministers selected to go to Mont-sous-Vaudrey are M. de Freycinet, M. Faillières, and M. Rouvier, who were of the Council under M. Grévy. Numerous telegrams and letters of condolence have been received by the Grévy family from public and private persons, while the register kept in the house in the Avenue d'Iéna was filled with signatures both yesterday and to-day.

“Lohengrin" or no "Lohengrin," the question which for days past has agitated Paris, and which yesterday appeared to have received an affirmative reply, has once more been reopened. The performance of Wagner's work was duly fixed for this evening, but about noon to-day the yellow bills round the Opera House and on the kiosks were covered with red placards announcing that, owing to the indisposition of M. Van Dyck, the production of "Lohengrin” would be postponed till Monday, and that “Robert le Diable” would be performed in its place. This sudden change of programme created a great sensation and aroused no little suspicion. Already the unexpected determination on the part of the managers of the Opéra to play “Lohengrin” several days before it was anticipated had made a commotion, not only in musical circles, but among the general public, as it was regarded by many as a ruse wherewith to avoid any hostile demonstration by allowing no time for organisation. To-day, therefore, when, on the strength of the indisposition of one of the performers, who, it is generally known, has two understudies, a delay in the production was announced, a general cry arose that the managers had been intimidated by threats of a disturbance both in and outside of the theatre. Certain it is that these menaces were not wanting, but whether or not they were be taken au sérieux had yet to be proved. One rumour said that as soon as M. Lamoureux took his place in the orchestra 300 men in the gallery would demand that the Russian Imperial Anthem should be played before the overture, and that in case of a refusal they would make such a noise as to render the performance an impossibility. In case the hymn being played they would not attempt any further interference. Another and very improbable rumour was to the effect that a band of anti-Wagnerites scattered about the house would, at a given signal, break a number of glass balls containing a chemical which emits a most horrible odour, and that the audience would thus be driven from the theatre.

...

Paris (Midnight).

In spite of the announcements that the première was postponed, a very large crowd gathered round the precincts of the Opéra before the hour for opening the doors, as a rumor had got abroad that the managers would substitute "Lohengrin" for "Robert le Diable" at the last moment. No such subterfuge was resorted to, be it said, to the credit of MM. Ritt and Gailhard, but, nevertheless, the crowd of sightseers went on increasing as it grew later. The police authorities were evidently well prepared for all emergencies, for the summer of constables on the Place de l'Opéra quickly grew out of all proportion to the assemblage, until at last the wide expanse was black with representatives of law and order, who would not even allow members of the audience to take an airing on the front steps of the building during the entr'actes. This terrific display of armed force, being in no way necessary to-night, was evidently made with a view to discourage any possible ebullition of feeling on the part of the mob on the real first night of "Lohengrin," whenever that may be: for although it is announced for Monday, there are already rumors afloat that the performance will be again delayed on the pretext that M. Grévy's funeral is to take place that day. It is even said that the first public performance will not take place before Friday next, while very rabid anti-Wagnerites, encouraged by today's events, boldly predict the it will never take place at all.

... [Col. 5c/6a]

The latest information I have gathered at the Opéra to-night is to the effect that in spite of the advertisements "Lohengrin" will not be given on Monday, the reason assigned being the funeral of M. Grévy, it having decided that the ceremony is to be at the public expense. It is declared by the officials of the theatre that Wagner’s opera will certainly produced on Wednesday next. M. Grevy's funeral is an obvious pretext, for the Opéra House will not be closed on Monday, and it is difficult to understand why the work which will be performed that night is better adapted to the occasion than "Lohengrin.” These excuses give colour to a report which I have heard from a good source that M. Constans does not wish Wagner's opera to be brought out until he returns to Paris. If, meanwhile, the agitation is allowed to increase, it is quite on the cards that "Lohengrin" will not appear at the Paris Opéra yet awhile. At the moment of writing there is still a crowd on the Place, but it consists chiefly of boys, and there is a numerous contingent of police. Voilà tout!

16 September 1891, Wednesday

Lohengrin finally opened in Paris on Wednesday, 16 September 1891, without disturbance and to great acclaim.

Some background information about the opera is in this Pall Mall Gazette article, which was published 25 May 1891. Focused on the tenor Ernest Van Dyck's performances at Covent Garden, it ends with information (from the standpoint of May), about his upcoming performances in Wagner:

Musical Notes.

M. VAN DYCK AND "LOHENGRIN" IN PARIS.

...

M. Van Dyck leaves England on the 18th June, and commences rehearsing "Parsifal" at Bayreuth a week later. The last performance of "Parsifal" takes place on the 18th of August, and on the 22nd of the month M. Van Dyck commences to rehearse "Lohengrin" at Paris, where he will play it with Mdme. Rose Caron and Mdme. Fierens. He will remain in the French capital until the first week in November, when he leaves to fulfil his Vienna engagements.

[ **** ]

The Belgian tenor was the Lohengrin of the memorable first performance of that opera in Paris at the Eden Theatre three years ago under Lamoureux, when it achieved a great success in the theatre, but was, for political reasons, howled at by a mob outside, and only given once.

[ **** ]

The story of "Lohengrin" in Paris would, in fact, make a most interesting chapter in the history of the world's music. In spite of political feeling, however, the opera has compelled as much admiration in France as in England and Germany, and it was a foregone conclusion that, after having triumphed at Rouen, Bordeaux, Cahors, and Toulouse, Wagner's lyric masterpiece had its place marked in the répertoire of the Paris Grand Opéra M. Gailhard put out a feeler, as recorded in this paper, and gave one act at a benefit concert last year. It had been his intention to produce the whole opera in 1892, but unfortunately for the interests of the opera in Paris M. Gailhard has not obtained the "nomination" for next year. This was brought about by one of those faux pas in which French politics are not deficient, M. Bourgeois, the Minister of Public Instruction, as all Paris knows, joining in the opposition against the present excellent directors. The first thing promised by the new management to the Parisian public was "Lohengrin," which practically owed its introduction into Paris to the enterprise of M. Gailhard. As the new directors do not commence operations until the summer of next year, M. Gailhard thought it a noble and useful revenge to take the "cream" off the "novelty" by producing "Lohengrin" with all possible speed, and exhausting its freshness by three weekly performances from September 1 to December 31. Such is the story of "Lohengrin" in Paris!

[ **** ]

The proposed cast is as follows: Lohengrin, M. Van Dyck; Telramond, M. Renaud; Henry the Fowler, M. Delmas; the Herald, M. Douaillier; Elsa of Brabant, Mdme. Rose Caron; Ortrud, Mdme. Fierens, M. Lamoureux will conduct, and the opera will be given without "cuts." The French translation, a very poor one, but authorized by Wagner, to be used, is by M Nuitier.

The Daily Telegraph published a description of the evening on Thursday, 17 September 1891:

PARIS DAY BY DAY.

THE “PATRIOTS" AND "LOHENGRIN."

[BY SPECIAL WIRE.]

[FROM OUR OWN CORRESPONDENT.]

PARIS. WEDNESDAY NIGHT.

All the ultra-patriotic excitement caused on Friday last by the announcement that Wagner's "Lohengrin" was about to be produced at the National Opéra was revived to-day. The weather is favourable for such demonstrations as certain classes of Parisians like. We have glided from midsummer heat into an appropriate autumnal temperature, and of rain there is none. Consequently all the anti-Wagnerites were up and doing to-day, concocting their plans and counting their forces, two Boulangist Deputies and the Anarchist Morphy being the principal organisers of the cabal. On the Boulevards the newspaper hawkers made energetic efforts to get rid of their numbers of the ephemeral sheet published for the purpose of further discrediting the Bayreuth master, whose name is a byword among French Chauvinists. It is even said that some extra-frothy agitators went around the Opéra House lately in order to discover if the collection of busts of famous composers ornamenting the spacious building included one of the great musician who is the object of their antipathy. The Socialists, who backed General Boulanger of old, have in the meantime issued a remarkable print, in which they call the National Academy of Music the "Hof Opera Theater,” and announce the performance of "Lohengrin,” "by order of the Cabinet” and “under the high patronage of his Majesty the Emperor of Germany, King of Prussia," Wagner being described as "the author of one capitulation and insulter of conquered France. To provide for any eventualities the Opéra was well guarded during the day as well as to-night. In the afternoon some of the bills announcing the performance were defaced, but those placards posted around the Opéra were protected by the police. Towards the dinner-hour crowds began to collect on the Place de l'Opera and in tbe contiguous streets. Some excitement was caused about six o'clock by a crowd of young men and boys, who pursued a supposed Prussian up the Chaussée d'Antin, amid cries of "Down with Germany!" Tho presumable Teuton was enabled to escape from his tormentors by the intervention of two policemen, who arrested some of the youths for obstruction and disorderly conduct. Later in the evening fuel was added to the flame by the appearance on the Boulevard of a Bonaportist newspaper, which displayed the flaring headline of "France insulted by William the Second.” This was in allusion to the speech of the Kaiser at Erfurt denouncing the First Napoléon as a "Corsican parvenu.” The phrase has been taken up to-night, not only such Bonapartists as are about, but also by Republicans who are indignant at the insult offered to one of the greatest of their national heroes, whose memory they venorate, despite the faults of his successors. There was much warm discussion on the matter around the Opéra as the vast Lyric Theatre was being gradually filled in view of the first performance of "Lohengrin" in Paris.

Contrary all expectation, the performance of "Lohengrin" at the Grand Opéra up to the moment of writing has passed off without the faintest shadow of opposition. The characteristic, indeed, of the first act, apart from the excellence of the performance, has been the religious silence with which it has been received. The masterly introduction, played with extraordinary delicacy by the orchestra, was listened to with devout attention, but no sooner had the last chord died away than vociferous applause burst forth, which was not stilled until M. Lamoureux had bowed again and again. The customs of Bayreuth appeared to be observed, for none of the singers had any reception on their first appearance, but the exciting crescendo heralding the approach of Lohengrin was hailed with renewed applause. M. Van Dyck looked as splendid as though he had stepped out of one of his namesake’s portraits. His style is characterised by force rather than tenderness, but his large phrasing and distinct enunciation rendered his first address to Elsa most imposing. The chorus, too, was admirable, and the female response to Elsa’s appeal was deliciously rendered. M. Delmas’ voice is scarcely heavy enough for the part of the King, but concerted piece opened by him proved, nevertheless, quite effective. Madame Caron, the Elsa, came out magnificently in the passionate finale, and at the fall of the curtain on the first act all the singers were recalled no less than three times amidst intense enthusiasm.

So soon as this had died away, a rush was made by the audience to the foyer overlooking the Place de I'Opéra, to see whether the much-talked-of demonstration was being indulged in outside the house. A curious scene was witnessed. So far as the eye could see, the streets in front of the building were black with people, always excepting the raised platform in the middle of the Place itself, which was kept clear by strong force of police. A troop of mounted Municipal Guards was conspicuous just in front of the main entrance, and hundreds of constables walked about to keep the crowd "moving on." Every balcony and window affording a view of the Place was occupied. The huge gathering seemed good-natured enough. Up this time most of the people had evidently come to see what was going on rather than with the intention of creating a disturbance. A few attempts to sing the "Marseillaise" and the Russian Hymn only called forth a quiet smile from the police, who had evidently received instructions not to needlessly provoke any demonstration.

The performance went on without hitch on the stage, and without a protest in the auditorium. The mise-en-scène of the second act was admirably picturesque, and the gradual dawning day was managed with excellent effect. So gratified did the audience seem that they even applauded the duet between Telramund and Ortrude, long though it is, but it certainly was rendered with much dramatic power by Madame Fiérens and M. Renaud. The cantilena breathed by Elsa on her balcony was deliciously sung by Madame Caron, and in the finale the broad phrasing of M. Van Dyck told with remarkable effect. The length of this act did not in the least discourage the audience, who were indifferent to what was going on outside. The climax was reached in the first scene of the third act, for here not only did M. Van Dyck show himself at his very best, but Madame Caron proved to fine actress as well as an accomplished singer.

The mob hung round the Opéra House until after the end of the last act, but no serious disturbance took place. A large number of arrests were made, however, and it is calculated that some 700 roughs were taken into custody and questioned by the police officers before being released. The excitement on the Boulevards was, indeed, similar to that exhibited on several occasions during the meteoric career of General Boulanger. It is estimated that upwards of 12,000 persons assembled around the Opéra. The Prefect of Police and some of his assistants were watching events from the Café de la Paix, and there were rumours that some cavalry charges would be carried out. The bare announcement of this caused many the sightseers to leave the vicinity of the Opéra; but the agitators seemed determined to keep their ground, and to make much noise possible. Strong forces of police were posted on the Place de la Concorde to prevent any demonstration near the Strasburg Statue, and the German Embassy in the Rue de Lille was well guarded.

October 1891

6-8 October 1891, Tuesday-Thursday

Sometime around October 6 to 8, 1891, William Morris gives an address on the Pre-Raphaelites at the Municipal Art Gallery in Birmingham (Gibbs 101).

9 October 1891, Friday

The London Times reported the following: "A large audience assembled in St. James's-hall yesterday to hear a lecture by Mrs. Besant on Theosophy. The chair was taken by Mr. F. Burrows, who announced that questions and critical speeches by opponents would be permitted at the end of the lecture, and stated that so great was the extension of the theosophical propaganda in all parts of the civilized world that the present staff of the Theosophical Society could hardly cope with the work of the central office, and converts were coming in by the hundred. [new paragraph] Mrs. Besant, who wore the mystic ring formerly carried by Mme. Blavatsky, or one of similar form, then began her lecture. At the end of this 19th century, she said, there was coming, and there had come, a great conflict between materialism and religion in some form or another. There were two kinds of materialism. There was that of the scientific man, who did his best, within the limits of his powers, to advance knowledge; there was that materialism which consisted merely in a desire for enjoyment and material gain. With the second theosophy did not concern itself, for that kind of materialism, dealing only with the lower nature of man, would never rule the world. ... Thought, which was visible on the mental plane to the few who had the rare power of objectivation, could be traced in the intervening planes between the physical and the mental. Thinking created thought-forms, which took substantial form, remaining with the thinker during life, and, after death, these thought-forms were densified on the mental plane and reincarnation ensued. The power of seeing these thought-forms was not rare, especially in America, and was practically proved by mesmerism and hypnotism, which were very dangerous. Every individual in making his own thought-forms moulded his future being. This was the law of Karma, cause and effect working themselves out. As men sowed, so surely would they reap, and this had once been the doctrine of the Church, which by relinquishing it had lost much moralizing power. [new paragraph] Then came questions from the audience. A person desired to know how absence of all recollection of a past state could be reconciled with the great doctrine. The answer was that brain-memory was part of the transient, and that it was possible to attain to a state of remembrance of a past state. Another questioner asked for evidence of reincarnation; he was referred to intellectual and moral differences between members of the same family and to the existence of infant prodigies. The origin of evil was attributed to the persistence of the beast in the human plane. Another was told that the period of reincarnation varied and that there might be some option as to the body to be occupied, subject to the requirements of the Karmic law. Another learned that men might be reincarnated as women, or vice versa, but to an added question whether sex wold be optional, he received no definite assurance. After the questions came oponents, one of whoom remarked that the ignorant navigator knew from experience that his rules brought him to port, while the Theosophist knew nothing of hte kind, and another, who seemed to be well known as Number 5 and a Christian student of Theosophy, observed that it was a mistake to make the whole argument hang round Karma and reincarnation, which were merely metaphysical delusions invented by Oriental priests to explain what they could not understand. This speaker was applauded heartily." ("Mrs. Besant on Theosophy and Occultism." The Times, Saturday, Oct 10, 1891; pg. 6; Issue 33452; col E)

31 October 1891, Saturday

Halloween.

November 1891

5 November 1891, Thursday

Guy Fawkes Day

24 November 1891, Tuesday

C. H. H. Parry writes Arnold Dolmetsch, finalizing plans for a concert in Oxford, which took place either on the 24th or very soon after. Parry sent a "bus" to pick up the Dolmetsches and their instruments. They had lunch at Sir John Stainer's and then gave the concert at the Sheldonian, in Oxford, providing illustrations for one of Parry's lectures. The program was "similar to those of concerts given earlier in the year with the interesting addition of a composition by King Henry VIII, If Love now Reigned from a MS at the British Museum which ahd recently been published by the Plainsong and Mediaeval Music Society" (Campbell 39).

December 1891

Sometime in December 1891, Herbert Horne and A. H. Mackmurdo shared a studio at 20 Fitzroy Street (Campbell 41).

7 December 1891, Monday

Annie Horniman was initiated into the Inner Order of the Golden Dawn (Gilbert 86 21). Horniman often spent her winters in Italy, so it is likely that she left England shortly after 7 December 1891 and in this case may not have returned until May (though we could be more sure if we could see the list of sign-ins in the Vault.

19 December 1891, Saturday

Arnold Dolmetsch's first lecture/concert at 20 Fitzroy Street, Herbert Horne's and A. H. Mackmurdo's studio.

25 December 1891, Friday

Christmas Day

26 December 1891, Saturday

Boxing Day

End of 1891

From the end of 1891 to the beginning of 1893, Arnold Dolmetsch used the studio at 20 Fitzroy, London, shared by Herbert Horne and A. H. Mackmurdo for concerts.

Works Cited

• [1891-02-28 Yorkshire Herald] "The Duke of Clarence with the Horderness Hounds." Yorkshire Herald 28 February 1891, Saturday: 10 [of 16], Col. 4a [of 7]. British Newspaper Archive https://www.britishnewspaperarchive.co.uk/viewer/bl/0000500/18910228/060/0010 (accessed July 2019).
• Aronson, Rudolph. Theatrical and Musical Memoirs. New York: McBride, Nast, 1913. Google Books, retrieved 24 February 2010.
• Campbell, Margaret.
• Gibbs, Anthony Matthew. A Bernard Shaw Chronology. Author Chronologies, Ed. Norman Page. Houndmills, Basingstoke, Hampshire: Palgrave, 2001.