CHAPTER VII.

ART.

=Architecture.=--[By J. A. COSSINS.]--Although anciently possessing a Church, a Priory and a Castle, Birmingham now retains hardly a vestige of the work of the builders of the middle ages. When the old Parish Church of St. Martin was pulled down in 1872 to make way for its very fine successor, the indications of its history, hidden for nearly two centuries by a casing of brickwork, were revealed: traces were found of the work of the 12th and 13th centuries, and considerable remains of what must have been a fine building, mainly of the 14th century. The altar tombs, with effigies of the Lords de Birmingham, were carefully preserved and refixed in the new Church, and are well worthy of examination.[40]

A few houses of the framed timber and plaster construction common in the 17th century, remain in Digbeth, and one of a very interesting kind was this year removed from the corner of Bull Street. The earliest in date is the Old Crown House, which is probably of the first half of the 16th century. This was a very interesting specimen of the more massively constructed, but simpler kind, with gables at the extremities of the front, and a central porch of two stories; but the whole of the ground floor was reconstructed about twenty years ago, and it has recently been further disfigured by painting and graining. At Camp Hill there is a very fine half-timbered house in good preservation. This has the date 1601 cut on the porch. Most of the houses burnt by Prince Rupert, when he sacked the town in 1643, were probably of the half-timbered kind, since several still remain.

ST. PHILIP’S CHURCH.--From this time there is nothing to mark the architectural progress of the town until the important event of the making by Act of Parliament, passed in 1711, of a new parish of St. Philip in Birmingham. This was immediately followed by the building of the Church of St. Philip, a remarkably good example of the School of English Renaissance founded by Wren and continued by his pupils, of whom the architect of this Church, Thomas Archer, was one of the most successful. The first stone of the Church was laid in 1711, and it was consecrated in 1715. It is a large building, the area divided into nave and aisles by square, fluted pillars, carrying semicircular arches, and supporting galleries which extend over the aisles. With the exception of the steeple, the whole has been restored, and within the last year the chancel, which was but a shallow recess, has been lengthened by one bay. The fine east window by Mr. Burne Jones, a native of Birmingham, is considered to be one of his most successful works.

The building of the Church was soon followed by the erection of rows of houses of an uniform character on the north and south sides of the churchyard. These have nearly all disappeared: they were built of brick in the good domestic style of the early part of the last century, with picturesque doorways, with curved and broken pediments, balustraded parapets, and heavy white sashes with broad moulded frames. The interiors had fine oak staircases with turned and twisted balusters, and were good examples of the cheery home-like dwellings of their time. Other buildings, forming “The Old Square,” of a somewhat similar character, have lately been pulled down to make way for a new street, and very little that is even as old as the “Georges” will be left us after a very short time.

THE TOWN HALL.--The building of the Town Hall, begun in 1832, was the first great local architectural event of the present century. It was designed by Messrs. Hansom & Welch, architects, of Liverpool, in professed imitation of the Corinthian Temple of Jupiter Stator at Rome, but it falls far below its prototype in the scale and richness of the “order.” To properly adapt a temple of the Romans to the various wants and requirements of a Town Hall for the people of Birmingham required considerable inventive skill, and to obtain the required height the temple was mounted on a lofty rusticated basement. The grand flights of steps to the colonnades, which add so much dignity to the Greek and Roman temples, are here accessible only by means of a ladder. It is nevertheless a noble building, of Anglesey marble, though what we admire in the exterior is due to the ancient architect, and not to the adapters. The interior is well suited to its many and varied uses, but the entrances are narrow and undignified, and the lobbies insufficient.

THE FREE GRAMMAR SCHOOL, or King Edward’s School, was founded on the property belonging to the Gild of the Holy Cross, taken possession of by Henry VIII., and restored to the town by Edward VI. in the shape of an educational endowment. The old hall used by the Gild stood on the site of the present school, and it is probable that it was used as a school until new buildings were erected in 1707. Of that edifice drawings are in existence, which show it to have been of two storeys, and forming three sides of a quadrangle, with a tower over the central and chief entrance, terminated by a cupola. The buildings were of brick, with stone dressings; the windows square-headed, of the heavy-sashed description used in the domestic architecture of the time. A high balustraded parapet hid the roofs from sight.

The School was pulled down in 1832, and the present noble building erected on its site. The style is that of the latter half of the fifteenth century, commonly called Tudor, and although erected so soon after the revival of Gothic architecture, it has scarcely been excelled for boldness and propriety of design or for purity of detail. It forms on plan a nearly equal-sided square. The chief front, facing New Street, has slightly projecting wings, in which are fine Oriel windows, of two stories, the intermediate length being divided by boldly projecting buttresses, terminated by crocketed pinnacles, into nine bays of two stories in height. The entrance is in the middle bay, through a handsome moulded and carved doorway, to a vestibule finely groined in stone. The upper floor of the central part of the front is now occupied by the Girls’ School, and is lighted by grand traceried and transomed windows of three lights. The south front, looking towards the railway station, contains the Boys’ School, and is of a simpler, but quite as good a design as the main elevation. The two principal schoolrooms are very fine, with open timber roofs. The architect was Sir Charles Barry, and a striking similarity between the details of this building and of those of the Houses of Parliament of about this time may be observed.

CHRIST CHURCH.--Christ Church, consecrated in 1813, stands at the junction of New Street with Ann Street, and occupies the most prominent and the best position in the town, but is quite unworthy of its site. It is in the quasi-Classic style prevailing in the time of George III., with a lofty but ill-proportioned tower and spire, and a western portico of the Roman Doric order.

ST. PETER’S.--Several of the churches succeeding the last were built by the well known Thomas Rickman; among these were St. Peter’s in Dale End, a heavy, uninteresting building, with a Grecian Doric portico, surmounted by a “Temple-of-the-Winds”-like structure as a steeple.

ST. THOMAS’S.--St. Thomas’s, at Holloway Head, another of Rickman’s, is designed in the same spirit, but with details of the Ionic order. Some of the earliest efforts of the revival of Gothic architecture were made here by Rickman, the most important of which,

ST. GEORGE’S, a large perpendicular structure, is for its time fairly good, but the details are thin and wiry.

A number of cheap churches followed in the first half of the present century, none of them deserving of notice; but some better things were being done.

ST. CHAD’S.--The Roman Catholic Cathedral Church of St. Chad, in Bath Street, by the elder Pugin, though in some parts bare and mean from want of funds, shews the genius of the architect in its plan, its imposing interior, and its fine western front.

Of the churches of quite modern date, we have first the rebuilt Mother Church of St. Martin before referred to. The tower was re-cased and the spire rebuilt in 1854-5, and in 1873-5 the present building was erected by Mr. J. A. Chatwin, architect, of Birmingham, and completed in 1875, at a cost of £28,256. The style is Gothic, as it had become perfected in the middle of the 14th century, and it has been used by the architect with great skill and judgment. The interior is exceedingly fine, and the exterior not unworthy of it. Preserved in the north and south chapels at the east end, are the fine sepulchral monuments of the Lords de Birmingham. It has excellent stained glass windows by Wm. Morris, Hardman, and others.

ST. AUGUSTINE’S and the LEA MEMORIAL CHURCH, both at Edgbaston, are also fine churches by the same architect. The noble spire of the former is a conspicuous and beautiful object from a large extent of country.

ASTON CHURCH has lately been rebuilt by Mr. Chatwin, with the exception of the tower and spire, at a cost of £15,000. The church contains many monuments of the Erdingtons, Ardens, Holts, Devereux, and other Warwickshire families. The very beautiful tower and spire are of the 15th century.

HANDSWORTH PARISH CHURCH has also been rebuilt by the same architect, with the exception of the tower and the “Watt Chapel.” Besides the monument by Chantry to James Watt, there are interesting monuments to Boulton, Murdock, and other local celebrities.

THE CHURCH OF ST. ALBAN, in Conybere Street, lately erected by Mr. Hansom, of London, in the style of the 13th century, has an extremely fine interior, groined throughout with stone. The tower and spire are unfinished.

Another good church by the same architect, is that of ST. CATHERINE (R. C.) in the Horse Fair, also with unfinished tower and spire.

THE DISSENTING CONGREGATIONS have some noteworthy buildings. Amongst those of the Unitarians, the Church of the Messiah, in Broad Street, by Mr. Bateman, and the “Old Meeting Trust” Church, in the Bristol Road, lately erected by Mr. J. A. Cossins, are the most important. The Baptists have two handsome churches, the Church of the Redeemer, in Hagley Road, by Cubitt, of London, and Wycliffe Church, by the late Mr. Cranston, in Bristol Street. The Catholic Apostolic Church of the Irvingites, in the “Sand Pits,” is a bold building of brick and terra cotta, with a noble nave, by Mr. Chatwin.

THE MUNICIPAL BUILDINGS of the town, with the exception of the Town Hall, are nearly all of quite recent construction. First among these is the Council House in Colmore Row, near the top of New Street. This noble and commodious building was opened in 1878, and comprises a grand suite of reception rooms, a fine Council Chamber, semicircular on plan, offices for the Mayor, Town Clerk, Surveyor, Treasurer, Chief of Police and other officers, and a large number of committee rooms. The approaches, staircases and corridors are all handsome and spacious. The fronts are constructed of Derbyshire stone in the Italian style, the principal elevation towards Colmore Row consisting of an imposing centre, with _porte-cocher_, and wings. The tympanums of the pediments are filled with groups of sculpture, and the large arch over the portico contains some fine work in Mosaic by Salviati. The architect was Mr. Yeoville Thomason.

ART GALLERY.--Adjoining the Council House, is the Art Gallery, by the same architect, which forms with it one block of buildings surrounding a quadrangle. This was opened last year, and is a series of galleries probably not excelled by any in England. The principal feature of the interior is a vast domed circular room, from which the other rooms are entered.

THE PAROCHIAL OFFICES, in Edmund and Newhall Streets, by Mr. Ward, form a large and handsome block, containing the offices of the Poor Law Guardians, the Superintendent Registrar of Births, Deaths and Marriages, &c.

THE GALLERIES OF THE SOCIETY OF ARTISTS, New Street.--The principal room is circular, 52 feet in diameter, and there are several other rooms, which, with the fine Corinthian Portico, were completed in 1829. They have since been much improved and enlarged, and now form a very excellent set of galleries.

To describe properly the Educational Buildings of the town would require a volume; a few only of the principal ones can be noticed. The Grammar School, the oldest of them, has already been referred to. The Mason College, founded by the late Sir Josiah Mason, is a fine building of brick and stone in Edmund street, the first stone of which was laid in 1875, and the building opened in October, 1880. This institution comprises large and complete Laboratories for Chemistry, Physics, Physiology, Botany, and Engineering; four Lecture Theatres, and a very great number of class and other rooms of all sizes, suited to their varied requirements, the whole covering an area of about 2,500 square yards. The style of Architecture is that of the 13th century. The principal front in Edmund Street, of about 150 feet in length, is symmetrically arranged with a lofty centre and gabled side wings. The principal entrance in the middle of the front is a very large and deeply recessed moulded and shafted archway opening to a fine groined vestibule, the cross passages leading from which are also groined in stone. Over the entrance is a lofty double oriel beneath a gable, the terminal of which is a mermaid (the crest of Sir Josiah Mason), 122 feet from the pavement. The cost was about £60,000, including the elaborate and costly fittings of the laboratories. The whole of the buildings and fittings were designed by Mr. Jethro A. Cossins, Architect, of Birmingham.

THE BIRMINGHAM AND MIDLAND INSTITUTE and the FREE LIBRARIES form one united group. The Institute buildings, by Mr. Edward Barry, were opened in 1856 by the Prince Consort. The completion of the design to receive the Reference and Lending Libraries was carried out by Messrs. Martin and Chamberlain; the whole has since been largely added to, the Lending and Reference Libraries have been rebuilt, and a new wing erected in Paradise Street, by the same architects.

THE SCHOOL OF ART, also by Martin & Chamberlain, in Edmund Street, is in the very original modern Gothic style, almost created by the late J. H. Chamberlain, and practised with such great success by the firm to which he belonged. The School is perhaps the finest of their works, and possesses a rare grace and refinement in every detail. The arrangements for the convenience of masters and students are also excellent.

BOARD SCHOOLS.--Since the passing of the Elementary Education Act, in 1870, about thirty large Board Schools have been erected in the town, most of them by Messrs. Martin and Chamberlain, they are nearly all of great excellence and are ornaments to the town.

THE EXCHANGE, in Stephenson Place, was built in 1865, by Mr. Edward Holmes, architect, of Birmingham, and has since been considerably enlarged. It has a large exchange room on the ground floor, over a part of which is a room for assemblies. The building also contains a Restaurant, shops on the ground floor, and a large number of offices. The fronts, towards Stephenson Place and New Street, in a Gothic style, are lofty and imposing.

THE “ARCADES” are a feature of modern Birmingham. The Great Western Arcade was built in 1876, at a cost of £70,000. Mr. W. H. Ward, of Birmingham, was the architect. The avenue, four hundred feet long, has eighty-four shops on two stories, the upper tier opening to a balcony. The length is divided equally by a circular space covered by a lofty dome. The glazed roof is carried by a series of semicircular arches, the perspective effect of which is very striking.

In an almost straight line with the last, and only divided from it by the width of a street, is the North Western Arcade, by Mr. W. Jenkins. In its general features it is much like the first, but of greater width, and the shops are larger.

It may be added that these arcades have been financially a great success, and are much used as a convenient and pleasant thoroughfare from the Great Western Station to Corporation Street.

There are several other arcades in the town, some of which are worthy of a visit.

Until the passing of the Street Improvement Act of 1876, Birmingham had but very few streets that were worthy of the size and importance of the town. New Street is, however, a fine and picturesque thoroughfare, the slight rise and easy curve contributing very much to the general effect.

CORPORATION STREET, leading from New Street, opposite the entrance to the Railway Station, to the Aston Road, has been but lately formed; it is not yet entirely finished, but is already an unusually fine street. Many of the buildings are of great height and costliness. It promises to be one of the noblest thoroughfares to be found in any of our great towns.

ASTON HALL.--Sir Thomas Holte, whose family had long been resident at Duddeston, in the parish of Aston, began to build this magnificent house in 1618, and in 1631 he came to reside in it. In 1864 it was purchased by the Corporation of Birmingham, together with forty-three acres of the once extensive park, immediately surrounding it, and in the same year it was thrown open to the public. Dugdale, who wrote whilst the Hall was fresh from the hands of the builders, calls it “a noble fabric, which for beauty and state much exceedeth any in these parts,” and the same may yet be said of it. It is well situated on high ground at a distance of about two miles from Stephenson Place, and retains about it some of the grand old chestnut and other trees for which the park was famous. Most of the outbuildings, including the stables, houses of the Chief Falconer and other officers, and the chief entrance lodge also remain, and add much to the interest and general effect. The principal front, approached by what remains of the Chestnut Tree Avenue, is symmetrically arranged, and consists of a central block with wings of considerable projection, enclosing a court of which one side is open to the East. The chief entrance door in the middle of the front is under a square tower furnished with a lofty ogee curved roof, each of the wings has also a door from the court, under a similar tower. The towers, the curved gables, and the lofty bay windows which terminate the wings, combine in producing an extremely picturesque and imposing effect. The windows are all square headed and mullioned, the walling is of thin bricks, with windows, doors, and other important details of stone.

The entrance hall is fine and lofty, and the principal staircase with massive square newels and scroll work balustrade is extremely rich in effect. The great drawing room, the dining room, Lady Holte’s room, and the great gallery, 136 feet long, are all grand apartments with elaborate ceilings in intricate geometrical patterns, rich cornices, and magnificent chimney pieces. Besides those mentioned, there are a great number of rooms of less importance. Many of the principal apartments contain collections of great interest.

=Painting.=--[By E. R. TAYLOR.]--For the opening of the Corporation Art Gallery in November, 1885, the large room was filled with a loan collection of pictures by Mr. G. F. Watts, R.A., and Mr. E. Burne Jones, A.R.A. These works, together with others of a decorative character, belonging to the town, have enabled the Birmingham public to view, for the first time, the highest phases of English Art.

The history of Art proves that, when the nobler walks of Painting and Sculpture reach a high standard of execution, decorative character, and poetic insight, Art, as applied to manufactures, makes corresponding progress. Decorative and poetic art in painting as seen in the works of Leighton, Watts, Burne Jones, Rossetti, Mason, Richmond, Albert Moore, Walter Crane, and others is, therefore, of special interest to a manufacturing town like Birmingham. So long as these men exhibit the possibilities of decorative art, their work must be fraught with good to those engaged in applying similar principles to art manufactures, and (what is of equal importance) must educate those who are to be users of art productions.

BIRMINGHAM ARTISTS.--The names of at least two Birmingham men will ever hold a prominent place in the annals of English Art,--David Cox and E. Burne Jones; and as, from his residence here and his being a member of the Royal Society of Artists in this town, George Mason may also be fairly considered a local man, Birmingham may be said to have produced three great Masters--each perhaps the highest in his particular branch--in the three most characteristic phases and developments of English Art. Of this the town may be justly proud.

DAVID COX.--David Cox was born in Birmingham in 1783. His birth-place was near to “The Old Crown,” a noted ancient timbered house in Deritend. He received his early art instruction from Joseph Barber, who conducted an academy close to the site of the present Municipal School of Art. In the mastership of that academy, Joseph Barber was succeeded by his son, J. Vincent Barber. A few doors away, Samuel Lines carried on a drawing school. These were the only means of art instruction in the town until the formation of the Society of Arts, whose work is now continued in the above-mentioned Municipal School. Cox was apprenticed for eighteen months to a miniature painter on lockets and snuff boxes. Owing to the bankruptcy of his master, his engagement was terminated at the end of that period. He afterwards became scene painter at the Birmingham Theatre, then under the management of the elder Macready. John Varley, the famous water-colour painter, and Müller also gave him a few lessons in water-colours and oils, respectively. Thus Cox received what was for his day a fairly good education in art, if in this we include his initiation first into miniature painting and then into scene painting.

In 1813 he was elected a member of the Society of Painters in Water Colours. During his whole career, he seems to have possessed a strong affection for his native place; and, as soon as he was freed from the worries and anxieties of teaching, he came to Greenfield House, Harborne, where he spent the last eighteen years of his life, working at his beloved art, and paying visits, from time to time, to favourite Bettws-y-Coed. He died in 1859.

Cox was contemporary with Constable and Crowe. All three received but slight recognition of their merits while living; but since death their work has been highly praised and much sought after. Yet these men--and Cox particularly--were the first to carry out that direct study from nature which has become the characteristic of the English school, as distinct from the studio compositions and artificialities which flourished from the time of Claude to their own. There is every probability that the love for English scenery--scenery so full of colour and character; so varied and so changeful--has been greatly stimulated amongst the people by the fact that these artists have portrayed its beauties in their paintings, and have thus instilled a perception of, and love for, these beauties in nature.

Of the works of Cox, the Art Gallery contains thirty-three oil paintings (the Nettlefold Bequest), and two or three water-colours. This is perhaps the finest collection of his oil colours extant, and among it may be specially mentioned: “Sheep Shearing” (27) and “Driving Cattle” (28), both full in colour, and simple and direct in execution; while “Changing Pasture” (9) may be cited as one of his best works. In the picture last mentioned, the sunset sky, the purplish blue distance, and the truth of the light in the middle distance and foreground should receive particular attention. “In the Hayfield” (26) is more in his water-colour manner; as is also his grand “Rhyl Sands” (10), in which the effect of the sea breeze is felt all over the picture. “Bettws Church” (11), “Tending Sheep, Bettws-y-Coed” (12), and “Evening” (24) are excellent examples of that quiet and unaffected, yet highly poetic treatment by which he ennobled the simplest materials; while “The Shrimpers” (31) is perhaps the best of his pictures of a sandy shore. “The Missing Lamb” (2) is interesting, in that it shows his method of commencing work. “Asking the Way” (40) is a fine example of his water-colours. In the midst of these beautiful specimens of Cox’s labour is placed “The Late David Cox” (17), by Sir John Watson Gordon--one of the most successful portraits of a great artist by a brother artist. Alike by its success and the evident sympathy between painter and subject, the work recalls the portrait of Hook by Sir J. E. Millais.

Whilst a careful study of Cox’s life and pictures, of his earnest and loving methods of work, and of the glorious harvest therefrom resulting, has had a highly beneficial effect on the world of Art, there is no doubt that from the sudden rise in value of his pictures, and the consequent magnifying of any scrap of paper his hand had touched, as well as from the fact that the work of his latest and broadest style was most accessible, a certain servile imitation of his mannerisms, supplanted the earnest and loving study of nature, which characterised Cox to the end. These mannerisms, which by long study he had earned the right to use, and which in his work were always full of meaning, too often became in the productions of his imitators meaningless and pretentious. Time, however, is curing this evil; and the good alone will remain. As an example of the enormous increase in the monetary value of his pictures, it may be stated that “Lancaster sands,” for which Cox received £10, was sold at the Gillott sale for 3,000 guineas.

GEORGE MASON.--The work of George Mason, A.R.A. (born 1818; died 1872), marks a further development of English Art. He, like Frederick Walker, opened up still deeper poetic sympathies for us. During the varied phases of humanity, its toil and its rest, were no longer treated as mere accessories to the landscape, but as a large and essential part of it; not inserted to give a point, or story, or bit of colour to the picture, but intended from the beginning to essentially form a part of its growth as a work of art. And even when there is no human incident poetically treated, as in his “Evening Hymn,” or “Harvest Moon,” there is something in his schemes of colour or other treatment of his landscape which occurs to awaken a human interest never reached even by Cox or Turner. This school has had the strongest and widest influence on the English Art of to-day. It is greatly to be regretted that the Birmingham Art Gallery contains no examples of the works of George Mason.

E. BURNE JONES.--The third phase is that represented by Mr. E. Burne Jones and Mr. Watts. This being the most recent development, its force cannot yet be measured; but there is little doubt that it will be the greatest of the three. For six months after the opening of the gallery, one end of the large room aforesaid was filled with a magnificent collection of the works of Mr. Burne Jones; and at a recent exhibition of the Birmingham Society of Artists, was shewn his noblest work, “The Six Days of Creation.”

The sale of the Graham collection has dispersed most of these. Perhaps no previous sale had evoked so much interest,--not even that of the Gillott collection. The enthusiasm then evinced, as well as the large prices obtained, shew that the work of the artist is already receiving just recognition. In addition to “The Six Days of Creation,” there were (_e.g._) exhibited at Birmingham “Le Chant d’Amour,” “Venus’s Mirror,” “The Beguiling of Merlin,” “Love in the Ruins,” “Love Disguised as Reason,” but as these are no longer here, it is unnecessary now to describe them. “The Feast of Peleus” has been lent by its fortunate possessor, Mr. Alderman Kenrick, M.P. This picture--at least from an artist’s point of view--is one of the painter’s most beautiful works. At the marriage of Peleus and Thetis, the Goddess of Discord throws down a golden apple, to be claimed by the most beautiful. Juno, Venus, and Minerva rise eagerly to claim it. In the foreground are three fates. The composition, drawing, scheme of colour, and marvellous realization even of the minutest details of form and colour render this work one of exceptionally high character, and, taken as a whole, the most enjoyable of all the artist’s productions.

Attention may also be here directed to the fact that there have been placed in St. Martin’s and St. Philip’s Churches, Birmingham, two lovely stained glass windows, both designed by Mr. Burne Jones. The artist’s practice in stained glass, tempera, and mosaic has, no doubt, greatly influenced his style of composition and colour.

MUNICIPAL GALLERY.--Pictures by the following Birmingham artists, named alphabetically, belong to the Corporation:--

Baker, Alfred--(an artist of great promise, who died when young)--“Harvest Time.”

Baker, S. H.--“Nant Gwylt.”

Breakspeare, W. A.--“The Daughter of the House.”

Burt, C. T.--“The Edge Hills, from Burton Dassett.”

Feeney, P. M.--“Llyn Idwal.”

Hall, W.--(David Cox’s most intimate friend and biographer)--“A Peep out of Church, Bettws-y-Coed.” This picture is interesting as depicting a scene in the art-home of Cox.

Henshaw, F. H.--Three fine landscapes, of which the best is “A Distant View of Kenilworth Castle.”

Langley, Walter, R.I.--“Memories”--an excellent example of this artist, who has already by his work done much honour to Birmingham. It shows his deep sympathy with the humble life of English fisher folk, and is admirable in execution, lighting, and colour.

Lines, Samuel--“Llyn Idwal.”

Munns, H. T.--Portraits.

Phillips T., R.A.--Portrait of Sir John Franklin.

Pratt, Jonathan--Portraits.

Roden, W. T.--Portraits.

Taylor, Edward R.--“The Birmingham Reference Library, Destroyed by Fire, January, 1879.”

Walton, Elijah--“Monte Tofana in Tyrol.”

Wyatt, H.--“Juliet.”

One other name should be included in any list of Birmingham artists. It is that of Mr. W. J. Wainwright, A.R.W.S., who has accepted a commission for the Art Gallery.

In the circular picture gallery will be found the admirable series of historical works by Sir James D. Sinton, P.R.I., representing scenes in the life of a soldier in the sixteenth century.

Among the portraits of special local interest are those by Mr. W. T. Roden, of Samuel Lines, the Birmingham artist; of Peter Hollins, the Birmingham sculptor; of his Eminence Cardinal Newman; and of John Henry Chamberlain, who has been justly described as the “second founder of the Birmingham and Midland Institute,” and who, until his lamented death, was Chairman of the School of Art. Those of John Bright, by Frank Holt, R.A.; of George Dawson, by H. T. Munns; of William Murdock, by John Graham; of Arthur Ryland, the founder of the Birmingham and Midland Institute, and sometime Mayor of the town, by Sir J. W. Gordon; and of Sir John Franklin, by T. Phillips, R.A., also deserve note in this connexion.

WATTS AND PORTRAITS.--The large room of the Art Gallery is nearly filled with a collection of Mr. Watt’s pictures, kindly lent by the artist. Much interest now attaches to these works, as Mr. Watts has just offered them, with others, to the nation. We can somewhat measure this noble gift when we remember that the collection contains portraits of some of our ablest and most famous men, as well as large and important figure pictures, the work of a lifetime, and that these are the best works of an artist of world-wide reputation. The English School of portraiture has attained a high standard in the works of such artists as Millais, Holl, Ouless, and Richmond; but the portraits by Watts stand apart from even these in their nobility of treatment, scheme of colour, and rendering of the man, his very life and soul. The portraits of Mr. Burne Jones, the Marquis of Salisbury, and Lady Garvagh, recall to mind the best works of Reynolds and Gainsborough. Again, Dr. Joachim, a lamp-light study--is quite Rembrandt like. Those of Cardinal Manning, Carlyle, Mr. Browning, Mrs. Manners, in blue against a blue background; John Stuart Mill, Lord Lawrence, Lord Sherbrook and Philip Calderon, R.A., also merit careful observation. Mr. Watts’s subject pictures are painted with the noblest motives, and the methods of execution and schemes of colour are all made subordinate to the idea. The subject “Love and Death,” was suggested by the struggle of near friends to resist a fatal disease in a young man whom the artist was painting; and here the power of art, imagination, colour, conception, drawing of drapery and figure, all unite, not for technical display, but to realize in an intense degree the motive of the picture. The same may be said of “Mammon;” dedicated to his worshippers. In the previous picture the colour is blue-grey; in this it is gold and scarlet. “The Meeting of Jacob and Esau” is a striking instance of the successful definition of opposite characters. “Orpheus and Eurydice” is descriptive of the moment when Orpheus looks back, and when, by reason of this act of impatience, Eurydice sinks back to Hades. “Fata Morgana,” turning on her followers through life, is also a splendid work.

This room further contains the large painting by Professor W. B. Richmond, M.A., entitled “An Audience in Athens during a Representation of the Agamemnon.” This, too, is a most valuable decorative work of Art in the attitudes, costumes and expressions of the audience, and in the rendering in colour and tone of the clear sunlight of Greece. Other decorative works in the Art Gallery are Mr. Albert Moore’s “Dreamers,” lovely figures most delicately painted in a scheme of yellow orange, grey and green; “Sapphires,” blue and orange; and “Canaries,” yellow orange and grey, with a little green. On a screen will also be found a small but very fine collection of works in water-colour by Mr. Walter Langley, R.I., including “Amongst the Missing,” “Time moveth not,” and many well known works by this artist.

The town possesses one of the strongest examples of Sir Frederick Leighton, P.R.A. “A Condottiere” is quite Titianesque in its painting of flesh, armour, and drapery. One example by Mr. Alfred W. Hunt is also the property of the town. It is called “A Norwegian Midnight,” and therein are displayed colour, mystery, sense of space, and moving cloud forms. Two of the finest paintings by Mr. Henry Moore, A.R.A., are also included--“Summer Time, off Cornwall,” and “The Newhaven Packet.” Other works in the Gallery of more than ordinary interest are: “Intellect and Instinct,” by H. Stacey Marks, R.A.; “Detected Correspondence,” by John Opie, R.A.; “A Martyr of the 16th Century,” by W. Geets; “February Fill Dyke,” by B. W. Leader, A.R.A.; “Ready for Work,” by John S. Noble; “A North-West Gale,” by John Brett, A.R.A.; “Homeward,” by W. Napier Henry; and “The Poacher’s Widow,” by Breton Riviere, R.A.

It is a matter of real congratulation to Birmingham that her sons have taken a prominent place in the world of Art, and that, owing to an enlightened policy, the town now possesses a suitable gallery, wherein high-class works may be viewed by all. The works exhibited, whether purchased by the Committee or on loan, are generally of such a decorative character as to be of the greatest value to designers and other Art workmen. It is to be hoped that, stimulated by past example, as well as by present opportunities, the inhabitants will fully appreciate the importance of furthering that Art, which is at once a source of pleasure to the workers, and of illimitable enjoyment to the beholders.

=Sculpture.=--[By WHITWORTH WALLIS.]--The history of the birth and growth of sculpture, with no word for its decadence, death, and ultimate renaissance would alone be a subject difficult to compress into the space of a volume, but when there is to be added to that some account of the art in the time of the supremacy of its achievement, before it became tainted with decay, the task is vast indeed. Fortunately such a dissertation is not required in this place.

The art of sculpture is not restricted, as most people think, to the carving of mere marble and stone. In its strict meaning it is the art of _cutting_ any material whatsoever into any required shape; but the word is now generally accepted for the art of representing anything by form, no matter what the material may be, or what the method of its making; so that the word “sculpture” applies to Sculpture proper, and to castings in bronze, as well as to the carving of gems, ivories, and to modelling in wax and clay.

EGYPTIAN SCULPTURE.--In every part of the world, in modern as in ancient times, savage races have delighted to decorate their weapons with carving, and to make representations of men and animals, which they afterwards worshipped. But it was Egypt, that cradle-land of learning and of art, which seems to be the nation where first the rudeness of savage carving was brought under restraint and nurtured into Sculpture. What had previously been an amusement was changed by their priests into an art. But these very priests who first fostered the art were ultimately the means of stunting its growth and arresting its highest development. The reverence which long ages of worship caused the archaic statues to receive induced the priests, who were the representatives of learning and of wisdom, to make these old types symbolical of divine attributes, and it was considered sacrilegious to attempt to alter what had gradually come to be believed was the true likeness of the god. Thus religion, which was the kind foster-mother of the arts of sculpture and painting, came, later on, to be its most determined enemy.

Whilst in Egypt Sculpture was being strangled by Convention, all progress being arrested, and all originality starved out of it by the regulations which bound it to its archaic form, a new race of artists arose along the shores and amidst the islands of the Mediterranean. In Greece Art found a new and happy home. Greek Sculpture, based on Egyptian precedent, and influenced greatly in its growth by Phœnician thought, gradually freed itself from all the trammels of the past, and formed a school of Sculpture, the results of which have never been equalled in all the after ages of art production.

GREEK SCULPTURE.--It was left to the beauty-loving Greeks to perceive that Sculpture was of all others the art by which they could best express and best immortalise the most perfect of all Nature’s physical beauties. It was the Greeks who made Sculpture what it was, and with their school died out the highest development of the art.

The conquests of Alexander, and all that followed in their train--the treasures of the East unfolded, mighty monarchies founded, stately cities built--afforded opportunities for the spread of this art. Thus it became transplanted into strange lands, and was subjected to new influence and aspirations. After the Macedonian and Syrian wars the victorious Romans carried off with them the statues and other art objects from the conquered countries. Following in the train of their conquerors came the Greek artists themselves to Rome, but the art never became naturalised there, it soon lost all its ideality and became merely imitative in treatment. Under Antoninus it lost much of its grace and elegance, but the spirit of the Greek is mighty even in dying, and though it sank under Severus and his successors, its influence was still apparent until close upon the time of Constantine, when the great art of the ancients was entirely lost.

ITALIAN SCULPTURE.--Sculpture revived in Italy in the thirteenth century under Nicolo Pisano. All the remains of art which had escaped destruction from barbarian violence, religious fanaticism, and natural causes, were now carefully collected, and the sentiment of reverence and admiration for the antique gradually developed into that great revival which we designate “The Renaissance.” The wealthiest and most powerful Florentine families vied with each other in the encouragement of art in all its branches, and with the artists of the fifteenth and sixteenth centuries raised modern art to its loftiest pitch of splendour. Despite this fact it never attained the sublimity and tranquil grandeur of the antique. After the glorious epochs of Michael Angelo and Raphael a rapid decline set in. True feeling quickly disappeared, giving way to affected grace, extravagance, and excessive ornament. During the eighteenth century, Winckelmann was the first who influenced the revival of modern art, and opened the eyes of his contemporaries to the glories and elevated beauty of the arts of antiquity. Antonio Canova became the founder of the new period, his works being specially marked by pure simplicity and classical ideality, and by his side stands Thorwaldsen, whose artistic productions were as admirable as they were numerous.

ENGLISH SCULPTURE.--In England John Banks, who may be regarded as the father of English ideal sculpture, paved the way for his great successor John Flaxman, and the latter with his deep appreciation of severe simplicity and true form, his love and admiration for the Greek statues, brought into this country the classical spirit, and founded the schools of the nineteenth century. To judge by the progress which modern sculpture has made, and by the many noble works erected of late years, it is on a far safer road than during the end of the sixteenth century. In England it is not likely that there will ever be such a great school of sculpture as of the sister art of painting. The greatest hope for ideal or poetic sculpture rests with the people themselves, who must be able to appreciate and love the beautiful, and this elevation of the taste of the public can only be accomplished by artists refusing to pander to a low ideal, but fearlessly and jealously devoting themselves to the execution of those works which will touch the tenderest feelings and arouse the noblest thoughts.

LOCAL SCULPTURE.--Birmingham, though possessing a fair number of sculptural monuments, can boast unfortunately but of few which show real artistic merit. In the Entrance Hall of the Free Libraries, Ratcliff Place, stands Mr. Foley’s admirable statue of Prince Albert, which is considered to be one of his finest works. The Prince is attired in the robes of the Order of the Garter. By its side is placed the companion statue of her Majesty the Queen, which was also entrusted to Mr. Foley. That artist unfortunately dying, the work was carried out by Mr. Woolner, R.A., with far from a pleasing result. Both statues are intended for the Council House. The largest, and certainly one of the most prominent, monuments in Birmingham is the bronze statue erected by the inhabitants to the memory of Admiral Lord Nelson. It is situated in High Street, and was executed by Sir Richard Westmacott. It represents Nelson in a reposeful and dignified attitude, his left arm resting upon an anchor. The background is formed of the prow of a vessel and a sail. The statue is mounted on a pedestal of statuary marble, embellished with figures. The corner posts are said to be cannon formerly in use on board the “Victory.” An auctioneer, who lived in High Street, left sixpence per week to be paid in perpetuity, out of the rent of a house, to be devoted to the cleaning of the statue.

The bronze statue of Sir Robert Peel, at the top of New Street, is interesting as being the work of a talented Birmingham sculptor, Mr. Peter Hollins, and for the fact that it was the first bronze statue cast in one piece in Birmingham. The attitude of the Statesman is one of firmness; the face is very expressive, and shows strong intellectual power. Mr. Hollins likewise executed the statue erected to the memory of Sir Rowland Hill, which stands in the Post Office, Paradise Street. Of other works by this sculptor, I would draw attention to the busts of William Scholefield, Mathew Davenport Hill, Q.C., and David Cox, all of which are in the Museum and Art Gallery, and a fine bust of J. W. Whateley, in the General Hospital.

At the Five ways, Edgbaston, stands the statue erected to the memory of Joseph Sturge, an eminent member of the Society of Friends. The monument is pleasing in arrangement. The centre figure represents Joseph Sturge, his right hand resting on the Bible, his left extended towards a figure symbolical of Peace, whilst on the other side is a figure typical of Charity. This is reputed to be an excellent likeness of the philanthropist, and the expression is one of benevolence and tenderness. It is the work of the late John Thomas, a sculptor of some eminence, who unfortunately died before he could put the finishing touches to this memorial. Mr. Thomas was also the sculptor of the statue of Thomas Attwood “the father of Political Unions,” situated at the top of Stephenson Place. Thomas Attwood stands in the act of addressing a public meeting, the right hand outstretched, whilst his left grasps a scroll bearing the word “Reform.” In the Art Gallery is a fine bronze group of Boadicea and her daughters, also the work of Mr. John Thomas.

In front of the Council House stands the statue of Dr. Joseph Priestley, the discoverer of oxygen, who was driven from the town by a Birmingham mob, and whose property was destroyed in the riots of 1791. The statue, a very pleasing one, is the work of Mr. F. J. Williamson, of Esher, who is also the sculptor of the adjacent statue of Mr. J. Skirrow Wright, and by the same hand is a striking bust of Mr. Sam: Timmins, F.S.A., which stands in the Reference Library, and an equally admirable bust of the late Dr. Heslop, now in the Mason Science College. This artist also executed the latest addition to Birmingham Sculpture, the statue of Sir Josiah Mason, and was also entrusted with the statue of the late George Dawson, opposite the Art Gallery, which stands under a highly ornate canopy, designed by the late John Henry Chamberlain. This statue, which is supposed to be an excellent likeness of Mr. Dawson, was executed on account of the dissatisfaction caused by the first figure, the work of Mr. Woolner, R.A. The effigy by the latter sculptor is still most unfortunately permitted to remain in the vestibule of the Free Library.

At the back of the Town Hall, stands a Memorial Fountain, erected to commemorate the municipal services of the Right Hon. Joseph Chamberlain, M.P. In the south side is a medallion portrait of Mr. Chamberlain, by Mr. Thomas Woolner, R.A. The memorial, which is architecturally treated and richly decorated with Venetian mosaics, was designed by the late John Henry Chamberlain.

In Ratcliff Place stands undoubtedly the finest statue in the town, that of James Watt, by Alexander Munro. The calm dignity of the figure, the graceful pose of the same, the grand thoughtful face, and the very remarkable likeness of the great engineer, render it a work of the highest excellence. The original model of the head is in the Art Gallery.

The Art Gallery contains in addition to those already mentioned as located therein, the two original plaster models of Foley’s great statues of Burke and Goldsmith; an interesting copy of the Venus di Medici by Raphael Monti, and some very admirable specimens of early Italian and renaissance sculpture. In the Vestibule stands a very dignified and impressive bronze statue of Buddha of Indian make, and of the greatest antiquity; and also a very remarkable piece of Hindoo sculpture in black marble.

In St. John’s, Deritend, is a memorial bust of John Rogers, who edited the first English Bible, and was the first martyr of the reign of Queen Mary.

The Parish Church of Handsworth, some little distance from Birmingham, contains one of Sir Francis Chantrey’s most remarkable and beautiful works, the statue of James Watt; and by the same sculptor is a fine monument erected to the memory of William Murdock. Here is also the excellent bust of Matthew Boulton, by John Flaxman.

=Music.=--[By W. BAYLEY MARSHALL.]--The most casual observer cannot fail to notice the rapid strides which Birmingham has taken in recent years in the cultivation of Music. We have now an orchestra of nearly one hundred performers composed of citizens of the town, numerous choral societies both public and private, well-qualified professors in all the branches of musical study, and an excellent musical club. These combined agencies are rapidly removing the stigma which was formerly so truthfully applied--that Birmingham was like a boa-constrictor, making a huge meal of music once every three years, and doing little but sleep between times. In no branch of music is this progress more manifest than in the services of the church. Some sixteen years ago, it was quite the exception to hear even the psalms chanted; now choral services and well-rendered anthems may be heard in most of the churches. The limits of this article will only allow a brief reference to the principal societies and agencies engaged in the furtherance of music in Birmingham.

TRIENNIAL FESTIVALS.--The Birmingham Triennial Festivals are now universally acknowledged to be the most important Music meetings in the Kingdom. The first Festival was held in 1768. In 1799 the scale of the celebration was enlarged, and since then, with one exception, they have been held triennially. The management is in the hands of a small committee, appointed by the Governors of the General Hospital, and the whole of the proceeds go to the funds of that Institution; this has amounted to upwards of £120,000 since the foundation of the Festivals. During the period of more than a century over which the Festivals have now extended, they have attained European celebrity, and have been distinguished by the production of a large number of original works of the highest rank, among which may be mentioned: Mendelssohn’s Lob-gesang (1840), and Elijah which was specially written for the 1846 Festival; Costa’s Eli (1855), and Naaman (1864); Bennett’s Woman of Samaria (1867); Sullivan’s Kenilworth (1864), and Light of the World (1873); Smart’s Bride of Dunkerron (1864); Barnett’s Ancient Mariner (1867), and Paradise and the Peri (1870); Benedict’s St. Peter (1870); Macfarren’s Resurrection (1876); Gade’s Zion (1876) and Psyche (1882); Hiller’s Nala and Damayanti (1871); Randegger’s Fridolin (1873); Cowen’s Corsair (1876) and Sleeping Beauty (1885); Gounod’s Redemption (1882) and Mors et Vita (1885); Gaul’s Holy City (1882); Stanford’s Three Holy Children (1885); Dvorak’s Spectre’s Bride (1885). The next Festival will be held in 1888. Secretary, Mr. R. L. Impey, 26, Waterloo Street.

FESTIVAL CHORAL SOCIETY.--The date of the foundation of the Birmingham Festival Choral Society, the premier society of the town, is unknown; in 1834, Mr. G. Hollins, the first Organist of the Town Hall was appointed conductor; upon his death in 1841, Mr. Stimpson was appointed to both offices, and the society was reorganised and established with a permanent relief fund to be employed in case of sickness among its members. In consequence of ill-health, Mr. Stimpson resigned the conductorship in 1855, and Mr. Stockley (the present conductor), was appointed; Mr. Stimpson continuing as organist of the town, the duties of which office he still faithfully discharges. Since 1846, the choruses of the Musical Festivals have been mainly composed of members of the Festival Choral Society. The society gives annually a series of high-class subscription concerts. The management is in the hands of a Committee of fifteen members. Secretary, Mr. S. V. Cornish, 55, Varna Road, Edgbaston.

AMATEUR HARMONIC ASSOCIATION.--The Birmingham Amateur Harmonic Association was established in the year 1855, and, as its name implies, is a purely Amateur Association, more for the study and practice of choral music than for the public performance thereof.

The members have, however, done good service in placing before their friends at open rehearsals and private concerts, from time to time, a great number of works previously unknown to Birmingham, the most important of which are--Handel’s oratorios, Jephtha (1871) and Joshua (1872); Haydn’s First Mass (1859); Hummell’s Mass in E flat, which was specially printed for the Association, and produced for the first time in England on December 13, 1865; Gounod’s Messe Solennelle in G (1866), Gallia (1873), and Messe du Sacré Cœur (1878); Schubert’s Mass in E flat, first performance in England (1868), Song of Miriam (1869), and Mass in F (1884); Benedict’s Cœur de Lion (1869); Gade’s Erl King’s Daughter (1869); Sullivan’s On Shore and Sea (1872); Macfarren’s St. John Baptist (1874); Smart’s Jacob (1875); Beethoven’s Choral Fantasia (1875); Astorga’s Stabat Mater (1881); Bridge’s Boadicea (1881); Hodson’s Golden Legend (1884); Lloyd’s Hero and Leander (1884); and for the first time in England, Raff’s Die Tageszeiten (1885). Mr. Alfred J. Sutton was appointed conductor at the commencement of the Association’s existence, and continued in office until 1877, when, upon his resignation, Mr. Stockley, the present conductor was appointed; the members meet weekly for practice during the winter months. The management is in the hands of a Committee of fifteen members. Honorary Secretary, Mr. W. Bayley Marshall, 15, Augustus Road, Edgbaston.

AMATEUR MUSICAL UNION.--The Edgbaston Amateur Musical Union was established in 1863, for the cultivation and encouragement of the taste for orchestral music, and for the study and performance of orchestral works by the great composers. This society has by hard work and energetic management slowly but surely made its way; at the first concert only fifteen amateur members assisted in the band, only two of whom were among the wind department; the band now consists of 47 members, is practically complete as to wind, and even includes drums. The library belonging to the society now contains a very fine and complete collection of standard works besides a large number of pieces of a lighter character.

Mr. C. J. Duchemin, who took a very active part in the formation of the society, for nineteen years acted as honorary conductor; upon his resignation in 1882, Mr. Alfred J. Sutton was appointed conductor. Honorary Secretary, Mr. R. B. Bandinelli, Pinson Villa, Fulham Road, Sparkhill.

PHILHARMONIC UNION.--The Birmingham Philharmonic Union was established in 1870, upon a somewhat similar basis to the Festival Choral Society, under the conductorship of Dr. C. Swinnerton Heap. The Society has given annually since its formation a series of concerts, with somewhat varying pecuniary success; and, like its companions, has introduced many important novelties, among which are:--Bach’s St. Matthew Passion and the Christmas Oratorio, and Max Bruch’s Odysseus. The Society meets weekly for practice. The management is in the hands of a committee of nine members. Secretary: Mr. C. H. Woodward, 71, Colmore Row.

MIDLAND MUSICAL SOCIETY.--The Midland Musical Society was established in 1880 by the members of the advanced singing class in connection with the Church of the Saviour. Unlike the other musical societies of the town, the Midland Musical Society is free, the members not paying any subscription; the free use of a rehearsal room being granted by the Church Committee, and the conductor, Mr. H. M. Stevenson, being an honorary officer. The Society possesses a lending library of over 1,000 volumes of music for the use of its members, and now consists of a chorus of 240 and a well appointed amateur band. Several concerts for charitable purposes have been given by the members, and a series of ten concerts for the working classes, in the Town Hall, to which the admission was twopence and sixpence for floor and galleries respectively, at one of which Gounod’s Redemption was performed. It is the intention of the committee to continue these concerts during the ensuing season. Honorary Secretary: Mr. H. M. Parker, East View, Robert Road, Handsworth.

SUNDAY SCHOOL UNION CHORAL SOCIETY.--The Birmingham Sunday School Union Choral Society was established in 1880. As its name implies, this society is connected with the Sunday School Union, and resulted from the very successful annual festivals which were given by a chorus of some 700, selected from the various schools in the union. The society meets weekly for practice under the conductorship of Mr. Alfred R. Gaul. Hon. Secretary: Mr. H. Parkes, 33, Brighton Road, Moseley.

MUSICAL SOCIETY.--The Birmingham Musical Society was established in 1842 upon the basis of a friendly sick and benefit society, and for the social intercourse of music lovers and especially for the practice of glee and madrigal singing. The members meet fortnightly, and so successfully have the affairs of the society been managed that the invested funds amount to upwards of £2,000. The excellent performances of the Birmingham Glee Union, Messrs. Bickley, Woodall, Young, and Stilliard, all of whom are members of the society, are well-known throughout England. The onerous post of Musical director, which has been filled by many musicians of note, is now ably occupied by Mr. W. George Halliley.

MUSICAL ASSOCIATION.--The Birmingham Musical Association was founded in 1879 with the object of providing a series of high-class concerts at popular prices, establishing classes for musical instruction, vocal and instrumental, and the provision of a large Musical Library. Upon further consideration the establishment of classes and the formation of a library were abandoned. The weekly cheap concerts on Saturday nights have been continued with a few intermissions during successive winters and have now reached a total of 159, to which the admission is threepence and sixpence for the floor and galleries respectively. A band and chorus have also been organised and have rendered material assistance at the Saturday night concerts. Honorary Secretary, Mr. H. Hendriks, 25, Cannon Street.

MESSRS. HARRISON’S CONCERTS.--This admirable series of subscription concerts was established in 1870. Prior to this the present senior partner, Mr. T. Harrison, gave high class miscellaneous concerts at irregular intervals, commencing as far back as 3rd February, 1853, when the late Mr. Weiss and Mr. Sims Reeves (who was even then spoken of as the great English Tenor), took part in the programme. In 1870, Mr. Harrison took his nephew Mr. Percy Harrison into partnership, and the annual series of subscription concerts were inaugurated, the management of which for enterprise and skill in securing all the leading artistes, vocal and instrumental, of the musical world, has made them well-known throughout the kingdom. Besides treating their subscribers to such stars as Patti, Nilsson, Albani, Titjens, Sims Reeves, Lloyd, Santley, Maas, Norman Neruda, Sophie Menter, Charles Hallé, Pachmann, Hans von Bülow, Joachim, Wilhelmi, Piatti, Bottesini, &c.; lovers of orchestral music have been provided for by the annual engagement of Mr. Charles Hallé’s well-known band.

MR. STOCKLEY’S CONCERTS.--The Subscription Orchestral Concerts were instituted in 1873 by Mr. Stockley, the conductor of the Festival Choral Society. For the first few seasons these excellent concerts met with but scanty support, and were carried on under serious difficulties, and at a considerable loss; three concerts were given each season, and the band consisted of about 50 members. Mr. Stockley, however, steadily persevered with the good work, and met with increasing support; in 1881, the band was augmented to its present number of 80, of whom no less than 76 are _bona fide_ residents in the district; in the following year the number of concerts were increased to four each season; and the support now accorded is most encouraging, the annual balance-sheet no longer showing a loss. The programmes have always included a complete symphony at each concert, one or two classical overtures and smaller orchestral pieces; two singers of eminence have been engaged for each concert, and the vocal items as far as possible arranged to correspond with the classical character of the instrumental. Mr. Stockley must now be congratulated upon the successful result of thirteen years’ hard work, under very discouraging circumstances at first, to popularise good orchestral music.

CHAMBER CONCERTS.--Birmingham in the past has persistently refrained from adequately supporting chamber concerts, even when the quartette consisted of some of the greatest living instrumentalists. Dr. C. Swinnerton Heap, with praiseworthy zeal, gives an annual series of high class chamber concerts, for which the subscription list is much smaller than the excellence of the concerts should command. It is to be earnestly hoped that his labours will in the end be rewarded with the success they so richly deserve.

THE CLEF CLUB.--The Clef Club was founded in 1881, to provide a central resort for the study and practice of vocal and instrumental music, combined with the general accommodation of a Club. Monthly Smoking Concerts are held in the Club Rooms, the executants being selected from among the members, and the programmes confined to strictly “chamber music.” It may safely be said that since its formation the Clef Club has done much to elevate the taste of its members, and promote the study and appreciation of chamber music. The success which attended the development of the Club was so great, that greatly enlarged premises soon became necessary; and the promises of support being so encouraging, it was determined to register the Club under the Companies Act, and very greatly enlarge the original scheme. Sir Arthur Sullivan kindly accepted the post of President of the Club, and showed warm interest in the details of the new scheme. The lease of the present club premises in Paradise Street, close to the Town Hall, having been secured, and the extensive alterations completed, the club entered upon its new life in July, 1885. In addition to the monthly concerts there is an impromptu smoking concert every Friday night. Honorary Secretary, Mr. F. E. Huxley, Clef Club, Paradise Street.

FLUTE SOCIETY.--The Birmingham Flute Society, probably the only flute society in England, was established in 1856 to encourage and develop the performance of classical flute music; the Society possesses a very fine library, consisting of all the concertante duetts, trios, and quartettes of Berbiguier, Fürstenau, Kuhlau, Kuffner, Kummer, Gabrielsky, and Tulou. The members meet twice a month. Honorary Secretary, Mr. Arthur H. Hughes, 40, Chapman Road, Smallheath.

MUSICAL INSTRUCTION.--There is no more important step in the development of the study of music than a thorough system of elementary education; the Birmingham School Board, fully recognising this, in 1876 made provision for the systematic teaching of music in all the schools under their control. Mr. W. Dobson was appointed superintendent of musical instruction, and has formulated a very thorough system; the tonic sol-fa method is adopted and infants, if only seven years of age, are taught to sing from note correctly. One hour per week is allotted to this subject in two half-hour lessons; in addition to this two or more classes are occasionally grouped in divisions for united rehearsal and musical drill. In addition to instruction in singing, violin and brass band classes were commenced last winter, also on the tonic sol-fa method, and have been very successful. Many thousand children have thus been taught, by their voices being trained in connection with the ear and understanding, to sing correctly, and have been musically educated in such a way as to enable them in after years to listen intelligently and enjoy good music.

SCHOOL OF MUSIC.--The School of Music in its present form at the Birmingham and Midland Institute was commenced in 1885. Classes were established in the following branches--theory of music, elementary and advanced part singing and solo singing, (a separate class for each voice, soprano, contralto, tenor and bass). The pianoforte, violin (elementary, intermediate and advanced), clarionet, flute, violoncello, and brass instruments generally. During the first term there were 1,233 students in the school, the fees range from one penny per lesson to half-a-guinea for a term of 12 to 15 lessons. During the current season the following additional classes have been sanctioned by the Council--organ, bassoon, oboe, double bass, and viola; and it is probable that classes will be formed for ensemble orchestral playing and part singing.