Original Letters and Biographic Epitomes | Page 5

and re-fusing them with fresher melody, newer vital ecstasy. (Sir) Edward Burne Jones, Oscar Wilde and W.S. Gilbert had all not dubiously striven nor for shallow effect. They had, though labouring incessantly apart, built up a ghost which was in no fear of glimmering or dissolution; and now Berthold Tours, spright of another element of sentimental, I should say continental mythical music, upon the scene springs with his amazing apparatus of staves and octaves, aiding the _chef-de-musique_ and his trained voices to make sound within the very presence chamber of Divine Worship this phantasmagoria of Teuton intellectualism!
Be it understood that this Classic exercise is not to be ceremoniously regarded, nor classified, nor by me upheld as an example of Creative Art, but as the brightest pledge of homage ?sthetically offered to a vital movement, essentially fundamental and wise; furthermore, must be allowed to occupy a position subsidiary to the works of the artists enumerated who evidently inspired it; unique and decidedly without an exact parallel in the inspired annals of modern phonetic literature; prefering at a more intimate examination to classify with it Professor C. Villiers Stanford's setting of the Te Deum and Jubilate in B flat--works, easily gracing the "Summus Mons" of co-spiritual achievement; that impulse which selects, confirms, and then unites all the fair fibres of Art.
Berthold Tours personally possessed the evident characteristics of a musician. No doubt could be entertained whatsoever, by any who once saw him or his large meditative form, that music was his calling. The duties inherent to the post of "music taster" to the house of Novello, Ewer, & Co., he hopefully acquitted for many years, succeeding to that office on the retirement of my once, in a choral sense, esteemed conductor, Sir Joseph Barnby. The pianoforte accompaniment to many of the classical works of continental composers he transcribed and carefully arranged for his employers, whose confidence he completely enjoyed, whether in addressing them on matters relative to prospective treaties with contemporary composers, or in regard to works tendered to them for publication, or on recommending them upon the pianoforte arrangement of orchestral scores. Personally, I participated in the satisfaction of frequently dining in his company. Amongst the personal memories which I might in passing allude to, being my entire deferential attitude towards him of reverence, ere ever being acquainted with his patronymics, although already largely conversant with, and a sincere admirer of his music. To have been spoken amiably to by this distinguished "virtuoso" is a not unnoteworthy reminiscence to be recorded. He evinced much concern in the early rehearsals of his choral works; being individually present at the moment of their preparation; but it not infrequently appeared to me ambiguous, that unless accounted for by the responsibility of vast calls, he with frequency turned his back upon the musical conservatories wherein his choral works were performed; a custom due evidently to his innate modesty, and perhaps to his susceptibilities as a foreigner. Berthold Tours was a famous violinist of the first class, besides being a recognised composer of music, and edited with Natalia Macfarren a superb edition of the Italian, the German, and the French Operas.
JOHN ATWOOD.SLATER,
4, Hill Side, Cotham, Bristol.

_ARCHITECTURE._
From the BRISTOL TIMES AND MIRROR,
_April 18th_, 1902.
BRISTOL SOCIETY OF ARCHITECTS.
The Annual General Meeting of this society was held in the Fine Arts Academy, Queen's Road, Clifton, on Monday, Mr. Frank W. Wills (President) in the chair. After the confirmation of the minutes of the last Annual General Meeting, the annual report of the council was then read by the Hon. Secretary, and the audited accounts presented, and, upon the motion of the PRESIDENT, were adopted.
A highly interesting lecture devoted to architectural research was delivered by Mr. J. ATWOOD SLATER, first silver medallist and premium holder in design in the Royal Academy of Arts, London, and Sharpe Prizeman of the Royal Institute of British Architects, London, describing an architectural tour undertaken in 1880, and detailing picturesquely the architecture and incidents of personal concern dependent on travel met with in the departments of Seine Inférieure, Seine and Oise, and Seine, penetrating into the heart of France as far as Auxerre. The course of the Seine, with its diverse monuments, was topographically followed from Harfleur to Paris, and subsequently in its considerable ramification the stately River Yonne, Melun, Fountainebleau, Sens, and finally the rich town of Auxerre coming under consideration. The lecturer also drew special attention to the advantage derived from travelling alone for the purpose of observing better the arch?ological wealth, and the customs of the French, having a distinct and definite line of study and object lesson ever in view; to his wide sympathy with the French people, to their sumptuous care for their ancient monuments, their courtesy and reverential manner of hospitality towards English speaking students; and also in particular