The Stourbridge Observer, Cradley Heath, Halesowen & District Chronicle.
Stourbridge, West Midlands, England, 1885-06-06 00:00:00

SIX. CHILDREN POISONED AT
WANDS WORTH.

On Saturday afternoon the medical staff at St
Thomas's Hospital was engaged in attending
.to an
extraordinary case of the poisoning of six children.
It appears that shortly before four o'clock on Friday
afternoon a number of children were playing in
Heeman-street, Wandsworth-road, when they were
accosted by a strange youth, about 14 years old, who
had in his nossession a large phial, and he wanted
several of the children to " take a drink from his
bottle," saying that it contained "liquorice," or what
is better known as "Spanish water." The boys sur-
rounded the stranger, and four of them drank
greedily, others only partaking of a very small quan-
tity. The unfortunate boys were directly seized
with great thirst, and they had great difficulty in
swallowing water. Subsequently the youth who had
given the liquid from the bottle, finding that his
victims were becoming in a serious condition, de-
camped, and made good his escape. The coudition
of the sufferers became so serious as to cause their
removal to St. Thomas's Hospital when it was found
they had been poisoned with belladonna. The fol-
lowing are the names of the sufferers: Charles Day,
aged six years, son of a horsekeeper, residing at 15,
Heetnan-street, Wandsworth-road; Charles Dowding,
aged nine years, whose parents reside at 38, Heemau-
street ; Thomas Doel, aged nine years, of 27, Hee-
man-street ; Edwin Powell, aged seven years, son of
a laundryman, living at 17, Heeman-street ; William
Dowding, aged seven, brother of the above; and
Robert Powell, aged nine years.

ANCIENT MUSICAL INSTRUMENTS AT
THE INVENTIONS EXHIBITION.

Although it seems to be decided that the exhibition
at Kensington of the present year shall receive its
distinguishing title from the first of the two sections
into which it is nominally divided, there are probably
many who will consider that after some fashion it
might have received its name from music, the second
division of the scheme. This idea will be strengthened
rather than diminished after those persons interested
in such matters have inspected the remarkably rich
and singularly varied loan collection of musical instru-
ments, manuscripts, and other objects connected with
music, now arranged in the broad gallery forming the
upper floor :of the Albert Hall. The Queen has sent
several exhibits, numerous private collections and
museums have contributed their treasures, and many
cases are filled with old instruments of rare value
kindly lent by the Conservatoire Royal of
Brussels. When the catalogue is published and the
articles labelled it is certain that no one with musical
proclivities will lightly regard the collection. Stringed
instruments of every kind and degree, whether of the
hapsichord or fiddle families, are remarkably well
represented. Some of the violins look so old and worn
that they might be passed over as of little worth by
persons who are not versed in the history of violin
making. Others are painted, inlaid, or otherwise
ornamented in the most beautiful manner. In one of
the cases of the Amati school there is an instrument
lent by the Queen, which has a religious printing on
the back that has become faded with age. Another
has a representation of the Crucifixion with the
Fleur de Lis and French Crown, this spe-
cimen of the Amati school being supposed
to have been stolen from one of the Royal palaces
during the Reign of Terror. Close at band
is a violin formerly belonging to Stevens, the com-
poser of the glee, "The Cloud-capt Towers," and
there are many curious finger boards, bridges, and
other fittings. In the case of the Brescian school are
violas by &motto (1540), by Mazzini (1810), and by
Gaspar du Salo, the latter reputed to be the greatest
of his school. Instruments of Antonius Stra-
divarius and of Joseph Guarnerius are of course not
wanting, and each specimen has its history. English
virginals embellished with elaborate paintings on both
sides of the cover, one- of these instruments having
views of St. James's-park in 1666; curious spinets,
some of which are so small and neat that they might
be carried in their cases under the arm like modern
violins; double harpsichords, clarichords ; old-
fashioned upright grand pianofortes; and quaint
organs meet the eye at every turn. In a collection
lent by Mr. George Donaldson there is an ivory
lute of Padua, some pretty little mandolins,
and a guitar case that belonged to Louis
XVI. Tiny "kits," used by the dancing-
masters of a former century, a costly Italian guitar
of the seventeenth century, made of ivory inlaid with
ebony, a violoncello used by George IV. when Prince
Regent (emblazoned with the Royal arms beneath
the finger-board and the Prince of Wales's plume
under the bridge), examples of early English fiddles
(dated 1666) with a production of a certain gentle-
man, who besides being a noted fiddle maker, is
reputed to have been a horsedealer and a gipsy, a
square cruuth (a Welsh instrument, the use of which
goes many centuries back), the clavichord which
Handel used to take with him on visits to the houses
of friends; Cumberland musical stones, a cumbrous
hand harp which Mary Queen of Scots gave to one
of her maids of honour, uncouth bagpipes, awkward-
looking wood instruments, and bulky "serpents,"
and some regals are also among the objects that
seize attention even at a cursory glance of an
exhibition to which many persons will doubtless
devote hours. Three rooms are furnished to illustrate
as many different epochs in the progress of music.
There is an English room of the last century, a room
of the 16th century, with tapestry hangings, and pos-
sessing the virginal used by Queen Elizabeth, and an
elegant Louis Seize room with a magnificent harpsi-
chord of the period. Some very fine pianofortes made
for personages now living are comprised in the collec-
tion. One of these is decorated with paintings by
Burne Jones. The story of Orpheus and Eurydice,
depicted in several oval panels, surrounds the case.
and inside the top is an allegory of the Earth and her
children. A piano in satinwood and gold, lent by
the Queen, is also very conspicuous. There is a mar-
vellous assemblage of musical scores, autographs of
eminent musicians, and playbills. The Queen lends
a case in which are six of Handers scores,
written by the great composer himself and by
Smith, his amanuensis. The copy of the
"Messiah," in Handel's writing, is opened at the
" Hallelujah " chorus, that of "Israel in Egypt"
shows the celebrated duet for two basses
"The Lord is a Man of War," with the names of the
two singers, Wats and Rheinhold, in pencil at the
head of the page. The copies of " Alcina," and of the
Dettingen To Deum, are also from Handers pen.
There is a strange manuscript from Lambeth, a
"Gloria," written by a Dr. Fairfax on taking his
degi ee in 1562; the Queen sends her copy of Tallis's
Forty-part Psalm; and of special interest is the
Mainz Psalter, the first authenticated music book,
and bearing the date 1457. The engravings and
letters of famous musicians are multitudinous, and
upon the walls are many fine portraits —particularly
by Sir James Thornhill's "Handel," and Graffoni's
portrait of the same master, both of these produc-
tions looming from the Fitzwilliam Museum at Cam-
bridge. There are numberless other exhibits that
will afford both interest and instruction to visitors
having a respect for the antique in Art.

"So you don't succeed very well with your school
in Illinois ?" "No, I had to give it up at the end of
' the first month." "Did you use the blackboard
much ?" "No, it was too large. But I used all the
'ther furviture about the room that wasn't nailed
down,

. "

,••••-

FUNERAL OF VICTOR HUGO.
GREAT DEMONSTRATION IN PARIS.

Writing from Paris the special corresp-3dent of
the Morning Post thus describes the obsequies to
Victor Hugo on Monday: The weather to-day has
continued to be warm and fine, while the heat has
been less oppressive than might have been feared,
being somewhat moderated by light clouds which
have veiled the sun. Numbers of people slept in the
open air last night, and in the early morning
numerous groups of persons forming deputations
might be observed going towards the Arc de
Triomphe, bearing colossal wreaths to be deposited
beside the catafalque of the great poet. Meanwhile
the troops wefe being massed together in response to
the loud beating of drums, and at nine a.m. the scene
around the arch was most animated. The arch
was surrounded by a deep cordon of troops,
while outside . these an enormous crowd had
already formed and continued still to increase.
Before the procession formed 20 cars, each drawn
by four horses, and loaded with memorial wreaths,
started for the Pantheon. At the same time an ordi-
nary hearse drawn by only two horses, driven by a
coachman wearing a cocked bat, took its place at the
top of the Avenue des Elysees. President Grevy was
not present, but was represented by General Pittie,
who was attended by the military and civil members
of the President's household. The members of the
institute assembled rapidly, each in his full dress em-
broidered costume of green and gold. The whole of
the members of the diplomatic body were present, as
were the various officials, the deputies, judges in their
scarlet robes lined with ermine; the judges of the
Supreme Court, in their picturesque black
robes also furred with ermine; lawyers, in their
black gowns; judges of the Tribunal of Commerce,
as well as every literary and artistic celebrity in
Paris. Theatrical deputations from Porte St. Martin,
Theatre Francais, &e., arrived bearing splendid
wreaths which were much admired, as was also a
small and most tasteful wieath brought by Madame
Sarah Bernhardt. The family of Victor Hugo, in-
cluding the ladies, children, and several of his inti-
mate friends, also arrived, and were conducted to
places close to the coffin. To add to the animation
of the scene, deputation after deputation still con-
tinued to arrive each bearing a wreath. Many of the
judges also continued to come up in their carriages
escorted by troops on horseback. At half-past ten
the band of the Garde Republique played Chopin's
"Marche Funebre " in magnificent style, while its
solemnity was enhanced by the whole crowd
reverently uncovering. Every window and roof
commanding a view of the scene was crowded.
At a quarter to eleven M. Le Rover delivered a
brief address lasting for about five minutes, which
was loudly applauded, but which was not audible save
to those who stood very near him. M. Floquet fol-
lowed him, and was succeeded by M. Emile Augier—
whose speech was very much admired for its fine and
temperate eulogium of the great poet—M. Goblet,
and lastly, M. Michelin. After this the procession
began to move, headed by the literary societies. The
hearse containing the body succeeded them, and was
followed closely by the family and intimate friends
of the poet. A flock of pigeons was then freed, the
birds rising rapidly in air, and scattering in all
directions, rejoicing in their 'new-found liberty.
A salvo of artillery was fired, and the band
striking up the "Marseillaise," the whole proces-
sion moved on slowly, escorted by the troops.
The police arrangements were excellent, and
order was observed, though the crowds in the
Champs Elysees were enormous. Even the trees
were filled with gazers, and the tops of the kiosks as
well as every available spot imaginable were occupied.
The sun burst out brilliantly, and swords and helmets
glistened along the line, while the bright wreaths- and
flowers borne along suggested the idea of a moving
garden, and the plain, simple hearse stood out in
marked and touching contrast with its splendid
surroundings. The attitude of the crowd was quiet
and dignified, and hats were reverently doffed as the
hearse passed along. At the same time, they
applauded with their hands the more noteworthy of
the wreaths. On reaching the Place de la Concorde
the scene presented was indescribable. Not fewer
than 150,000 persons were there assembled. The
roofs, the trees, the basins of the fountains,
and the statues were all for the time converted into
pyramids of human beings. The bridge was guarded
by troops, and the quay might be seen below, present-
ing a complete sea of upturned human faces, on which
the sunshine and shadow played with marvellous
effect. The crowd consisted for the most part of men
in blouses and women in white caps, but they main-
tained perfect order and made up by this for the
scandal of the previous night. The steps of the
Corps Legislatif were thronged, and in turning up
into the Boulevard St. Germain the rougher element
appeared, but, nevertheless, there was perfect order
and calm, save for a hum of voices like the murmur of
the ocean. No pen can describe the crowd. Every spot
from which a glimpse of the procession could be had was
thronged, and it moved on between living walls of
faces. The tops of the churches, steeples, balconies'
edges of buildings and roofs, all were swarming with
gazers. In one place a man sat in a hammock sus-
pended from the two sides of the street. No sight
equal to that of this day has ever before been seen in
Paris. It is estimated that 1,000,000 of people lined
the six miles of road. It is an almost incredible
popular demonstration as a tribute to genius. At the
Luxembourg they stopped before the statue of Victor
Hugo to salute it, and here again were to be seen
pyramids of people grouped round the lamp-posts,
while between them marched the procession like a
military and floral triumph. On reaching the
Pantheon the steps were found to be covered with
wreaths, among which I noticed some from Guatemala,
Edinburgh, Lisbon, Rome, and Yokohama. In
fact, no part of the world was unrepre-
sented. The troops surrounded the square, and the
muffled drums beat as the body was formally received
and placed upon a bier under the portico, which was
all bung with black velvet. I saw not a sign of dis-
order. The scene was brilliant, rather of the cha-
racter of an apothesis than of a funeral. It was,
however, more majestic than words can express, and
the effect was indescribably grand of the large number
of bands playing the " Marseillaise," the "Chopin
March," and " Mourir pour in patrie," the flocks of
white pigeons liberated along the route, &c. The
deputies, senators, gens de letires, and authorities
grouped themselves along the front of the Temple,
and the family then entered. No allusion was made
to God, and the rites were perfectly Pagan. Ad-
dresses were delivered by the Metre of
Besancon, MM, Claretie, Henri de Bornier, Louis
Marswiani, Italian Senator, Colonel M.
Washington, and Emmanuel Edmuni, negro deputy
from Hayti. I walked all the way about four yards
in front of the hearse, and followed the wreath of the
Deaf and Dumb Institute. No private marks of
mourning were observable, and only two balconies
were draped with black cloth. On these lamps
veiled with crape were burning. On the hearse were
laid only two simple white wreaths. Every town in
France sent a huge wreath. The Hugo family were
represented by M. Lockroy, with Leopold Hugo and
Georges Hugo. The foreign as well as the Parisian
press was fully represented. At the time of the
funeral starting from the Arc de Triomphe some
black and red flags were displayed near the Bois de
Boulogne and were seized by the police. A red
banner was also seized from the Society of Atheists
and from the Society of Freethinkers. I have heard
officially that 17 red flags were seized during the
passage of the procession. Opposite a hotel in the
Champs Elysees a scaffolding fell, and nine persons
were killed and some others wounded.