The Sun.
London, England, 1862-02-21 00:00:00

if nothing had happened. Mr. Edwards inquire
into the origin of "God save the King," and examine
the several 'rival claims to the composition of our
national anthem. it is remarked that Handel, if
not the composux, had at least good reason to join in
the song, considering the steady patronage he re-
ceived from the three first Georges. The contro-
versies between the partisans of Handel and Boo-
nencini, Gluck and Piceini, and many other har-
monious wars are, of course, duly chronicled.
More amusement, however, is to be found in the
personal anecdotes of celebrities, of which we cite
a few specimens :

CIMAROSA.
Cimarosa, though he may have possessed a more digni-
fied sense than Paisiello of what was due to himself, had
less vanity. A story is told of a painter wishing to flatter
the composer of " Il Matrimonio Segretto," and saying that
he looked upon him as superior to Mozart.
"Superior to Mozart l' exclaimed Citnarosa. "What
should you think, sir, of a musician who told you that you
were a greater painter than Raphael ?"
AN EXCHANGE OF PROFESSIONS.
A curious dispute between a violinist and a dancer
was settled in a satisfactory way for both parties.
The dancer was on the stage rehearsing a new step.
The violinist was in the orchestra performing the neces-
sary musical accompaniment.
" Your scr Ting is enough to drive a man mad," said the
dancer,
" Very likely," said the musician, " and your jumping
is only worthy of a clown. Perhaps as you have such a
very delicate ear," he added, " and nature has refused you
the slightest grace, you would like to take my place in the
orchestra ?"
yrGweoihpuv` Your
el‘
taehmrdeeoer.thyyr
the dancer.
yourra Why
nyvmei
ed:rlosi.
most
you awkwardness
ehyfnue
not
continued,
tinwi
rmt
tyhiiblnlystuohneume bow
e
der:afey,fortune
radtnunoodntea makesncbioyneingtyeohoomeuudperb
walodeinhogi
euesttr,bit,
the stage. I know the scale already. You can teach me
to play minuets, and I will show you how to dance them."
The
with thesed interchange of good offices took place, and
happiest results. The unmusical fiddler, whose
name was Dupree, acquired great celebrity in the ballet,
and Leclair, the awkward dancer, became the chief of the
French school of violin playing.
The Reign of Terror was a sad time for art and
artists. Although the number of play-houses in-
creased, the actors were ill-paid, and lived with
the sword of Damocles suspended over their beads.
Hebert drew up a list of suspected persons, Which
he used to show every now and then to the happy
individuals named in it. Lefevre, a sixth rate tenor,
but a fervid republican, insisted on being promoted
to first characters, and threatened his rivals with
denunciations and the guillotine if they objected
to make way for him. This had the desired effect,
but he did not gain much, for the tasteful Parisians,
compelled to submit to his tyranny, as one of
the twelve chiefs of the National Guards, revenged
themselves by hissing his bad singing. The opera
was transferred to the Rue de la Loi in 1794,
building exactly opposite to the National Library,
with the praiseworthy hope that the Library
might be burned in case the Opera-house should
again take fire. It is not surprising that men of
such intelligence should be outwitted by the bril-
liant Sophie Arnould, who, when accused of aristo-
cratic sympathies, pointed to a bust of the composer.
Gluck in her room, and asked if it were likely she
would keep the bust of Marat were she not a .good
Republican. The following is an interesting anec-
dote connected with the Revolution :