The Sun.
London, England, 1862-05-02 00:00:00

a printed address, which was not read, to which
his Royal Highness the Duke of Cambridge thus

FURTHER PARTICULARS.
THE PROCESSION.
As the head of the procession appeared in the
nave there was, as may be supposed, a stir in the
vast assemblage, and a surging to and fro of the
many thousands who were in the happy condition
of not being able to see anything except the anxious
individuals in the galleries or in the body of the
nave exastly opposite. The latter, however, were
more fortunate—if they esteemed it so—for the con-
tracted space through which the procession passed
brought most of the personages who formed it into
close contact with those who occupied the front
seats. It must be confessed that there was not
much resiproOrty in this respect. The members
of the procession who chose to cast their eyes on
each side of them were gratified by beholding a
long line of such charming faces and fine forms as
the womankind of no ordinary country in the
world could show ; while they had the question-
able privilege of iyezing on an as oddly-assorted
and queer-looking set of gentlemen as it
was possible to bring together in a given area. It
is no use disguising: the matter, but the component
parts at the procession were not imposing, and in
the gross the effect was no means good. There was
an ill assortment of costumes; here a splendid mili-
tary uniform, British or foreign, carried by the
wearer as if he was quite eemfortable in it ; there a
diplomatic blue and gold, with the stiffness which
seems inseparable from that peculiar costume; now
a crimson end furred robe, and in immediate proxi-
mity to these the swallow-tailed coat, and even the
shapeless paletot of private life, whose owner seemed j
principally occupied in wondering how, being neither
rich nor rare, he happened to have got where he was.
But this was not all ; nobody except the military
men seemed to know exactly how they were to walk;
arra when they reached the grand entrance beneatt
the western dome, where the throile—wh3:::u was to
remain vacant, a painful siguifie,;.ney—and the
gilded chairs of the Queen's '..pecial commissioners
were placed, they seem.:4 to tumble on to the dais,
and to tall into teach places as the genius of mal-
mangemnt suggested to them. Some peculiari-
tie* of the 'procession may be mentioned,
iror instance, the Bishop of Winchester, a prelate
who is only fifth in the episcopal list, and who en-
joys special privileges and dignities, to-day walked
meekly in his every-day costume (saving the ribbon
and badge of the order of the Garter, of which he
is prelate) at the tail of the council of the Horti-
cultural Society. Sir John Pakington, who is
only physically a small personage, was content to
Walk amongst the guarantors of the Exhibition.
Lctr,d Stratford do Redcliffe, Earl Stanhope, the
Duke of Sutherland, Sir John Burgoyne, Sir Geo.
Clerk, and Lord Taunton figured as chairmen of
juries ; the Duke of Bacoleuch held a place as one
of the commissioners of the Exhibition of Mil,
amongst whom walked, side by side, and in amicable
if net mailable, and occasionally jocose conversation,
Mi. Disraeli and 'Mr. Lowe, gentlemen who,
in another place, have exhibited a certain
antagonism which it would seem is more political
than real and personal. Conspicuous amongst
that which we do not hesitate to call a crowd, as
the procession attempted to deploy on the plat-
form, were several black faces, and in one instance
a gentleman of colour must have been a distin-
folded person in his own country, for he wore
the star of some order of knighthood. When way
was at length made for the passage of the Queen's
Commissioners, many eyes sought for the Earl of
Derby, for it had been rumoured that that noble-
man would probably be unable to be present, owing
to the indisposition from which he has of late suf-
fered. However, he was in his place, though
walking feebly, and leaning heavily on a stick.
Lord Palmerston looked well and cheerful, exhibit-
ing, however, many marks of the octogenarian. As
we are dealing with contrasts, we may refer to that
which existed between the Lord Chancellor and the
Speaker of the House of Commons, who both, cos-
tumed in gold and brocade* robes and fall-bottomed
wigs of the exact same pattern, presented that dif-
ference which may be supposed to prevail between
a very tall and stately man and a short—not to speak
it profanely—somewhat pitichy gentleman. The
Duke of Cambridge looked stalwart and imposing,
as becomes one of that royal family which has pro-
daeed some of the finest grown men of the last
two generations. The Crown Prince of Prussia,
notable for the simplicity of his uniform, showed
slim ma rueful ; and Prince Oscar of Sweden,
though somewhat dark, not to say sallow, in cora-
,plexion, is the happy proprietor of a tall and well-
set figure, which displayed to advantage a hand-
some military dress, conspicuous in which was the
large yellow plume of his cocked hat. At length
the order of things somehow was made to proceed.
The Queen's Commissioners took their seats on the
platform immediately l'n front of the throne. The
Duke of Cambridge, of course, occupied the central
place. On his right were the Crown Prince of
Prussia, the Archbishop of Canterbury, the Lord
Chancellor, and the Earl of Derby; on his left were
placed, Prince Oscar of Sweden, the Lord Chamber-
lain, Viscount Palmerston, and the Speaker of
the House of Commons. As soon as the Queen's
Commissioners had thus " assumed their state,"
it was necessary that they should have the Royal
Commissioners for the Exhibition full in their view.
This, however, was for the moment prevented
owing to a number of the gentlemen who had
figured in the procession having ranged themselves
in a line in front of the dhis, with their backs grace-
fully and courteously turned on the representatives
of her Majesty. Sir Wentworth Dilke, equal to
the occasion, rushed forward, and by a series of
vigorous pushes, no doubt accompanied by powerful
mental objurgatory ejaculations, cleared off those
physical obstacles, who subsided somewhere into
the somewhat confused and ill-grouped crowd that
occupied the estrade. This was an awkwardness
to say the least of it; but happily it did not attract
much attention, as it was only a part of the curious
divergences from order of a very awkward squad.
But the next event was remarkable. In the affi-
oial programme it was laid down that as aeon as
the Queen's Commissioners were seated a verse of
the National Anthem should be performed by the
magnificent orchestra, vocal and instrumental, which
was assembled under the eastern dome. But the
genius of mischief somehow inspired Lord Gran-
ville to forget an important portion of the arrange-
ments, which he must no doubt have had a power-
ful hand in preparing, and wholly ignoring " God
save the Queen," be stepped briskly forward to
speak the address which, on the part of the Royal
Commissioners for the Exhibition, he was to deliver
before the Queen's Commissioners. He had got
through his first sentence when there came a
wailing sound from the other end of the nave, which
by a superhuman effort on the part of the execu-
tants was in a little time made to reech the ears of
those assembled under the western dome in some-
thing like the phantom of a vocal and instrumental
delivery of the National Anthem. This sound,
faint but yet distinct, prevailed during the whole
time that Lord Granville was speaking, and when
he ceased the Duke of Cambridge, prudently re.
solving not to have his speech subjected to such an
accompaniment, paused for several minutes, until
the unconscious orchestra, who no doubt supposed
that they were doing their spiriting effectually and
effectively had concluded. The speeclNhich Lord
Granville delivered under these unusual circum.
etanees was as follows :
May it plesas sums Royal Highness and my Lords Com.
Inirsioners,--In the name of her Majesty's Commissioners
who have charge of the International Exhibition of 1862,
I have the honour to present to tour Royal Highness and
the other commissioners for opening the Exhibition a most
humble address. We especially offer to her Majesty our
eondolence for the loss irreparable vhich her Majesty and
the nation have sustained, and we thank her Majesty for
allowing herself to be represented by your Royal Highnees
and the other Commissioners on this occasion; and we beg
to express our great gratitude to his Royal Highness the
Crown Prince of Prussia and his Royal Higliness'prinoe
Oscar ,of Sweden, f having honoured the Exhibition with
their presence this day. We also offer our thanks to the
Commissioners, British and Foreign, who have assisted us
fn this work ; and we venture to express our confidence t thha
this work will be thought worthy of ranking amongst
Miernatioual eachibitions which in the future may periodi-
te
oilly occur.
His lordship then handed to his Royal Highness

replied :
We cannot perform the duty which the Que n has done
us the honour to commit us as her Majesty's represen-

tatives on this occasion, without expressing our heartfelt
regret that this inaugural ceremony is ac prived of her
Majesty's presence by the sad bereavement which. has

overwhelmed the nation with universal sorrow, We share

most sincerely your feelings of deep sympathy with her
Majesty in the grievous affliction with which the Almighty

has seen fit to visit her Majesty and the whole people of
this reelm. It is impossible to contemplate the spectacle
this day presenttd to our view without being painfully re-
minded how great a loss we have all sustained in the
Illustrious Prince, with whose name the first Great Inter-
national Exhibition was so intimately connected, and whose

enlarged views and enlightened judgment were conspicuous
in his appreciation of the benefits which such undertakings

are calculated to confer upon the country. We are com-
manded by the Queen to assure you of the warm interest
which her Majesty cannot fail to take in this Exhibition,
and of her Majesty's earnest wishes that its-success may
amply fulfil the intentions and expectations with which it
was projected, and may richly reward the zeal and energy
aided by the cordial co-operation of distinguished men of

various countries, by which it has been carried into execu-
tion. We heartily join in the prayer that the International

Exhibition of 1862, beyond largely conducing to present
enjoyment and instruction, will be hereafter recorded as an
important link in the chain of International Exhibitions, by
which the nations of the world may be drawn together in the
noblest rivalry, and from which they may mutually derive
the greatest advantages.

THE BEY OF THE EXHIBITION.
The next portion of the ceremonial consisted in
the formal presentation by Lord Granville, of what

may be called emphatically "The Key" of the Ex-
hibition. This is in fact and in reality a master-key
to all the locks throughout the building, and has
been wrought by Messrs. Chubb, entirely by hand,

out of a.solid piece of steel. It was enclosed on this
occasion in a crimson velvet bag ! With this, the
ceremony which was appointed to be held under the
western dome was brought to a close. The proces-
sion was, as the phrase goes, reformed; and crossing
over to the northern side of the nave, passed along
the space enclosed within barriers on that side and
with the pipers of the Scots Fusilier Guards
" skirling" behind it, proceeded slowly along until
the space in front of the orchestra under the eastern

dome was reached. At this spot had assembled a
number of distinguished personages. Here were
placed the only members of the Royal Family, be-
sides the Chief Commissioner of the Queen, who
were present on this occasion, namely, the Duchess
of Cambridge and her daughters, the Grand Duchess
of Mecklenburg Strelitz, and the Princess Mary of
Cambridge. The diplomatic corps were here as-
sembled, and a considerable number of noblemen
and gentlemen, ex•ministers, ex-chancellors, and the
Japanese ambassadors.
On the platform seats were provided for the
members of the procession, and as soon as every
one had been accommodated—an operation which
did not occupy any unnecessary amount of time—
the orchestra, under Mr. Costa, commenced the very
important part of the ceremonial which had been
committed to their charge.
MEYERBEER'S GRAND OVERTURE.
The first piece of the special music was Meyer-
beer's grand overture. Its effect on the whole did
not disappoint the expectations of those who heard
it. It consists of three divisions or movements. In
the first, a short introductory passage, calculated to
awaken the attention of the audience, leads into a
triumphal march, in that grandoise and imposing
style with which all who know Meyerbeer's prin-
cipal operas are familiar. No composer excels him
in the art of adapting instrumental music to vast
localities. Of this Triumphal March it may well
be said, that " Jove's own thunders follow Mars'
drums," for the thunders of the orchestra rolled
through every corner of the building. The second
movement was a religious march, of a subdued and
mournful character. This is, perhaps, the finest
part of the work, and yet it was comparatively in-
effective, simply because it was imperfectly heard
by nine-tenths of the audience. In this movement
the stringed instruments are chiefly called into ac-
tion ; and it is well known that in music performed
in the open air (as this music may be said to have
been) it is [impossible to produce, by means of
stringed instruments, a foil eod vesonant body of
sound. The last movement, however—a quick
march, or pas redouble, full of fire and energy,
again arrested the general attention ; and when
the inspiring strain of "Rule Britannia," ming-
ling with this quick march, and rising by degrees
to a marvellous climax of power and grandeur,
brought the piece to an end, loud acclamations
I hailed this triumph of genius and art.
DR. BENNETT'S ODE.

There was a short pause, and then Dr. Sterndale
Bennett's Ode began, conducted by M. Sain ton. It
was admirably executed, and being a choral work
—of all kinds of music the most suitable for per-
formance on such an occasion as the present—its
effect was complete, and it was felt that Tennyson's
magnificent poem was united to music worthy of
it. Bennett's music in the official programme; is
called a chorale ; a title which gives an erroneous
idea of its nature. The word chorale is technically
used to designate a psalm or hymn tune ; whereas
this is a work on a large scale, and of grand though
simple structure. Still it is not entirely wrong to
call it a chorale, for a chorale forms the subject of
the piece, and its impression is constantly kept up,
though it is expanded by episodes arising out of the
theme, and treated with consummate contrapuntal
skill. It opens with this choral subject ; the whole
voices bursting, fortissimo, into the words, "Uplift
a thousand voices full and sweet," in four parts of
plain harmony ; and the same strain is repeated
with still greater force, and reinforced by the whole
strength of the orchestra. There is a pause, and the
voices, in the softest and most subdued tone, take
up in the relative minor the mournful words,
0 silent father of our kings to be,
Mourn'd in this golden hour of jubileo,
with an effect inexpressibly pathetic. It struck us
as remarkable that though this movement was sung
pianissimo from beginning to end, yet not a note of
it was lost, owing to the breadth and simplicity of
the melody and the harmony, together with the
naturally penetrating quality of the human voice,
which no instrument possesses in an equal degree.
After this beautiful passage there comes a piece of
choral recitative, in which the voices of each part,
singing for rather speaking) in unison, describe the
varied riches of the Exhibition—a part of the poem
extremely difficult to treat musically, but this mode
of treatment is equally ingenious and happy. There
is then a recurrence of the opening chorale ; but
the melody, being sung in a quicker time, and ac-
companied by the orchestra in a florid style, as-
sumes a more flowing and airy character. This
change occurs at the passage in the poem which
begins :
And let the fair white-wing'd peacemaker fly,
To happy havens under all the sky.
The poet's idea is here beautifully expressed, and
echoed, as it were, by the music. After this pas-
sage has been largely developed, by a variety of flue
modulations and effects of harmony, the piece is
brought to en end by a few great chords, " alla
breve," uttered with the whole power of the voices
and instruments. This grand work produced a
profound sensation. The deep silence which pre.
veiled during its performance enabled every part of
it to be clearly heard, and the loud and prolonged
applause which resounded through the whole
building showed the effect it had produced.
AUBER'S MARCH.

The last of these special performances, the Grand
March, by Auber, was less effective than the others.
Without any disparagement to this charming com-
poser, we cannot but observe that he does not seem
to be familiar with the treatment of great masses
of sound. His March is admirable, full of melody,
grace, and spirit ; but its facture (as the French
call it) is too minute for such an occasion as this.
Its delicacy and finish would be delicious at the
Opera Comique, but were loot in the vastness of the
Exhibition building.
The only other great musical performance was
the " Hallelujah Chorus," the effect of which was
inexpressibly sublime. Some pieces were played
by military bands, but they were scarcely heard.
The prayer of the Bishop of London was suc-
ceeded by Handel's " Hallelujah Chorus." As
soon as the grand sounds of that superb musical
musical thanksgiving had ceased to vibrate through
the dome, the Duke of Cambridge, rising, in his
loudest tones proclaimed that the Exhibition was