Social Victorians/Timeline/1883

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21 February 1883, Wednesday
A story (with no byline) on 3 March 1883, the Illustrated London News reports the following: "His Royal Highness the Prince of Wales, accompanied by General Hamley, General Willis, Lord Henry Lennox, and Lieutenant-Colonel Clarke, on Wednesday eveing, Feb. 21, paid a visit to the Savage Club, and presided over a most entertaining soirée. The Savage Club Saturday evenings, in the rooms at Lancaster House, Savoy, are about the most pleasant reunions in town; and it was doubtless with agreeable recollections of the night on which he was enrolled a member that the Prince accepted the invitation to take the chair at the soirée in question. H.R.H. was received by the following members of the Committee of the Savage Club: — Mr. W. B. Tegetmeier, Mr. Charles Kelly, Mr. P. T. Duffy, Mr. Herbert Johnson, Mr. J. Somers Vine, Sir Phlip Cunliffe Owen, and Mr. Goodman, the honorary secretary. [new paragraph] The Lecture by Mr. Melton Prior on the War in Egypt was the first item in the programme. It was listened to with unabated attention throughout; and the vivid battle scenes thrown by the lime-light on the screen presented a most interesting panorama of the naval and military operations of Lord Alcester and Lord Wolseley. Mr. Prior was well qualified for his task. Beginning with the Ashantee Expedition, Mr. Prior has during the past decade depicted some ten campiagns as Special War Artist of The Illustrated London News, comprising the Kaffir, Basuto, Zulu, and Boer Wars in South Africa, and the Herzegovinian, Servian, and Russo-Turkish Wars in the East. It was in a happy, colloquial manner that Mr. Prior at the outset of his lecture at the Savage Club told how Mr. William Ingram in the summer of last year dispatched him, almost at a moment's notice, to Egypt in the service of this Journal. The active Special Artist arrived in time to see and sketch the Bombardment of Alexandria; and the great value of the cartoons shown in Mr. Prior's lecture on the naval and military operations is that they are nearly all enlarged from the original sketches made by him under fire in Egypt. These were clearly thrown on the screen by Mr. E. Marshall, of Queen Victoria-street; and each tableau was so bold and effective as to lend force to the illusion that Mr. Prior was describing the stirring events as they happened before the spectators. The salient features of the Bombardment — a general view of Sir Beauchamp Seymour's Fleet shelling the forts, Bluejackets at their guns and Nordenfeldt, Commander Hoskins's narrow escape, and animated tableaux of Alexandria in flames, and Lord Charles Beresford putting marital law in force against incendiaries. An excellent general view of the British position face to face with Arabi's intrenchments at Kafr Dowar, and spirited sketches of the reconnaissances with Captain Fisher's Ironclad train, and the Mounted Infantry, were succeeded by Illustrations of Sir Garnet Wolseley's strategic move by sea from Alexandria to Port Said and Ismailia. Life-like portraits of Sir Garnet and H.R.J. the Duke of Connaught (both warmly applauded when exhibited) introduced the advance to Cairo; and the interest was increased as Mr. Prior succinctly pointed out the familiar incidents of the NIght Charge of Sir Drury Lowe at Kassassin, and the dashing episodes of the capture of Tel-el-Kebir. The lecturer, who well deserved the appluase freely given him by the Savages, was honoured by the Prince of Wales with a graceful compliment. H.R.H. said, "Everybody has known for years thar Mr. Melton Prior is a clever Artist; but few probably were aware before that he is so graphic a lecturer. I have just been told this very interesting lecture has lasted an hour; but it seemed to me only ten minutes. [new paragraph] The Prince was then presented by Sir Cunliffe Owen with a handsome album, containing the portraits of the members of the Savage Club, that of H.R.H. having been taken by the Van der Weyde light, and several photographs being from the studio of Mr. Fradelle. A reference by Sir Cunliffe Owen to the Royal College of Muisc induced the Prince to suggest that the Club should give an entertainment in order to form a Savage Club scholarship for the College. On the motion of Mr. John Radcliffe, the eminent flautist, the suggestion was at once adopted. How rich the Savage Club is in entertainers was amply shown after supper at the Smoking Concert, at which the Prince took the chair. No other club in London could have presented so varied and good a programme as was supplied by Mr. Lionel Brough, Mr. George Grossmith, Mr. C. T. Townley, Mr. Maybrick, Mr. Henry Walsham, Mr. Harry Paulton, Mr. John Maclean, Mr. Edward Terry, and Jr. James Fernandez, whose recital of Mr. G. R. Sims's poem of "The Life-boat" was excpetionally powerful. As the genial pianist to the Savage Club, Mr. Theodore Drew skilfully accompanied each song. [new paragraph] We may add that Mr. Prior is to deliver his Lecgture on the War in Egypt for the first time in public at the Crystal Palace on the current Friday afternoon; and will repeat it at Tunbridge Wells on Saturday afternoon; at St. Leonard's next Monday; in St. George's Hall, London, on Tuesday; at Southampton on Wednesday; at Bournemouth on Thursday, Bath on Friday, and Clifton on Saturday next." ("Mr. Melton Prior's Lecture on the War in Egypt." Illustrated London News, Saturday, March 03, 1883; pg. 219; Issue 2289, Col. B)

23 March 1883, Friday
Good Friday

25 March 1883, Sunday
Easter Sunday

4 April 1883, Wednesday
The column "Music" in the Illustrated London News, accompanied by an illustration, reports the following: "... the London Sunday School Choir gave a concert at the Royal Albert Hall, in aid of the Royal College of Music" ("Music." Illustrated London News, Saturday, April 07, 1883; pg. 335; Issue 2294, Col A). Here is the story: "The London Sunday School Choir, of which Sir Andrew Lusk, Bart., M.P., is President, was founded in 1871 for the objects, more especially, of promoting and improving the practice of part-singing, and generally cultivating a spirit of Christian unity, amongst Sunday School teachers, scholars, superintendents, and visitors, of different religious denominations. Mr. Luther Hinton, one of the Council for musical instruction and practice, has formed an advanced choir, which he has trained to a high degree of efficiency. At the annual Festival of the London Sunday School Choir, which was held on Wednesday week in the Royal Albert Hall, a concert was given in aid of the funds of the Royal College of Music; and the singing, performed by about 1600 selected voices, conducted by Mr. Luther Hinton, was very creditable to them and to their instructors. Among the audience were their Royal Highnesses the Duke and Duchess of Edinburgh, in honour of whom one of the pieces chosen for this performance was the Russian National Anthem. The organ was played by Mr. W. G. Horncastle. We give an Illustration of the scene, which was a pleasant one for the eye to dwell upon. Following some anthems came Sterndale Bennett's charming quartet, "God is a Spirit" ("Woman of Samaria"), so admirably rendered that an encore was peremptorily insisted upon. The next prominent feature in the programme was the "Ave Maria" ("Meditation on a Prelude by Bach"), in which the soprano part was exquisitely rendered by Senorita Lucia Carrerras; Miss Marie Schumann skilfully executing the violin obbligato, Miss Louisa Schumann accompanying on the pianoforte. This performance is shown in our minor Illustration, and we must not omit to mention Mr. David Davies presiding at the organ. A quartet and chorus, specially composed by the last-named gentleman for this choir, entitled "Magnificat." was also received with great favour. The other pieces of sacred music comprised Richard Farrant's "Lord, for They tender mercy's sake"; Sir John Goss's "Oh, taste and see"; an anthem written by Dr. Hopkins, "Lift up your heads"; a [Col A/B] "Magnificat," and one or two more, all of which were enthusiastically applauded. The secular pieces included a selection from "Il Trovatotore," played on the violin by Miss Marie Schumann, and some glees, part-songs, and choruses, from the works of Webbe, Auber, Stevens, Root, Sullivan, Benedict, and Pinsuti, with the national song, "Rule Britannia," admirably harmonised by Mr. G. Oakey. Scarecely any amount of praise is too high to bestow upon the manner in which the children of the London Sunday School Choirs have been trained." (Illustrated London News, Saturday, April 14, 1883; pg. 364; Issue 229, Cols. A-B)

26 April 1883, Thursday
In the 3 March 1883 column "The Court," the Illustrated London News reports the following about the activities of the Prince and Princess of Wales: "The Prince and Princess have promised to preside at the opening of the new galleries of the Institute of Painters in Water Colours, Piccadilly, on April 26. After the ceremony there will be a concert, to which the charge for admission will be one guinea, the receipts to go to the Royal College of Music." (The Court.Illustrated London News, Saturday, March 03, 1883; pg. 219; Issue 2289, Col. A). On 5 May 1883, the Illustrated London News reported this event: "Yesterday week the Prince and Princess of Wales and Princess Christian were present at a concert given in aid of the funds of the Royal College of Music in Prince's Hall, Piccadilly, and aferwards opened the exhibition of the Institute of Painters in Water Colours in the galleries of the hall." ("The Court." Illustrated London News, Saturday, May 05, 1883; pg. 439; Issue 2298, Col. A.).

7 May 1883, Monday
The Prince of Wales opened the Royal College of Music; Prime Minister Gladstone was there (Campbell 15).

8 May 1883, Tuesday
“On May 8th, H.R.H. the Prince of Wales gave what may be almost called a Royal College of Music dinner party, the guests including the following musical men: Prof. G. A. Macfarren, Sir J. Benedict, Dr. J. Stainer, Dr. Sullivan, Mr. J. Barnby, Herr Otto Goldschmidt, Mr. George Mount, Mr. W. G. Cusins, Mr. Mackenzie, Mr. T. Chappell. Dr. George Grove, Mr. C. Morley, and Mr. Kellow Pye.” (“Opening of the Royal College of Music.” Vol. XXIV, No. 980 (12 May 1883). 296. The Musical Standard: A Newspaper for Musicians, Professional and Amateur. Vol. XXIV. New Series, January to June, 1883. 294–296.) Here is the description in the Illustrated London News: "The Prince gave a dinner party on Thesday at Marlborough House to thirty-four gentlement chiefly interested in the furtherance of the science of music. The Duke of Edinburgh dined with him" ("The Court." Illustrated London News, Saturday, May 12, 1883; pg. 463; Issue 2299, Col. A).

13 May 1883, Sunday
Whit Sunday.

Arthur "Sullivan [had had a telephone installed], and on 13 May 1883, at a party to celebrate the composer's 41st birthday, the guests, including the Prince of Wales (later Edward VII), heard a direct relay of parts of Iolanthe from the Savoy. This was probably the first live 'broadcast' of an opera" ("Gilbert and Sullivan." Wikipedia, the Free Encyclopedia. Online http://en.wikipedia.org/wiki/Gilbert_and_Sullivan, retrieved 21 January 2010. Citing Ian Bradley, The Complete Annotated Gilbert and Sullivan. Oxford: Oxford University Press, 1996: 176).

23 May 1883, Wednesday
Derby Day at Epsom Downs. According to the Morning Post, Lady Wlmborne's evening party at Hamilton House. / Mrs. Naylor Leyland's first dance (Derby Day). / Mrs. Foster's evening party, Belgrave-square. / Chevalier and Mrs. Desanges's "at home," at 16, Stratford-place, from four to seven, No cards. ("Arrangements for the Day." The Morning Post Wednesday, 23 May 1883: p. 5 [of 8], Col. 7B).

24 May 1883, Thursday
Arthur Sullivan was knighted by Queen Victoria during the run of Iolanthe. George Grove and George Macferren, Principal of the Royal Academy of Music, were knighted in the same ceremony. Sullivan's diary seems to say Victoria did it, but other sources say it was Albert Edward, the Prince of Wales.

26 May 1883, Saturday
The column "The Court" in the 19 May 1883 ILN reports the following: "Princess Christian has consented to perform at the two concerts which are to be given in aid of the Royal College of Music, at the Albert Institute, Windsor, on the 26th inst." ("The Court." Illustrated London News, Saturday, May 19, 1883; pg. 495; Issue 2300, Col. A).

14 June 1883, Thursday
In a brief mention in on 23 June 1883, the Illustrated London News reports the following: "The morning performance at the Lyceum Theatre on the 14th inst., in aid of the Royal College of Music, resulted in a gain to the funds of £1000" (Illustrated London News, Saturday, June 23, 1883; pg. 623; Issue 2305, Col. A). "The Court" mentions the performance as well: "The Prince and Princess of Wales, accompanied by the Hereditary Prince and Hereditary Pricess of Saxe-Meiningen and Prince Albert Victor, were present at the performance at the Lyceum Theatre in aid of the funds of the Royal College of Music" ("The Court." Illustrated London News, Saturday, June 23, 1883; pg. 626; Issue 2305, Col. C).

Here is the story and review of the performance, by Sala: "The sum of one thousand pounds was the outcome of the remarkable afternoon performance given under the special patronage of their Royal Highnesses the Prince and Princess of Wales at the Lyceum on Thursday, June 14, in aid of the funds of the Royal College of Music. The Prince and Princess were present, and the house, so liberally devoted by Mr. Henry Irving to the furtherance of a worthy object, was crowded by a fashionable audience, undismayed at such phenomenal prices as ten-guinea private boxes and stalls, and the front seats in the dress circle at two guineas each. The pit was five shillings. An entertainment of exceptional attractiveness had been provided, comprising a scene from Lord Lytton's comedy of "Money," admirably interpreted by Mr. Arthur Cecil as Mr. Graves, by Mr. Brookfield as the servant, and by Mrs. Bancroft as Lady Franklin; and, as a finale, a selection from the fairy-opera of "Iolanthe," rendered by Mr. George Grossmith, Mr. Charles Manners, Mr. Rutland Barrington, Mr. Durward Lely, and Miss Leonora Braham, with the skilful Mr. F. Cellier as conductor; but, of course, the "sensational" feature of the programme was the revival of the old melodrama of "Robert Macaire; or, the Roadside Inn" — a version (by the late Mr. Charles Selby, I should say) of the too-celebrated French peice, "L'Auberge des Adrets," in which Frédéric Lemaître "created" — with a vengeance — the part of the felonious hero. "Robert Macaire," as a melodrama, is scarcely so powerful as our very old English friends, "Jonathan Bradford" and "Ambrose Gwynett"; indeed, the "Roadside Inn" has been not inappropriately likened to a piece originally framed as a ballet pantomime, with a murder interpolted at the last moment, to give a little serious interest to an otherwise frivolous production. Without the assassination of M. Germeuil, Robert Macaire and Jacques Strop might be merely two very diverting vagabonds of a purely pantomimic type; Macaire is clown and Jacques Strop pantaloon to Charles's harlequin and Clementine's columbine, while Loupy, the sergeant of gendarmes, may be taken to correspond with the pantomimic policeman, and Pierre, the innkeeper, answers well enough to the respectable tradesman of pantomime so repeatedly robbed, swindled, buffeted, and otherwise maltreated by clown and pantaloon; but a combination of circumstances has rendered it indispensable that Robert Macaire should be played only by an actor possessing in an equal and in the very highest degree tragic an dcomic powers. These powers were possessed by teh Frenchman Frédéric Lemaître; and with them the Englishman, Henry Irving, is as fully and as highly endowed. I have seen both Frédéric (at the French plays in London, for "L'Auberge des Adrets" was a prohibited play in Paris for many years) and the late Charles Fechter in the part of the cynical convict and assassin. Memaître was in his décadence when I saw him. His teeth were nearly gone, and his utterances did not extend beyond a shrill piping; but his by-play was superb. The excellence of Fechter's performance was impaired by the musical tones of his voice, which he did not sufficiently vary, and by his apparent reluctance franky to accept the comic side of the character. He was more Don Caesar de Bazan arrayed as a French instead of a Spanish tatterdemalion than the Robert Macaire of the Porte St. Martin. Mr. Irving appears to me to have grasped the character in its entirety. He has combined with amazing skill and acumen of conception the attributes of the ragged and dirty dandy, and scurril jester, the inveterate thief and swindler, and the cold-blooded villain who will not stop short of murder in the pursuit of plunder; but with this warp of ruffianism and ribaldry he mingles just one thread of natural pathos. He is not altogether a wild beast in human form — the laughing hyaena of the bagne. He is a father; and he can feel some emotion when he recognises his son. And in his last moments he repents of his cruelty to the wife whom he has abandoned, and dies, forgiven, in her arms. When we remember that while Macaire — shot, when attempting to escape, by the gendarmes — is expiring, the corpse of the murdered M. Germeuil is weltering in his blood up stairs, we ought properly to feel only horror and disguist for the dying assassin on the stage; but the consummate skill with which Mr. Irving, by a few words and a few gestures, has emphasised the truth that a touch of human feeling may be linked with a thousand crimes, mitigates the aversion we feel for so hideous a character as Macaire. Until the murder takes place he is merely a buffoon, at whose antics we can impartially laugh. But with his hands freshly stained with human blood, an ordinary actor who still continued his buffoonery would become unutterably repulsive. A great master of his art only can, as Henry Irving does, contine to be wildly comic, and move us to merriment as wild long after he has confessed to Bertrand the doing of that gory deed up stairs. We almost forget the slain Germeuil till Nemesis arriveds, and all at once the buffoon disappears and we are contronted by the desperate but ultimately reprentant criminal. If the character of Macaire as drawn by Mr. Irving be scouted as wholly unnatural, look, I say, at the character of that horrible robber and murderer Charles Peace. He was the merriest of burglars and blood-spillers. He played on the accordion, he sang comic ditties at music-halls afer he had killed people; at his last examination before the magistrates he put his feet on the justice-room table and made jocular remarks; but when Nemesis came and the rope was tightening round his neck he did at least one human act, in declaring the innocence of the poor young Irish labourers whom, in the days of his rollicking Macairdom, he had unconcernedly seen condemned to death for a murder which he had himself committed. Fortunately, the doom of the Habrons had been commuted to penal servitude for life; and through Peace's tardy revelations they were restored to liberty. I may add that the character of Rebert Macaire is not wholly an imaginary one. It seems to have been founded on a real scoundrel — one Coignard — who, shortly after the Restoration of 1815, escaped from the bagne of Toulon, and, after assuming a number of disguises, passed himself off as the Comte Pontis de Ste. Hélène. He actually rose to the rank of Commander of the National Guard of Paris; when he was arrested at a review on the denunciation of an ex-comrade at the galleys whose silence he had stupidly refused to purchase. Coignard was a dandy, even when clad in the hideous livery of the prison, and was known as "le beau du bagne." As for the name of Macaire, it has long been typical in France for villany, as the name of the assassin who murdered Aubry de Montdidier in the Forest of Bondy in 1371, and whose crime was discovered through the sagacity of Aubry's faithful dog. Mr. Irving had a wonderflly droll foil in the Jacques Strop of Mr. J. L. Toole, whose exhibition of pusillanimity was simply marvelous, and whose "make up" vied in drollery of effect with that of the not-to-be-forgotten Robson in the "Wandering Minstrel." As for Mr. Irving's facial and sartorial equipments, they were really artistic triumphs. You had before you not only the Robert Macaire of Lemaître, but the even more raggedly picturesque incarnation of the rascal created (after the play itself had been forbidden) by the French caricaturist Henri Daumeri, in the wonderful series of pictorial satires called "Les Cent et un Robert Macaire." One great charm of the performance was the complete harmony with which Mr. Toole and Mr. [Col B/C] Irving played into each other's hands. Each seemed perfectly to comprehend the idiosyncrasies and divine the intent of his other; and there was not a false note in their whole artistic duet. The charming Miss Ellen Terry accepted with graceful condescension the trifling part of Clémentine, Miss Ada Cavendish threw much pathos into the part of the ill-used wife Marie; Mr. Fernandez was an impressive M. Dumont, and Mr. Howe a genial M. Germeuil — I mean, genial till he was murdered. Mr. Terriss was a manly Charles, Mr. Thomas Thorne an amusingly stolid innkeeper, and Mr. Bancroft a duly suspicious sergeant of gendarmes. That all these clever ladies and gentlemen should have refrained from shrieking and rolling about the stage in ecstasies of laughter while Mr. Toole and Mr. Irving were on the stage reflects the highest credit on their command over their risible muscles. A memorable afternoon." (G.A.S. [Sala, George Augustus.] "The Playhouses." Illustrated London News, Saturday, June 23, 1883; pg. 622; Issue 2305, Cols B-C).

25 June 1883, Monday
"Guildhall Concert for Royal College of Music" ("Calendar for the Week Ending June 30." Illustrated London News, Saturday, June 23, 1883; pg. 618; Issue 2305, Col. A). Monday, 25 June 1883: meeting at Prince's Hall, London, in honor of Elizabeth Cady Stanton and Susan B. Anthony. Stanton says, "At a grand reception, given in our honor by the National Central Committee, in Princess' Hall, Jacob Bright, M.P., presided and made an admirable opening speech, followed by his sister, Mrs. McLaren, with a highly complimentary address of welcome. By particular request Miss Anthony explained the industrial, legal, and political status of American women, while I set forth their educational, social, and religious condition. John P. Thomasson, M.P., made the closing address, expressing his satisfaction with our addresses and the progress made in both countries." (http://www.fullbooks.com/Eighty-Years-And-More-Reminiscences-18156.html; book is elsewhere on the web as well)

30 June 1883, Saturday
Not sure of date, though the implication is that the date is Saturday because of these sentences occur at the beginning of the column, between a mention of other events on Saturday and the royal family's attendance at "divine services" on Sunday. The column "The Court" in the 7 July 1883 ILN says the following: "Princess Beatrice was present at a concert given at the Albert Institute, Windsor, on behalf of the Royal College of Music, Princess Christian being one of the performers, her Royal Highness also taking part at a second concert in the evening. Prince Christian and Princesses Victoria and Franciska of Schleswig-Holstein, and the Prince and Princess of Saxe-Meiningen were of the audience." ("The Court." Illustrated London News, Saturday, July 07, 1883; pg. 10; Issue 2307, Col. C)

9 July 1883, Monday
"Royal College of Music, concert, Guildhall, 3.30 p.m." ("Calendar for the Week Ending July 14." Illustrated London News, Saturday, July 07, 1883; pg. 2; Issue 2307, Col. A). The "Music" column from the same issue of the ILN says the following: "The Guildhall concert in aid of the funds of the Royal College of Music takes place next Monday afternoon, when the Prince and Princess of Wales, and other members of the Royal family, are expected to be present. Madame Adelina Patti, and other eminent artists are named in the programme." ("Music." Illustrated London News, Saturday, July 07, 1883; pg. 6; Issue 2307, Col. B). The "Music" column in the 14 July ILN says this: "A concert was given at the Guildhall on Monday afternoon in aid of the funds of the Royal College of Music in whose behalf so many public appeals have been, and are being, made, under the stimulating influence of Royal and noble patronage. The performances call for no critical comment, the programme having consisted of familiar pieces. Madame Albani was prevented, by hoarseness, from being present, but Madame Adelina Patti appeared and sang "Kathleen Mavourneen," and (for the encore) "Within a mile of Edinbro' town," with her usual perfection. Other vocal pieces were contributed by Madame Antionette Sterling, Mrs. Hutchinson, Mdlle, Tremelli, Miss Hope Glenn, Signor Marconi, Mr. Maas, and Signor Battistini. Pianoforte, violin, and violoncelo solos were effectively rendered, respectively, by Madame Frickenhaus, Mr. Carrodus, and Herr Holmann — some very light music having been played by Kalozdy's Hungarian band. Signori Bevignani and Bisaccia conducted. The Prince and Princess of Wales and other Royal visitors, and the Lord Mayor and Lady Mayoress, were present. It is said that about £1000 was realised." ("Music." Illustrated London News, Saturday, July 14, 1883; pg. 30; Issue 2308, Col. C). Regarding this concert, the column "The Court" of the 14 July 1883 ILN says this: "The Prince and Princess, accompanied by the Grand Duke of Mecklenburg-Strelitz and the Hereditary Prince and Princess of Saxe-Meiningen, attended a concert at the Guildhall on Monday given by the Lord Mayor on behalf of the funds of the Royal College of Music" ("The Court." Illustrated London News, Saturday, July 14, 1883; pg. 35; Issue 2308, Col. A.).

11 July 1883, Wednesday
The "Playhouses" column of the 2 Jun 1883 issue of the ILN reports the following: "A brilliant day and night festival is, by the gracious permission of the Prince of Wales, to add to the gaiety of the Albert Hall next month. His Royal Highness and the Princess have promised to attend the Dramatic and Musical Fancy Fair and Fancy-Dress Ball to be given there by the Savage Club, on Wednesday, July 11, for the purpose of founding a scholarship in connection with the Royal College of Music. The Savage Club has for a long time now numbered among its members some of the liveliest and most accomplished entertainers in town. Over twenty-three years ago — on March 7, 1860 — her Majesty and the late Prince Consort, with some members of the Royal family, honoured by their attendance the theatrical performances of the Savage Club at the Lyceum Theatre for a charitable purpose. Some of the performers on that occasion survive to devise an abundance of diversion for the Royal party and the public on July 11." (The Playhouses. Illustrated London News, Saturday, June 02, 1883; pg. 542; Issue 2302, Col. C). There are two classified advertisements for the Savage Club entertainment in the 23 June 1883 ILN: "SAVAGE CLUB ENTERTAINMENT and COSTUME BALL. Object: the Founding of a Club Scholarship in the Royal College of Music. [new paragraph] The EXECUTIVE COMMITEE of the SAVAGE CLUB have the honour to announce tht a GRAND MISCELLANEOUS ENTERTAINMENT and COSTUME BALL will be given by Members of the Club in the ROYAL ALBERT HALL, on WEDNESDAY, JULY 11, with the immediate Patronage and Presence of his Royal Highness the Prince of Wales, K.G. (Honorary Life Member of the Club), and her Royal Highness the Princess of Wales, and other Members of the Royal Family. [next ad] SAVAGE CLUB ENTERTAINMENT and COSTUME BALL. WEDNESDAY, JULY 11, the PRICE of TICKETS of ADMISSION will be as follows: — Gentlemen, Two Guineas; Ladies, One Guinea and a Half (inclusive of Champagne Supper, Wine, and Refreshments). [new paragraph] The Boxes will be appropriated for visitors who may prefer not to join in the Ball. Balcony seats, Five Shillings each. [new paragraph] Application for Tickets (and for prices of Special Boxes) may be made to the Executive Committee, Savage Club, Lancaster House, Savoy-place, Strand, W.C.; at the Royal Albert Hall; and at all the Libraries. [new paragraph] Under no circumstances will tickets be granted without the production of a voucher properly filled in and signed by Barry Sullivan, chairman of the Executive Committee, and one or other of the Vouching Sub-Committee, composed as follows: — Sir P. Cunliffe Owen, J. R. Somers Vine, Edgar Bruce, Herbert Johnson, Thomas W. Cutler, Augustus Harris, and A. Gwyllym Crowe. The vouchers having been obtained, may then be sent to E. J. Goodman, hon. secretary, Savage Club, together with a cheque or post-office order for the number of tickets required; or they may be exchanged (on payment), for tickets, at the Albert Hall or the Libraries. [new paragraph] The doors of teh Hall will be open at 7.30 p.m. The Entertainment will commence at 8.30 p.m., and the Costume Ball at about Eleven p.m. [new paragraph] The Metropolitan and District Railways will run Special Trains from South Kensington to Aldgate and Mansion House (calling at all stations) at and after One a.m." (Multiple Classified Advertising Items. Illustrated London News, Saturday, June 23, 1883; pg. 618; Issue 2305, Col. A).

The 30 June 1883 ILN has further details: "SAVAGE CLUB COSTUME BALL. Under the Immediate Patronage of His Royal Highness the PRINCE OF WALES, K.G. (Hon. Life Member of the Club). Her Royal Highness the PRINCESS OF WALES (who will be present). [then a 2-column table, reading down the left column and then down the right] H.R.H. the Duke of Edinburgh, K.G. [lb] H.R. & I.H. the Duchess of Edinburgh. [lb] H.R.G. the Duke of Albany, K.G. [second column] H.R.H. the Duchess of Albany [lb] H.R.H. the Prince Christian, K.G. [lb] H.R.H. the Princess Christian [lb and then across the bottom] &c., &c., &c. ... SAVABE CLUB COSTUME BALL. — The Boxes and Amphitheatre Stalls will be available for visitors who may prefer not to join us in the Costume Ball. [lb] Private Boxes from Ten Guineas; Balcony Seats (to view the Entertainment and Ball), Five Shillings each. Vouchers and Costume not required for Balcony Seats." (Multiple Classified Advertising Items.Illustrated London News (London, England), Saturday, June 30, 1883; pg. 658; Issue 2306, Col. C). Here is the story after the event, in the 21 July 1883 ILN: "The entertainment and costume ball given by the Savage Club last week at the Royal Albert Hall, in aid of the funds of the Royal College of Music, was a great and, in some respects, unique success. From four to five thousand persons were present in different parts of the hall; and the proceeds of the night from various sources will probably suffice to carry out the object of the Club — that is, the founding of a scholarship in connection with the Royal College of Music. [new paragraph] Many causes conducted to this success. The countenance and presence of the Prince of Wales, honorary life member of the Club, the Princess of Wales, and other members of the Royal family, led on many people of rank and fashion. The entertaining resources — artistic, literary, musical, and mimetic — of the Club, which were known to be exceptionally great and varied, though very rarely displayed in public, were largely drawn upon. Novel artistic devices by Messrs. H. Furniss and Herbert Johnson illustrated the programmes and cards for the evening. Music, also, specially composed for the occasion, by Messrs. D. J. Hargitt, F. H. Cowen, and Eaton Faning, was provided — the last-named composer we have portrayed as he appeared conducting his "Savage Dance." And, in addition, a chosen band of over thirty "Savages," in the garb and war-paint of North American Indians, supplied an appropriate element of wild barbaric picturesqueness. The Albert Hall itself — for capacity, grandeur of line, and beauty of proportion — is unrivalled in the world for the purposes of a fancy ball. When the dancing commenced in the spacious arena, and while the spectators in costume lingered about the sweeping rows of amphitheatre, stalls, and tiers of boxes, and those in mufti still filled every seat of the vast balcony, the coup-d'oeil was magnificent, and decidedly surpassed that of a Bal de l'Opéra at Paris, even in the days of Napoleon III. [new paragraph] The Prince and Princess of Wales and other Royal personages arrived about nine o'clock, and wer received by Sir Philip Cunliffe-Owen, Mr. Woodall, M.P., and other members of the Committee. They were attended by the "Savages" in Indian costume, who were marshalled by their chief as a Guard of Honour. The entertainment of songs, recitations, &c, then took place — among the gentlement who assisted therein being Messrs. Charles Warner, J. H. Brockbank, Theodore Drew, Bernard [Col A/B] Lane, G. Jacobi, G. W. Anson, J. E. Soden, W. H. Pyatt, Fleming Norton, J. G. Taylor, E. Terry, Harry Paulton, C. Bernard, J. Procter, Oswald, Maybrick, E. Bending, Brandon Thomas, and E. J. Odell. The voices, however, of some of the members, though ample to fill the modest "wigwam" or "lodge" in the Savoy, at the Saturday dinners, proved comparatively ineffective in the vast arena of the Albert Hall; and the vacant whitened floor of the arena presented a rather cheerless aspect. The livelier portion of the proceedings commenced at half-past eleven with the opening of the ball by the procession of the Red Skins, who, with savage disregard of the time of Mr. Cowen's admirable "Barbaric March," shuffled in true "Indian file" and gait, or gambols, across the arena, and, forming a semicircle about the Chief and Medicine Men, smoke the pipe of peace, duly offering it, in dumb show, to their "Great Father" the Prince of Wales. The general dancing then began. But the Procession of Savages should have been immediately followed (according to the programme) by their "Buffalo Dance," to which the smoking of the calumet would have been a fitting prelude, as well as accompaniment. The Buffalo Dance was, however, deferred by the executive committee till the hour for supper — when it formed the most striking and laughable incident of the night's entertainment. Of this famourite medicine rite to "make buffalo come," and the muster of the tribe to winess it, we have given an Illustration. In this we have been much assisted by the photographs of single figures and groups, taken instantaneously by the Van der Weyde Light. Mr. Van der Weyde, who is a member of the Savage Club, devoted the proceeds to the funds of the Royal College of Music. [new paragraph and now Col. C] The costumes at the ball were probably the most varied ever seen together, and many were remarkably artistic, accurate, and splendid. Our Sketches of some of these can give but a limited idea of the extraordinary variety of the impersonations. The relations of this country with all parts of the world doubtless led to a wider diversity in the dresses than would be found in any Continental display of a like kind. Thus there were, besides the Savages proper, a Japanese prince, a Chinese mandarin, an Afghan chief, a nigger from the Gold Coast, a Californian gold-digger, Turks, Greeks, Albanians, and semi-barbarians from all parts of the globe; as well as Pierros, Figaros, Mephistopheles, and Punchinellos, nuns, fishwives, and vivandières, matadors, cooks, and cardinals, and a thousand historic and histrionic personages. To the revived interest in art (and therefore costume) we should attribute the remarkable accuracy that distinguished the "get up" of many of the motley throng. In this respect the Red Indian savages were specially noteworthy. Their stalwart chief, Mr. T. J. Gullick, the artist and art-critic, spared no pains to organise an exact representation. Catlin's "North American Indians" and more learned authorities were consulted; members of the club, such as Mr. Sydney Hall, who had visited the tribes of the Far West, were taken into council; the collections of the British and South Kensington Museums and in Victoria-street (Christy's) were examined; and loans of Indian clothing, ornaments, and arms were invited from and kindly granted by Lord Dunraven (a member of the club), Lord Castletown, and others. [new paragraph] The result was that the garb of many if not most of the members who took part in the Barbaric Procession and Buffalo Dance were either genuinely Indian, or as close an imitation as could be desired. The dress of the Chief (who appears in our engraving of the Buffalo Dance) was, in the words of a contemporary, "a marvel of barbaric design," yet, with one trifling exception, strictly authentic, and deserves description. The head-dress, then, was a silver band (Catlin, Plate 130), with a border above of zigzag beadwork, or wampum, that might suggest the fleurons of a crown; from which sprang plumes of an American eagle. The buckskin jerkin, secured at the waist by a genuine wampum belt, from which hung a "medicine-bag" and fan of crimson feathers, was fringed by thongs, thimbles, gingles, and fleeces of black wool, to stand for scalp-locks, and decorated on the back and short sleeves with "picture writings," recording the military and hunting exploits of the chief — the whole exactly copied from the very curious and amusing fac-simile in Catlin's book. Round the neck was a gorget of wapiti teeth, and beneath a large necklace of grizzly bears' claws, and tusks and teeth of animals of the chase. Intermediate, next the gorget, was a silvered relief of George III. (improvised from an old snuff-box) representing one of the silver medals given to the tribes who fought as our allies against the United States, and which are still preserved by many Indians. Below this, from a string of beads, shells, and red berries, hung, at alternate intervals, guineas (electrotyped) of George II., and S-shaped brass ornaments. This little license represented, as the Chief pretended, the insignia of the Savages, and a primitive form of the Collar of Esses. The leggings of dark red cloth were decorated at the outer seams with straw or purcupine-quill plaiting, hair trophies, and feathers; and the moccasins were embellished with beadwork. A small looking-glass to enable the chief to pluck out the (much-neglected) hair of his face, earrings, bracelets, and a buffalo-hide painted shield, and feathered spear, completed the chief's equipment. [new paragraph] Seriously, we hope the Savage Club will help to restore the former union of art and merry-making in what was once the "Merrie England" of masks and mummings, revels and pageantry; and we trust that, encouraged by its greatly successful début, it will, like the artistic clubs of many Continental cities, afford the public the pleasure of a similar fête annually." (The Savage Club at the Royal Albert Hall.Illustrated London News, Saturday, July 21, 1883; pg. 67; Issue 2309, Cols .A-C).

27 August 1883, Monday
Summer Bank Holiday

31 October 1883, Wednesday
Halloween

5 November 1883, Monday
Guy Fawkes Day

25 December 1883, Tuesday
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26 December 1883, Wednesday
Boxing Day