was forced once more to take the field. With the dash and energy of a far younger man he went out to meet them, and defeated them a fourth time at Ramnuggur, and again at the sanguinary and indecisive battle of Chillianwallah. His crowning victory was at Goojerat, where the Sikh power was finally and decisively broken, and the fugitives were pursued by Sir Walter Gilbert beyond the Indus, and, outmarched as well as defeated, had to lay down their arms.

Upon Lord Gough's return to England he was advanced to a viscounty, by the title of Viscount Gough of Goojerat in the Punjaub, and of the City of Limerick; at the same time he again received the thanks of both Houses of Parliament, together with a pension of 2000l. a year for himself and his two next successors in the peerage. The East India Company followed the example of the Imperial Legislature, voting him their thanks and settling on him a corresponding pension; and the City of London conferred on him its freedom.

From that date Lord Gough saw no active service; but the nation did not

forget him. He was appointed Colonel

in-Chief of the 60th Rifles in 1854, in the following year he succeeded Lord Raglan as Colonel of the Royal Horse Guards, and in the year 1856 he was sent to the Crimea to represent Her Majesty on the occasion of the investiture of Marshal Pelissier and a large number of our own and of the French officers with the insignia of the Bath. In 1857 he was installed a Knight of the Order of St. Patrick, being the first knight who did not hold an Irish peerage. In 1859 he was sworn a Privy Councillor; in 1861 he was nominated a Knight Grand Commander of the Star of India, and was appointed to the honorary colonelcy of the London Irish Rifle Volunteers; in November, 1862, he received the latest reward of a long life spent in the service of his country in the shape of a Field-Marshal's bâton. It may be safely said, in conclusion, that since Lord Combermere was taken from us no more brilliant name has passed from the Army List than that of FieldMarshal Viscount Gough.

Lord Gough married in 1807 Frances Maria, daughter of General Stephens, but was left a widower some five or six years ago. By her he had four daughters (one of them the wife of the Governor of Malta, Lieutenant-General Sir Patrick Grant, G.C.B.), and also an only son. By his second wife, who was a Miss Arbuthnot, he had issue a youthful family.

MADAME GRISI.

Giulia Grisi, who died on the 25th of November, at the Hotel du Nord, Berlin, after a short but severe attack of inflammation of the lungs, was the daughter of Gaetano Grisi, an officer of Engineers under Napoleon, and was born at Milan in 1812, others state 1806. She was the younger sister of Giuditta Grisi (for whom Bellini composed the part of Romeo, in his opera, I Capuletti e i Montecchi, and Rossini his opera Bianco e Faliero)-also a singer of some note; and her aunt was Josephine Grassini, in her day almost as famous as her niece became subsequently. Giulia's birthday was the 22nd of May, the fête of St. Giulia; hence her baptismal name.

Her earliest instructors were, successively, her sister Giuditta; Filippo Celli, afterwards resident professor of singing in London; Madame Boccabadati; and Giuglielmi, son of the once popular com. poser of that name. At the age of seventeen, at Bologna, she made her first appearance in public, as Emma, in Rossini's Zelmira. The composer of that unjustly forgotten opera seria, who was present, took more than common interest in the youthful aspirant. Giulia's voice was at that time a low mezzo soprano, and Rossini prophesied for her a "futuro brillante." Youth, uncommon personal attractions, a beautiful voice, and indications already of that stage talent afterwards so remarkably developed, combined to obtain a reception for their possesser more hearty and unanimously favourable than often falls to the lot of a débutante.

Her success at Bologna attracted the notice of the impresario, Lanari, who induced her to accept a six years' engagement for the Pergola at Florence, where she made her first appearance, as Giulietta, in Bellini's opera already named-her sister, Giuditta, sustaining the character of Romeo. At Florence she created a sensation almost unparal leled, and was the toast at every café as "La perletta dei cantatrici!" From the Tuscan capital she went to Milan, being engaged by Crivelli, agent for Merelli, then manager of the Scala, where Pasta was reigning prima donna assoluta, and where Vincenzo Bellini was com posing an opera for that most renowned of lyric tragedians. At Milan she made her début as Medora, in Il Corsaro, an opera founded upon Lord Byron's well. known poem-with music by Pacini One of Giulia's warmest admirers was Bellini, who, just then preparing Norma for Pasta, instinctively recognized in the

young stranger the beau ideal of his Adalgisa. The now universally celebrated opera was produced at the Scala, on January 1 (the fête of Santo Stefano), 1832, with Pasta, Donzelli, and Giulia Grisi in the three principal characters. It is worth remarking that the first act was a complete fiasco; and that it was not till the duet between Norma and Adalgisa ("Deh, contè ") that the audience began to applaud. The somewhat commonplace quick movement which terminates this duet created extraordinary enthusiasm; and this so angered Pasta that she turned to Grisi and exclaimed, contemptuously, within hearing of the audience, "Ecco i conoscitori." But from that point to the end all went off well; and Norma was an unequivocal success. It is more than likely that to the forty representations which ensued, with Madame Pasta as the Druidess, we owe the Norma which for a very long time upheld the reputation of Grisi more than perhaps any of her other impersonationsnot excepting even Anna Bolena (in which, at Milan, she also played Jane Seymour, to Pasta's Queen), Semiramide, and Lucrezia Borgia. That Grisi's Norma and Anna Bolena were closely modelled upon the Norma and Anna Bolena of Pasta (who was first to introduce these operas to London, at the King's Theatre Anna Bolena in 1831, Norma in 1833) has, by connoisseurs, been unanimously admitted.

The six years' engagement contracted with Lanari (who had transferred his rights to Merelli) was not precisely fulfilled. The young prima donna, impatient of control, and believing that higher destinies awaited her than those held out by her agreement with the wily Florentine, escaped to Paris, under circumstances of great difficulty, and which only the most indomitable courage and perseverance could possibly have surmounted. Once across the frontier, she left both Lanari and Merelli without redress. At Paris she met her annt Madame Grassini, and her sister Giuditta. Rossini, at that time, in cooperation with MM. Robert and Seve. rini, superintending the business of the Italian Opera (Rue Favart), concluded an engagement with his old protégée for a series of years; and Giulia Grisi made her début before the not easily satisfied Parisians in the great Italian master's own opera, Semiramide, with a success by many still vividly borne in mind. At Paris, later, during this first season, Giulia appeared in I Capuletti e i Montecchi, of Bellini; in Don Giovanni (as Zerlina, with Rubini as Ottavio, and

Tamburini as the hero); in Anna Bolena, and in other works. In the autumn of 1833, after six months' leisure devoted assiduously to study, she again came to Paris, playing Rosina in the Barbiere (Rossini's, of course), with Rubini as the Count, and Tamburini as the Barber; La Gazza Ladra, in which opera, as Ninetta, she won a signal triumph; in Don Giovanni (this time as Donna Anna, the Zerlina being Madame Ungher), &c. The great event, however, of Grisi's second season in Paris was the production of Bellini's last opera, I Puritani (little more than half a year after the production of I Puritani Bellini died)-composed expressly for Rubini, Tamburini, Lablache, and herself, and performed with a success which Rossini himself has commemorated in a letter to be cited again and again for its critical acumen and its wit.

But Grisi's career in Paris has less interest for us than her career in London, where her first appearance took place at the old theatre in the Haymarket on the 8th of April, 1834, as Ninetta, in La Gazza Ladra, with Rubini as Giannetto, Zuchelli as Fernando Villabella (afterwards one of Tamburini's most famous characters), and Tamburini as the magistrate. On this memorable occasion she gave unqualified satisfaction both as a singer and an actress.

Grisi's next parts at the King's Theatre were Anna Bolena; Desdemona, in Otello; Elena, in the Donna del Lago; Pamina, in L'Assedio di Corinto (Rossini); the heroine of Donizetti's Robert Devereux; Rosina, in the Barbiere di Siviglia; Amina, in the Somnambula; and Semiramide. After her Semiramide it was unanimously admitted that "Pasta having retired, her only successor was Grisi."

Grisi's career in London may be fairly comprised within the period that elapsed between the year of her first appearance, 1834, and 1854, the year of her socalled "farewell performances," previous to her engagement with Signor Mario, to sing in the United States of America. During this period sho visited us every year, successively, except in the year 1812. We have enumerated many of the parts in which her greatest triumphs were achieved; but to Ninetta, Anna Bolena, Desdemona, Elvira, Elena, Pamina, Semiramide, Donna Anna, Rosina, &c., we have to add Lucrezia Borgia (which, in 1839, first brought forward Signor Mario, who played Gennaro to the heroine of Madame Grisi); Norina (in Don Pasquale, produced at Her Majesty's Theatre in

1843); Susanna, in the Nozze di Figaro ; Pamina (Il Flauto Magico); Leonora (Il Trovatore); Leonora (La Favorita); and Valentine (the Huguenots)-with others, including several characters in the operas of Verdi, too numerous to specify. It is no disloyalty to the illustrious songstress to say that, from the year 1854, when she played successively for her "farewell" performances Norma, Lucrezia, Norina, Leonora (La Favorita), and Valentine (Norina and Lucrezia twice), her powers began slowly and gradually to decline; and that when essaying such characters as Fides in the Prophète she overestimated her means and mistook her vocation. Nor need we dwell upon the fact that after she had more than once said "Addio!" to the public, she was perpetually coming back again, happy in being allowed to sing before her old worshippers, in a concert-room, even the simple ballad of "Home, sweet Home." When we remember what she really did -that, besides all we have recorded, she held her own against Sontag and Persiani, each, as many believed, in her particular way, incomparable; that her performances in La Somnambula (1835) divided public opinion as to whether Malibran or Grisi was the best Amina; that in 1847 and 1848 she was the stronghold of the Royal Italian Opera, Covent Garden, in the very blaze of Jenny Lind's popularity — although Jenny Lind was a novelty, bearing a charm with her on that account alone, while Grisi had seen many years of arduous service; that, in addition to her own personal achievements, by constant precept and example, she taught Signor Mario, once no actor at all, to be a greater and more universal actor even than herself; that of all the artists remembered in our generation she was, perhaps, the one who most rarely disappointed the public under any pretext whatever; and last, and most remarkable, that for a quarter of a century at least she maintained, not only her artistic supremacy, but her personal popularity, we must admit that when speaking of Giulia Grisi the future chronicler of the records of the Opera will have to describe a rare phenomenon-one, indeed, in a thousand. There are certain striking features in every one of her impersonations, to forget which is utterly impossible for those who are able to feel and appreciate such traits in the exhibition of vocal and dramatic art as can proceed from genius alone. Madame Grisi was twice married; on the second occasion to Signor Mario, by whom she had four children.

MR. JUSTICE HAYES.

The Hon. Sir George Hayes, S.L., a Justice of the Court of Queen's Bench, whose death, after an awfully sudden illness, occurred on the 24th of November, at the Westminster Palace Hotel, was the son of S. Hayes, Esq., and was born in 1801. He was educated at Highgate School, and subsequently at the Roman Catholic College of St. Ed. mund's, Herts. He was called to the Bar by the Hon. Society of the Middle Temple in 1830, and went the Midland Circuit, where, and in Westminster Hall, he attained a high position as a sound and accomplished lawyer. He was made a Serjeant-at-Law in 1856, and got a patent of precedence in 1861. He was also Recorder of Leicester. Having latterly been the leader of the Midland Circuit, he was raised to the Judicial Bench in 1868, to the marked satisfaction of the whole legal profession. Sir George Hayes had won all hearts to him, for he was truly a man of a gentle spirit and a genial soul. His thoroughly honourable bearing, his constant and unvarying kindness of disposition, and his social and most agreeable manners, made him a universal favourite; and his sudden and sad demise was a subject of deep regret to both the Bar and the Bench. Mr. Justice Hayes was the author of several very witty jeux d'ésprit, legal and political; but, from his retiring nature, few of them got into print. His lordship married, in 1839, Sophia Anne, daughter of John Hill, Esq.,M.D., of Leicester, and left issue.

MR. E. JONES.

Ernest Jones, Esq., Barrister-at-law, who died somewhat suddenly at his residence, in Wellington-street, Higher Broughton, Manchester, on the 26th of January, was the son of Major Jones, aide-de-camp to the Duke of Cumberland (the late King of Hanover), and was godson of that monarch. He was born and educated in Germany, and achieved distinction at the College of St. Michael, Luneburg. He was called to the Bar by the Hon. Society of the Middle Temple, April 19, 1844. He was much devoted to literature and politics. He wrote a romance, entitled "The Woodspirit," which appeared with success in 1841. He also contributed to the Metropolitan and other magazines. He joined the Chartist movement in 1845, and became its leader. During this period he issued the Labourer, Notes of the People,

and other periodicals, and a newspaper called the People's Paper, which was the organ of the Chartists, and was continued for eight years. He contested Halifax in 1847, and Nottingham in 1853 and 1857. He was tried, in 1848, for a seditious speech, and sentenced to two years' solitary confinement. After his liberation he rejoined the Northern Circuit, and obtained much practice and credit there. Had he lived he would probably have represented Manchester in Parliament. His other literary works were "The Revolt of Hindostan," "The Battle Day," "The Painter of Florence," "The Emperor's Vigil," "Beldagon Church," and "Corayda." It is well known that, in the course of his career, Mr. Jones refused an offer from a family connexion that he should retire from political life in consideration of his be becoming the inheritor of a large property. This and other incidents showed him to be thoroughly enthusiastic and sincere in the public advocacy of his political convictions, which he retained unmodified to the last. His whole life was, indeed, one of earnestness and selfsacrifice in regard to the cause he had adopted. A few days before his death a ballot had taken place at Manchester, by which Mr. Jones was selected in preference to Mr. Milner Gibson as a candidate for the representation of that town. Mr. Jones married Miss Atherley, the scion of an old and highly respectable Cumberland family.

M. DE LAMARTINE.

Alphonse de Lamartine, who died on the 28th of February, was born at Maçon in 1790. His father was an officer of cavalry, and his mother was granddaughter of a lady, Madame des Roys, who had belonged to the household of the Duchess of Orleans. During the worst part of the Revolutionary period the family lived in complete retirement. The first notions of education he received were from his mother; he completed his studies at the College of Belley, which was then directed by the Jesuits. He set out for Italy towards the last years of the Empire. On his return, after an absence of a few months, he made the acquaintance of Talma, and conceived the idea of writing a drama for the theatre, in which the great tragedian should figure. The attempt was made, but his talent was still less dramatic than Byron's, and the piece he composed was never presented to the public. In 1813 he set out again for Italy. His family

were Legitimist; he fully shared their devotion to the old Monarchy; and from the preface which he subsequently prefixed to his "Méditations," his hatred to the Empire and to Imperial Institutions was most intense, and existed to the last, or, at least, to a very late period.

It was at Florence that Lamartine heard of the downfall of the Government he professed to hate so much. He returned in all haste to France, offered his services to his legitimate King, and soon obtained a commission in the Royal Body guard. His military career was not, however, long; it closed with the second fall of the Emperor. It was in 1820 that he first became known as a poet, by his "Méditations Poétiques," for which he had found great difficulty in getting a publisher. It was printed in the most modest form, but in a short time excited universal admiration, for it introduced a new and original style in the lyric poetry of France. Napoleon had enriched the nation he had governed with an excess of military renown and territorial aggrandizement, but the Empire was singularly barren in literary glory. Under that hard and stern rule poetry and eloquence could find no place. As soon as France was relieved from the stifling weight of Imperial tyranny, and the excesses of the reaction known as the "White Terror" had passed away, the poetry of Lamartine and Hugo, the songs of Béranger, the pamphlets of Paul Louis, and the vehement eloquence of the Tribune showed that a renaissance had set in, and for a time the two poets threw a halo round the cause of legitimate Royalty. The Government recom, per sed Lamartine by appointing him Secretary of Embassy to Naples, where he met the young English lady who soon became bis wife. He was afterwards sent to London in the same capacity, and thence traneferred to Florence as Chargé d'Affaires. In 1823 appeared his "Nouvelle Médita tions," the sequel to the first, but, „ke most continuations, it had by no means the success of its predecessor, in spite of the beauty of some of its pieces for La ode on the coronation of Charles X. (1825), "Chant du Sacre," he was made a Knight of the Legion of Honour; and on the publication of his “Harmonies Poétiques et Religieuses" (1829, be wa elected a member of the French Arte demy. The Revolution of 183 found Lamartine Minister Plenipotentiary as Athens. He at once resigned Lia præ and refused the pressing invitations A

the new Government to continue to wrre it in the same capacity in Grosse or fa where. He had no thought, however,

A

In

withdrawing from public life altogether. When the elections came on, he presented himself as candidate to the Chamber of Deputies, both at Toulon and Dunkirk, but without success. 1832 he set out on a journey to the East, accompanied by his wife and daughter, and travelled in princely style. He was absent sixteen months, and had the misfortune to lose his daughter, who died in her sixteenth year at Beyrout. The fruit of his travels was a work on the East, in imitation of Chateaubriand, which purported to treat of every subject-religion, history, philosophy, politics, poetry, &c. Owing chiefly to the numerous inaccuracies with regard to facts, and negligence of composition, it had not the success which the writer and the public had anticipated. He was consoled, however, by the fact that during his absence he had been named Deputy for Dunkirk by the same electors who had before rejected him. His first essay as a Parliamentary speaker on the discussion of the Address (1834) was a decided failure. He made an elaborate speech, in which he treated of justice, morals, tolerance, &c., but passed over the question before the House. In 1835 he produced his poem of "Jocelyn," which the public at first received with hesitation, but which gradually attained a success as great as that of his first "Méditations." Two years later appeared "La Chute d'un Ange," an antediluvian episode of a great universal epic which he had planned, but which was received as coldly as his maiden speech, or as his "Voyage en Orient," and for the same reason. In 1839 he published his "Recueillements Poétiques," as the farewell of the poet to the muse. His literary labours did not, however, entirely detach Lamartine from politics. Though not a practical politician, he yet made considerable progress as a speaker. The Eastern question, the abolition of capital punishment, the defence of purely literary studies, which Arago professed to think lightly of, and certain social questions, furnished him with subjects on which he spoke with much fluency, and in a style which charmed the Deputies so long as the speaker was before them, but which they forgot the moment he sat down. In order to show how unfounded was the reproach brought against him of not being a practical politician, he introduced a plan to substitute for the Ottoman Empire, the fall of which he believed to be imminent, a vast European colonization, and he demanded that a general Congress of all Powers of Europe should be assembled

to determine its conditions and basis; and it was in this point of view that he treated the "Eastern question" under the Ministries of M. Thiers and M. Guizot, both of whom he by turns opposed. Those who still looked upon him as a mere dreamer he tried to convince by an elaborate speech on a subject which was not very poetical, for it related to sugar, and he had the patience to master all its complicated details. He denounced, too, the obstinacy of the Conservative party, and it was then (1844) that he made the famous speech at the Reform banquet of Maçon, in which he pleaded to M. Guizot that his Ministry would fall by a "revolution of contempt." The greatest effect which Lamartine produced, however, was by the publication, in 1847, of his "Histoire des Girondins," full of historical inaccuracies as usual, but written in the most attractive style. In this work he threw a sort of poetical halo round the actors in the most sanguinary events of the Revolution. He did not, indeed, hold it up for the imitation of his contempo raries, but he claimed indulgence for the errors which were the consequence of their peculiar situation. The work was immensely popular; parts of it were dramatized, and a new revolutionary hymn was prepared, when the Revolu tion of February broke out. When the flight of the King left the field free, the popular voice called upon Lamartine to form part of the Provisional Government which soon proclaimed the Republic. Whatever may be thought of his influence in bringing about that Revolution, and however severely he may be judged for the part he took in it, it is certain that the name of Lamartine, during the struggles which soon broke out between his colleagues, was regarded by the country at large as the symbol of order and moderation. During the confusion which followed, it was his elo. quence that for several days protected the Hôtel de Ville when the Provisional Government was installed; and it would be unjust and ungrateful to forget that his courage, his presence of mind, and his energy saved Paris. His answer to the clamours of the mob, who demanded that the red flag should be recognized as the flag of France, has often been quoted:

"For my part, I will never adopt it. It is the tricolour that under the Republic and the Empire made the tour of Europe with your liberties and your glory; and the red flag only made the tour of the Champ de Mars through the blood of the people."