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THE LIFE OF 
 
 Rev. Sir F. A. G. OUSELEY, Bart. 
 
 M.A., Mus.D., Etc. Etc. 
 
THE LIFE OF 
 Rev. Sir F. A. G. OUSELEY, Bart. 
 
 M.A., Mus.D., Etc. Etc. 
 
 By F. W. JOYCE, M.A. 
 
 RECTOR OF BURFORD, 1 P., SALOP 
 
 WITH TWO CHAPTERS APPRECIATIVE OF 
 
 SIR F. OUSELEY AS A MUSICIAN 
 
 Bv G. R. SINCLAIR 
 
 ORGANIST OF HEREFORD CATHEDRAL 
 
 WITH PORTRAITS AND ILLUSTRATIONS 
 
 METHUEN & CO. 
 
 36 ESSEX STREET, W.C. 
 
 LONDON 
 
 1896 
 
TO 
 
 ALL CONNECTED WITH 
 
 ST. MICHAEL'S CHURCH AND COLLEGE 
 
 WHO HONOUR 
 
 THE MEMORY OF THEIR FOUNDER 
 
 THIS BOOK 
 
 IS DEDICATED 
 
PREFACE 
 
 Sir Frederick Ouseley's life was one unique in 
 its way. It was not a great life, as great lives are 
 commonly esteemed. That is to say, he was not 
 a man widely famous, nor in all respects success- 
 ful. Yet, with abilities of a very high order, in 
 other things beside music, he did a work in his 
 own generation of real and abiding value. He 
 was a man who had one set purpose in his life ; 
 and that purpose, despite certain failures of com- 
 plete success, he fulfilled. 
 
 But this is not all. For it is rather on the 
 charm of that simple, single-hearted character, 
 by which he attracted and endeared to himself 
 all who came near him, that the claim must rest 
 for bringing any " Life of Sir Frederick Ouseley " 
 to publication. When he died, he left no surviv- 
 ing relatives nearer than cousins. And yet it is 
 not an exaggeration to say that his death was 
 mourned by scores of friends as that of a brother, 
 and by many hundreds as that of a member of 
 their own family. It is, then, this strong feeling 
 of personal affection on the part of numbers of 
 
 vii 
 
PREFACE 
 
 Sir Frederick's friends which has resulted in the 
 present attempt to portray his life. The wish has 
 been constantly, and from many quarters, ex- 
 pressed, that some permanent Memoir of him 
 should be written. 
 
 Otherwise, I may be allowed this opportunity of 
 saying, I should scarcely have ventured on the 
 attempt. For, apart from any personal shortcom- 
 ings and inexperience of my own in literary work, 
 I must plead also a scantiness of written materials. 
 Sir Frederick kept no diary, and preserved very 
 few letters. In such circumstances it is difficult 
 for any biographer to write either as fully or as 
 accurately as might be wished. None the less, 
 one feels it to be a real privilege, if one may 
 only attempt to describe the life, work, and 
 character of so estimable a man as was my own 
 godfather and my father's lifelong friend. Espe- 
 cially may one hope that future generations at 
 St. Michael's College will welcome this account of 
 their Founder's life. No pains have been spared 
 to make the Memoir as authentic as possible ; and, 
 in this respect, my grateful thanks are due to the 
 many kind helpers who have aided in the work. 
 Among these, particular acknowledgment should 
 be made to Sir F- Ouseley's Trustees, for allowing 
 me free access to such papers as were left in their 
 charge ; to the present Warden of St. Michael's 
 College, the Rev. John Hampton, for much help 
 in the way of search and revision ; to Mrs. F- T, 
 Havergal, for a generous permission to make " un- 
 fettered use " of the late Dr. Havergal's valuable 
 
 viii 
 
PREFACE 
 
 records (a) ; to Mr. T. L. Southgate, for unstinted 
 assistance; to the Very Rev. the Dean (G. W. 
 Kitchin) of Durham ; to Canon J. Rich of Chippen- 
 ham; to Sir Walter Parratt, Mr. W. H.Cummings, 
 Mr. A. H. D. Pendergast, Mr. Ebenezer Prout, the 
 Rev. J. S. Sidebotham, the Rev. Dr. J. H, Mee, the 
 Rev. V. K. Cooper, the Hon. Mrs. Fitzmaurice ; 
 to Mr. John S. Bumpus, for the use of his valuable 
 Catalogue of Sir F. Ouseley's compositions ; and 
 not least, in the last place, to Mr. G. R. Sinclair, 
 now the talented Organist of Hereford Cathedral, 
 but once a pupil at St. Michael's College, and 
 one of whom that College is justly proud. His 
 Chapters criticising Sir F. Ouseley as a Musician 
 will give this book a value which it could not 
 otherwise claim. 
 
 One thing more, perhaps, should be said by 
 way of preface. Ought a son to apologise for 
 introducing his own father's name, so fully as I 
 have felt bound to do into certain parts of this 
 " Life of Sir F. Ouseley " ? I can only answer, 
 that such deep affection and such constant inter- 
 course existed between the two friends until my 
 father's death, in 1887, that it would be affectation 
 to ignore the influence which the elder friend 
 must have exercised on the younger. Moreover, 
 
 (fl) Memorials of Sir F. A. G. Ouseley, by the Rev. Francis T. Havergal, 
 D.D. This book was chiefly a collection of extracts from the newspapers 
 written at the time of Sir Frederick Ouseley's death. In his "Prefatory Note, " 
 Dr. Haveigal expressed a wish that what he had collected might be " useful as 
 a basis for some future biography." It is very probable that no " Life " of 
 Sir F. Ouseley would ever have been written if Dr. Havergal had not had 
 the prescience to gather together such materials as he did whilst it was 
 possible to do so. 
 
 ix 
 
PREFACE 
 
 the general view taken in this book of Sir 
 Frederick Ouseley's character and not a few 
 of the details of his life are derived from re- 
 miniscences of my father's conversation. 
 
 F. W. JOYCE. 
 
 BoRASTON Rectory, Tenbury, 
 February 1896. 
 
CONTENTS 
 
 — ♦ — 
 
 CHAP. PAGE 
 
 I. Ancestry, Parentage, and Early Years— 
 
 1825-1840 I 
 
 Appendix A.— Account of the Early Years 
 OF Frederick A. G. Ouseley, by His 
 Eldest Sister 17 
 
 II. Private Tuition and College Days— 1840- 
 
 1846 26 
 
 III. Preparing FOR Ordination— Deacon's Orders 
 
 — First Curacy — 1846-1851 .... 46 
 
 IV. Travels Abroad — the Colony at Langley— 
 
 1851 68 
 
 V. Foundation of St. Michael's Church and 
 
 College— Appointment to Professorship 
 of Music at Oxford— Priest's Orders and 
 Appointment to Precentorship at Here- 
 ford—Consecration OF St. Michael's— 
 1852-1857 81 
 
 VI. Work at Home — the Church — the Parish— 
 
 the College— Musical Composition and 
 Treatises 100 
 
 Appendix B. — Two Sample Sermons of Sir 
 
 F. Ouseley 123 
 
 xi 
 
CONTENTS 
 
 CHAP. PAGE 
 
 VII. Work at Oxford, Hereford, and Elsewhere 138 
 
 Appendix C. — 
 
 Mr. Southgate's Analysis of Four Papers 
 read by Sir F. Ouseley at various 
 Church Congresses 163 
 
 Mr. Southgate's Analysis of Four Papers 
 read by Sir F. Ouseley before the 
 Members of the " Musical Association " 166 
 
 VIII. Sir F. Ouseley's Personal Appearance— some 
 
 Characteristics, Anecdotes, Views, etc. . 174 
 
 IX. Last Years and Death 215 
 
 X. An Attempt to Estimate Sir F. Ouseley's 
 Musical Work and Position— Difficulties 
 with which He had to contend — His 
 
 INNATE aptitude FOR MUSIC — TWO EXAMPLES 
 
 OF His Youthful Compositions — Want of 
 Early Training 235 
 
 XI. Sir F. Ouseley devoting His Musical Talent 
 to the Service of God, Founds St. 
 Michael's, and Publishes Anthems, Etc — 
 His High Ideal of Music for the Church, 
 AS evidenced by some of His Compositions 
 — His Wonderful Gift of Extemporisa- 
 tion 245 
 
 Appendix D. — Catalogue of the Composi- 
 tions OF the Rev. Sir F. A. G. Ouseley, 
 Bart., Mus.D. Oxon., Compiled by Mr. 
 John S. Bumpus in 1892, and Revised by 
 Him in 1896 256 
 
 Index 271 
 
 xu 
 
CHAPTER I 
 
 ANCESTRY, PARENTAGE, AND EARLY YEARS 
 
 1825-184O 
 
 The Ouseleys are said to have been originally 
 descended from an ancient Shropshire family. 
 Their most remote ancestor traceable by authentic 
 documents appears to have been Thomas Oseley 
 of St. Winifred's, Salop, a.d. i486. One branch 
 of the family formerly lived at Alscote, in the 
 parish of Worfield, near Bridgnorth. In the 
 fourteenth year of Queen Elizabeth, a.d. 1572 (a), 
 Richard Ouseley, Oursley, or Oseley, great-grand- 
 son of the above Thomas, held, by " grant of the 
 Crown," the estate of Courteen Hall, in the county 
 of Northampton. Three generations later, ctrc. 
 
 (a) Epitaph on the monument of Sir Richard Ousley, Esq., at Courteen, 
 Northants : — 
 
 [No date.] A Sallop's Oseley I 
 
 A ruen Partrige woonne — 
 No birds I had her by 
 
 Such work with her was doonne. 
 Shee dead, I turtle sought 
 A Wake in Salsie bred : 
 Twise six birds shee mee brought, 
 Shee lyvs, but I am dead. 
 She — But when ninth yeare was come 
 
 I sleapt that was a Wake : 
 So yielding to Death's doome 
 Did here my lodging take. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 1650, we find two younger sons of this branch 
 of the family, Richard Ouseley and Jasper 
 Ouseley, emigrating to Ireland. There it is said 
 that the Wellesleys and the Wesleys sprang from 
 the same stock as the Ouseleys. Anyhow, three 
 generations later again, we find the descendants 
 of the above-named Jasper Ouseley still settled in 
 Ireland. To Ralph Ouseley, great-grandson of 
 Jasper, there were born, from his first wife, 
 Elizabeth Holland of Limerick, six children, all 
 in the castle of Dunmore, County Galway. Of 
 these six, the eldest son was William (afterwards 
 Sir William Ouseley, LL.D., a notable Oriental 
 scholar) ; and the second was Gore Ouseley, born 
 June 24, 1770. He was the father of the subject 
 of this memoir. 
 
 At the age of seventeen, Gore Ouseley went 
 out to India to seek his fortune. In course of 
 time he there became attached to the Court of the 
 Nabob Saadut Ali at Lucknow, first as Major 
 Commandant and afterwards as Aide-de-camp. 
 In this position he was able to cultivate a good 
 understanding between the State of Oude and 
 the British power. His courteous and winning 
 manners, combined with a ripe knowledge of 
 Eastern languages and customs, stood him in 
 good stead ; and gradually he came under the 
 favourable notice of Lord Wellesley, the Gover- 
 nor-General. In 1805, after seventeen years' 
 absence from home. Major Ouseley returned to 
 England (b\ 
 
 {p) See Reynolds's Memoir of Sir Core Ouseley, passim, 
 2 
 
PARENTAGE 
 
 In 1806 he married Harriot Georgina, daughter 
 of John and Mary Whitelock. In 1808 he was 
 created a Baronet. In 18 10 he was appointed 
 Ambassador Extraordinary and Minister Pleni- 
 potentiary to the Court of Persia. In this 
 capacity he won the credit of bringing about 
 peace between Persia and Russia. He was 
 resident for about four years at Teheran, and 
 for twelve months in Russia — in Moscow and 
 St. Petersburg. In 181 2 and 18 14 Sir Gore 
 Ouseley was honoured with the insignia of the 
 Royal Persian Order of the Lion and the Sun, 
 and the Grand Cross of the Imperial Russian 
 Order of St. Alexander Nevsky. The Shah 
 presented him with a magnificent gold-enamelled 
 plate. It contained an inscription, setting forth 
 Sir Gore's virtues in very flowery language. He 
 received many other marks of distinction, and 
 was a noted member of several scientific and 
 literary societies both at home and abroad. On 
 his final return to England from his diplomatic 
 missions, he received from the Crown a pension 
 of ;^5000 a year. Sir Gore was a man of con- 
 siderable and varied attainments, and was in great 
 request in society. He was himself musical ; 
 played the violin, besides several other instru- 
 ments, and was one of the chief founders of the 
 Royal Academy of Music, established in 1822. 
 In 1823 he took a prominent part in the institu- 
 tion of the Royal Asiatic Society of London, 
 and did much to advance the cause of Oriental 
 literature. He himself published an interesting 
 
 3 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 work on the " Persian Poets." In fact, he was a 
 dilettante in art, and a man of much culture for 
 those days. During his residence abroad he 
 had had special opportunities for buying up art 
 treasures. It was in this way that his son after- 
 wards became possessor of the beautiful inlaid 
 Persian furniture, and other things, of which he 
 was so proud ; and practically Sir Gore laid the 
 foundation of the fine general library (t) now at 
 St. Michael's College. Among his other accom- 
 plishments may be reckoned that of ivory- turning, 
 a pursuit begun, no doubt, as a pastime in Persia, 
 but one with which in his later years — not 
 being so devoted a church-goer as his son after- 
 wards became — he was accustomed to while 
 away the long hours of an English Sunday. 
 He claimed to possess a charm, revealed to 
 him by some Eastern Sheik under seal of 
 secrecy, for curing any venomous snake - bite, 
 and is said to. have, on one occasion at least, 
 successfully used it. He had also learned from 
 the same source some system of training the 
 wildest horses. 
 
 Lady Ouseley's maiden name was, as above 
 stated, Whitelock, She was born in 1787, being 
 thus seventeen years younger than her husband. 
 One of her ancestors. Sir James Whitelock, was 
 a Judge of the King's Bench in the reign of 
 Charles i. His son, Sir Bulstrode Whitelock, 
 born in Fleet Street, 1605, became M.P. for 
 Marlow in the Long Parliament, and afterwards 
 
 (c) Cf. p. 1 14 infra. 
 
PARENTAGE 
 
 represented Oxford in the House of Commons. 
 He was one of the Council of State in 1659, and 
 died in 1675. A great-grandson of his, in 1783, 
 married Mary Lewis. These were the parents 
 of Lady Ouseley. 
 
 Five children were born to Sir Gore and Lady 
 Ouseley, but only three survived to maturity. 
 When the last of" the family, Frederick Arthur 
 Gore Ouseley, was born, in London on August 
 12, 1825, there were only two other children 
 living. These were both daughters, Mary Jane 
 and Alexandrina Percival. The elder of his 
 two sisters was, at the time of Frederick's birth, 
 at least eighteen years of age. She was not 
 only very musical herself, but was otherwise 
 possessed of excellent abilities ; and it is to 
 her that we owe the interesting account, at the 
 end of this chapter, of her little brother's early 
 years (d). 
 
 Sir Gore Ouseley, on his permanent return to 
 England, lived first at a place called Woolmers (e), 
 in the parish of Hertingfordbury, Herts. Not 
 far off from this place was the East India College 
 at Haileybury, of which one of Sir Gore's half- 
 brothers. Colonel Joseph Ouseley, after leaving 
 the Indian Army, was one of the Oriental pro- 
 
 {d) Appendix A, p. Ij infra. [The reader would do well to read the 
 Appendix here, before proceeding further with this chapter.] 
 
 («) The beautiful tune to No. 424, in Hymns Anciint and Modern 
 ("They come, God's Messengers of Love"), was written in after years 
 by Sir F. Ouseley, for the dedication of his Church, and named 
 "Woolmers," from his early home in Hertfordshire. Very appropriately, 
 too, the Hymn was sung at his own burial on April 11, 1889. 
 
 5 
 
LIFE Of sir t. A. G. OUSELEY 
 
 fessors. Later on, the Gore Ouseleys settled 
 down at Hall Barn Park (/), near Beaconsfield, 
 Bucks. 
 
 Of the childhood of their only son, numerous 
 stories are told in connection with his musical 
 ability, besides those recorded in his sister's 
 account. He is remembered as sitting on his 
 sister Janie's knee, "picking out tunes on the 
 pianoforte at three years old," In fact, he could 
 play almost before he could talk. His earliest 
 composition, as taken down and committed to 
 paper by his sisters, is dated November 1828, 
 i.e. when he was no more than three years and 
 three months old. When he was four, he played 
 the piano for the servants to dance to. A year 
 or two later he had a serious illness, in the form 
 of a fever, lasting for some weeks. On his 
 recovery from this sickness he composed a piece 
 of music descriptive of how the disease had 
 run its course. All the stages are described in 
 turn, the beginning, progress, crisis, and abate- 
 ment, and then the relief of convalescence. 
 "Andante expressivo — beginning to be a little 
 ill — now I'm very ill — iller than ever — blisters — 
 a little better — not quite well yet — now I'm quite 
 well ! " This piece was intended by the youthful 
 composer as a present for Dr. Granville, the kind 
 physician who had attended him in his illness. 
 On this composition a criticism is to be found in 
 
 (/) This place now belongs to Sir Edward Lawson. It was once in the 
 possession of the poet Edmund Waller, from whose representatives Sir 
 Gore Ouseley bought it. 
 
 6 
 
EARLY YEARS 
 
 the Harmonicon, a musical magazine of that 
 time, dated May 1833 (vol. xi. part i. pp. 102, 
 103) :— 
 
 Though an abundance of lively fancy is displayed in this, there 
 is nothing in it at all extravagant or ridiculous ; on the contrary, 
 it is strictly en rigle, and expresses, as well as inarticulate sounds 
 are capable of expressing sensations, all the variety of feeling which 
 would be experienced in the course of a long fever. 
 
 The same number of the Harmonicon prints a 
 March, composed by the little Frederick Ouseley 
 at the age of six, which is described as "one of 
 the most marvellous productions of this age of 
 musical wonders." The Harmonicon goes on to 
 speak thus of 
 
 the extraordinary, the unexampled genius of this little boy, now 
 only seven years and a half old. ... He has received no instruc- 
 tions in music, and, though taught by himself to play with con- 
 siderable skill on the pianoforte, does not know his notes on paper, 
 and trusts to his sisters for writing down what he composes. He 
 improvises entire scenes, singing to his own accompaniment, the 
 latter often exhibiting harmony the most rechercMe, chords that an 
 experienced musician only uses with caution ; but these are always 
 introduced and resolved in a strictly regular manner, not by rule, 
 for he has learnt no rules, but by the aid of a very surprising ear, 
 and of some faculty which, for want of a better term, we will call 
 intuition. His organ of hearing is so fine that, with his eyes 
 closed, he instantly names any musical sound produced ; and so 
 discriminating is this sense in the child, that, when a note is struck 
 on an instrument, tuned either above or below the usual pitch, he 
 immediately discovers, and accurately states, in what the deviation 
 consists. A chord of four notes being sounded, he named each 
 note exactly, though at some distance from the instrument, and 
 with his back turned to it. . . . Under a French governess and a 
 tutor for Latin, his education is proceeding in the usual manner, 
 music forming no part of it. His intellects are quick, and declare 
 themselves in a countenance remarkable for intelligence and 
 beauty. His habits and amusements are suited to his age, and 
 the activity of his mind does not appear to have operated unfavour- 
 
 7 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 ably on his general health, which seems to be good, and as well 
 established as is usual with children of his years. 
 
 Though music appears to have formed no part 
 of the child's regular educational routine, it is 
 clear that he was encouraged at home to follow up 
 his own natural bent in this direction. A small 
 volume of his early compositions, which is pre- 
 served at St. Michael's College, although measuring 
 no more than 9^ x 5^ inches, yet contains on 
 two hundred pages no fewer than two hundred 
 and forty-three examples, of which two hundred 
 and nineteen were written before he was six years 
 old (g). Some of these were written for his 
 parents, others for friends. His first operetta was 
 composed at the age of seven and a half. The 
 MS. of this consists of fifty -three pages of six 
 lines each. It bears no distinguishing title, but 
 seems to be made up chiefly of hunting and other 
 rustic scenes, the words (m English) having been 
 probably supplied by his father. In 1833, when 
 eight years old, the child composed a more 
 ambitious and much longer opera, with solos, 
 choruses, etc. — the words being taken from the 
 Italian L' I sola disabitata of Metastasio. With 
 regard to this composition, the Musical Library 
 of September 1834, after remarking on its "man- 
 liness ... as quite unexpected from so youthful 
 a pen," goes on to say : — 
 
 There are a few notes which an experienced composer would 
 not have used, but they will serve to convince the sceptical, if any 
 there be, that the author had no professional aid in this production 
 
 {£\ See note at beginning of Appendix A, p. 17 infra. 
 
 8 
 
EARLY YEARS 
 
 — a work which, from a child of eight years, will hardly fail to be 
 received with astonishment. 
 
 Miss Ouseley also records that another capable 
 critic of music, Mr. W. Ayrton, having come to 
 hear this youthful composer play and sing the 
 first song and recitative in his opera, declared 
 that, though he had Haydn's composition on the 
 same words, he considered it much inferior to the 
 little Ouseley's, which seemed to him to be rather 
 the work of an adult, and as sufficient to form the 
 fortune of a composer, Mr. Ayrton said he had 
 been reading Danes Harrington's accounts of 
 Mozart, Wesley, Crotch, and other musical pro- 
 digies, but that none of them, in his opinion, 
 approached the phenomenon which he had 
 just witnessed, of extempore playing, guessing 
 chords, and so on. 
 
 Various instances are given, too, of the child's 
 extreme acuteness of ear. A celebrated violinist 
 was playing a Sonata in A flat, and for the sake 
 of greater brilliancy had tuned his instrument a 
 semitone sharp. When the performance began, 
 Cipriani Potter, who was in the secret, came to 
 the little Ouseley and asked him what the key 
 was. The answer came out pat, "A." His 
 father, Sir Gore, who was sitting by, vexed 
 at what he supposed to be the boy's mistake, 
 showed him the programme, in which the Sonata 
 was specified as being in A flat. But the child 
 insisted on "A"; and in the end was duly 
 justified for that sense of absolute accuracy of ear 
 which in his case had already begun to attract the 
 
 9 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 notice of musicians {A). Another amusing in- 
 stance is recorded of a certain concert where the 
 bindficiare, or some other great star, was im- 
 provising an elaborate piece on the piano. 
 Our youthful composer, still quite in his early- 
 childhood, was present, sitting next to a lady- 
 friend, Mrs. Henry Davidson. Suddenly the 
 "little imp," as Mrs. Davidson called him in 
 relating the story, looked up in her face, and 
 said : " I wonder how he is going to resolve that 
 discord. It's the discord of the minor ninth, and 
 can be resolved in four different ways." It is 
 only fair to Sir Frederick's character for personal 
 modesty, to add that when this story of his child- 
 hood was told to him in after years, his only 
 remark was, "What an abominably disagreeable 
 child I must have been ! " The above reminis- 
 cence throws an interesting light on the fact 
 before noticed, that this musical child was not 
 taught music in any definite and regular way. 
 His knowledge of the "discord of the minor 
 ninth," and of its four possible modes of resolu- 
 tion, may indeed have been derived from his 
 sister's instructions. Logier was Miss Ouseley's 
 pianoforte tutor ; and it was Logier who was one 
 of the first, if not the first, of musical writers who 
 spoke of the " minor ninth," in place of the 
 expression then commonly used, " diminished 
 
 (A) A somewhat similar anecdote was recorded in the Pall Mall Gazette 
 at the time of Sir F. Ouseley's death. But there seems reason for doubt- 
 ing the accuracy of the particular account there given. The above version 
 of the story was told to the Rev. J. Hampton, the present Warden of 
 St. Michael's College, by the late Sir John Goss. 
 
 lO 
 
EARLYIYEARS 
 
 seventh." But in later life Sir Frederick Ouseley 
 used himself to say : " I have never been 
 taught music ; all my musical knowledge has been 
 evolved out of the depths of my own inner 
 consciousness " (e). 
 
 Nevertheless it is quite clear that from the 
 beginning the child was moving in a musical 
 sphere. His precocious genius, coupled with his 
 father's position in society, brought him into 
 frequent contact with some of the most eminent 
 people in the musical world. The following 
 letter, written by the Duchess of Hamilton more 
 than a year after the one quoted by Miss Ouseley 
 (in Appendix A), shows how great and continued 
 was the impression made by the child's perform- 
 ances on one of the first musical amateurs in 
 England : — 
 
 A Letter from the Duchess of Hamilton. 
 
 April 13, 1832. 
 
 I have been to-day to hear Sir Gore Ouseley's little boy, and 
 
 never was I so affected by anything in my life. I can find no 
 
 words to express my astonished delight when I saw the little 
 
 fellow, only six years old, sit down to the pianoforte, and commence 
 
 (s) This assertion must, of course, be taken with some reservation. As 
 Mr. Hampton has pointed out, Sir F. Ouseley, when at Christ Church, in 
 his undergraduate days, had regular instruction of some kind from Dr. 
 Stephen Elvey, taking written fugues from time to time for his revisal. 
 He had read every available book on the Theory of Music when he left 
 Oxford ; and throughout his after life he was accustomed to read up every 
 work published on that subject by the learned in different countries. He 
 learnt German, for instance, and Spanish in his later years, in order to 
 read the many works on Musical Theory in those languages. Still it was 
 no doubt substantially true that he had never been taught music, except by 
 self-instruction and by what his sister could impart to him. 
 
 I I 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 an extemporaneous performance which baffles all description. 
 His large dark eyes lighted up, his whole soul seemed intent upon 
 what he was about, and yet with all this there was such a genuine 
 childish simplicity. I could not say half of what I feel. 
 
 I am afraid this will be thought an exaggeration, but I never was 
 an admirer of wonderful children. I have seen many who had 
 extraordinary execution upon an instrument, but God has given 
 this child an intuitive knowledge of the most hidden mysteries of 
 sound — a creative power perfectly organised that surpasses belief. 
 
 Read the accounts of Mozart's infancy and you have read this 
 child's. 
 
 I sat down to the piano, and while his mother held him at a 
 distance, I endeavoured to puzzle him by the most intricate 
 modulations, but he not only instantly named the key I was play- 
 ing in, but followed every change (even when an enharmonic 
 transition rendered it almost inappreciable to the ear) with the 
 rapidity of thought, — he knew it, but he knew not why. 
 
 In the course of playing I struck the chord of the sharp 6th — the 
 German 6th as called by some writers, and upon resolving it in the 
 usual way he started up and cried out, " that is the sharp 6th in the 
 key of C minor, and I can dissolve it another way." He ran to the 
 piano, and without a moment's hesitation struck the chord, and 
 proceeded to resolve it in a most abstruse but perfectly correct 
 manner, and then went on modulating till he brought it back to the 
 original key. He played me numbers of the airs he had written, 
 all distinguished by the exquisite taste and plaintiveness of their 
 character, some marches, loud and lively, with an evident idea of 
 orchestral effect in their arrangement ; indeed orchestral and 
 dramatic effect pervades every note he plays. 
 
 I can never forget the impression this scene made upon me. 
 I am not ashamed to say that it affected me to tears. 
 
 The little fellow's countenance is a noble one — very delicate, 
 with full dark eyes, and a very prominent and expansive forehead ; 
 there is every promise of genius of the most commanding kind 
 about him. 
 
 May he live to be a second Mozart is my sincere wish ; may he 
 live to prove that an Englishman can excel in the most divine of 
 Sciences as he can in all the rest. 
 
 Malibran, too, the great operatic singer, came 
 in 1833 to hear the Httle Ouseley improvise, and 
 sing his opera of L'Isola disabitata. So much 
 
 12 
 
EARLY YEARS 
 
 affected was she by the performance, that she 
 cried almost to hysterics. In the course of the 
 next three years, before her early death in 1836, 
 Malibran used also sometimes to sing with the 
 boy. His voice then was exquisite, and ran to 
 one note higher than hers. Even at this early 
 period he evinced, too, something of that power 
 of mimicry which always to the end of his life 
 lay strong within him, though then it was less 
 often indulged in. When quite a child, he is 
 remembered as having delighted himself in imi- 
 tating, all too faithfully, the very flat and very 
 nasal singing of a certain lady amateur whose 
 vocal ambitions were in advance of her capacity. 
 
 But probably one of the proudest moments of 
 all for this youthful musician would have been 
 when, at the age of six years, he played a duet on 
 the pianoforte with the great Mendelssohn, the 
 very composer with whom in after life his own 
 musical tastes and refined style of composition 
 appear to have been most in harmony. On that 
 occasion Mendelssohn was a guest at Sir Gore 
 Ouseley's house. It would have been perhaps at 
 a later date — or possibly it may have been on 
 this identical occasion — that the extemporaneous 
 duet was played, to which the following memor- 
 andum refers, written in 1894 by a former friend 
 of Sir F. Ouseley (;') in answer to a request for 
 materials for this present memoir : — 
 
 (/) The late Rev. H. Deane, Fellow of St. John's College, Senior 
 Proctor, and once Vicar of St. Giles, Oxford, who died (like Sir Frederick 
 Ouseley) very suddenly, on July I, 1894, three days after writing the letter 
 above referred to. 
 
 13 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Clayhill House, Gillingham, Dorset, 
 June 28, 1894. 
 ... I can supply you with many facts about him. What 
 requires to be most carefully ascertained is the story of his 
 extemporaneous duet on the pianoforte with Mendelssohn. Sir 
 Frederick told me that he had done it. My old master, Mr. 
 Reinagle, said that he heard it. The odd thing is that the whole 
 subject has perished. 
 
 On one occasion King William iv. and Queen 
 Adelaide went to Hall Barn to hear the boy 
 sing ; and, at some period or other of his youth, 
 Frederick Ouseley is said to have played duets 
 with H.M. Queen Victoria also at Buckingham 
 Palace. 
 
 Of other events in his boyhood, besides those 
 in connection with his musical ability, there are 
 but few reminiscences forthcoming. The life of a 
 boy who never went to school, either public or 
 private, whose father was advancing in years, and 
 whose education was left mainly, no doubt, in the 
 hands of his mother, and the two sisters much 
 older than himself, would naturally be uneventful. 
 I remember, however, his telling me on one 
 occasion how much he used to dread the regular 
 interview which took, place once every year 
 between himself and his godfather, the great 
 Duke of Wellington. The contrast between the 
 " Iron Duke " and the gentle, home-trained boy, 
 with his high-strung musical nerves, is a sug- 
 gestive one. But the godson declared that it 
 was the Duke who was shy and stiff and awkward, 
 and who, whilst invariably kind in his intentions, 
 never seemed to know what to say next on these 
 
 14 
 
EARLY YEARS 
 
 (to the boy) all - important occasions. On the 
 whole, both godfather and godson appear to have 
 regarded their annual meetings in the light of an 
 ordeal of duty which had to be gone through, 
 and which they were both glad to get over. 
 
 More congenial, no doubt, to the boy's tastes 
 were those meetings, above referred to, which he 
 enjoyed from time to time with some of the most 
 eminent celebrities in the musical world. Here is 
 one more reminiscence of this kind which dates 
 a few years later than those events hitherto re- 
 corded. The late Sir George Elvey, formerly 
 organist of St. George's Chapel, Windsor, related 
 how he once went to Hall Barn Park to hear 
 the boy play, when he was about twelve years 
 old:— 
 
 He sat down to the instrument and extemporised in the most 
 surprising manner. . . . The great basso, Lablache, went to hear 
 the boy play, and was as much astonished as myself. His ear was 
 so quick that I was told, on a grand piano, if a note was out of 
 tune, he would put his ear close to the instrument and point to the 
 wire that was at fault. This he did in the presence of Lablache, 
 who exclaimed, Le Diable ! Let me also mention that, in my 
 presence, a heap of notes being put down by the palm of the hand, 
 the boy actually named every one of them without seeing the key- 
 board. 
 
 As to what religious influences may have been 
 helping to form Frederick Ouseley's character all 
 through these early years at home, it seems im- 
 possible to trace anything very definite. It is 
 noteworthy, perhaps, that his baptism did not 
 take place, until within eight months after his 
 birth. He was born August 12, 1825, and was 
 
 15 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 baptized in May, 1826. This would now be 
 considered an exceptionally long interval. But 
 during the first half of the nineteenth century, 
 even in families of professedly church principles, 
 the baptism of infants would seem to have been 
 frequently deferred still longer than in this case. 
 Lady Ouseley, if we may judge by the following 
 extracts from her letters, and by the tender 
 memories of herself always cherished by her son, 
 must have been a woman of gentle and loving 
 character. Her strict ideas of the keeping of 
 Sunday appear to have been little altered by her 
 long residence abroad ; and in other ways her 
 old-fashioned piety may have laid the foundations 
 of that devotion to duty, and, above all, that intense 
 love and reverence for the service of God, which 
 marked the future life of her son. In this con- 
 nection, too, we may well imagine the effect which 
 sacred music would exercise upon this youngest 
 member of the Ouseley family. When he was 
 only six years old, one of his aunts, Miss White- 
 lock, found him one Sunday playing the " Halle- 
 lujah Chorus " on the piano at home. " Why, 
 what do you call that?" she asked. "Oh! I'm 
 sure I don't know," was the child's answer ; — " it 
 is something the man played to-day on the organ 
 as we came out of church." 
 
 16 
 
APPENDIX A 
 
 APPENDIX A. 
 
 ACCOUNT OF THE EARLY YEARS OF FREDERICK 
 A. G. OUSELEY, BY HIS ELDEST SISTER. 
 
 The composer of the airs contained in the following pages (a) is 
 the only surviving son of the Right Hon. Sir Gore Ouseley of Hall 
 Bam Park, co. Bucks, Bart., G.C.H., K.L.S., and K.S.A., and of 
 Harriot Georgina, his wife. He was born in Grosvenor Square, 
 London, on the I2th of August 1825, ;and christened in May 
 1826, by the names of Frederick Arthur Gore. Sponsors, His 
 Royal Highness Frederick, Duke of York and Albany, and Arthur, 
 Duke of Wellington ; his godmothers, Frances, Marchioness of 
 Salisbury, and Mary Jane Ouseley, his eldest sister. 
 
 At the early age of three months he showed not only a very 
 unusual love for music, but even the power of distinguishing 
 particular tunes, listening attentively to every air his sisters 
 played, but more earnestly marking his approbation of Weber's 
 waltz in the Freischutz by various kickings in his nurse's arms, and 
 other strange exertions. When suffering the greatest pain from 
 teething, an air on the pianoforte was sure to stop his crying ; and 
 he probably thus increased his love for music by being indulged in 
 it whenever pain or illness called for its soothing consolation. His 
 ear was constructed in so extraordinary a manner, that long before 
 he could speak he took up airs with his voice precisely in the same 
 key in which they had been played or sung to him, at even a long 
 interval after they had ceased. 
 
 At the age of seventeen months he could sing any air to which 
 his ear was familiarised, without any assistance from others, or 
 from the instrument, and on trial it was found invariably pitched 
 in the key in which it was usually played or sung, and every note 
 in perfect tune. 
 
 When two years old, his sisters and their governess were 
 astonished to perceive that often when standing on their left 
 hand, while they were playing on the pianoforte, his little hand 
 fell as it were instinctively on the dominants and tonics, and even 
 when they changed the key to puzzle him, he changed his tonics 
 and dominants also without ever making a false chord. From this 
 period may be dated his incipient love of harmony, although the 
 
 (a) The collection of the young Frederick Ouseley 's early compositions, — 
 a volume still preserved at St. Michael's College, See supra, p. 8. 
 2 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 hands, not being able to cover a sufficient number of the keys, 
 necessarily restricted him to melody, unless when he took the bass 
 part of another player's treble, in which he acquitted himself in a 
 surprising manner. 
 
 The first number of the following airs will show that he com- 
 menced composing in regular measure and rhythm at about three 
 years of age. This was effected by his voice, whilst he imitated 
 the motions of playing with his fingers on the window. One of his 
 sisters hastened to commit to paper the first part of this Sauteuse, 
 which was all that he had then composed, and when written out, 
 after some interval she begged he would add a second part. This 
 he instantly complied with, and in a surprising manner completed 
 it in the same key as the first part, although some time had elapsed 
 between the two compositions. 
 
 Numberless were the instances he now daily showed of the 
 wonderful accuracy of his ear, and as he knew the names of the 
 notes on the instrument (tuned to concert pitch), his ear retained 
 the intervals, so that he could at once tell what the tone was of any 
 noise he heard ; sometimes it thundered in G, and the wind 
 whistled in D, and invariably when anyone ran to the instrument 
 for proof of his assertions, they found him quite correct. In the 
 tone of most bells there is a second tone perceptible to an acute 
 ear, which did not escape little Frederick's observation ; for one day 
 when walking out with his nurse, Mrs. Barlow, he happened to be 
 near the coach-house when the clock over it struck, on which he 
 said, "Do you know, Ba (as he usually called her), the clock has 
 struck in B flat minor?" The poor woman could not conceive 
 what he meant, but reported it to his mother, who took pains 
 to ascertain the fact, and found to her great surprise, when the 
 clock next struck, that its double tone was in the key of B flat 
 minor. 
 
 At Brighton one evening an ambulant band of wind instruments 
 stopped to play under the windows ; when they had concluded 
 their first air, his father asked him what key they had been playing 
 in, to which he at once replied, " Why, papa, it is a kind of F, but 
 neither F natural nor F sharp " ; and on his father's going to the 
 pianoforte in the next room he found that the child had stated the 
 fact, it being a quarter of a tone too sharp for one and as much too 
 flat for the other. This occurred in 1830, when the child was four 
 years old. 
 
 About the same period the Countess de Montalembert begged of 
 Lady Ouseley to give her copies of a few of the little boy's composi- 
 tions for a very musical friend. That friend was the Duchess of 
 
 18 
 
Appendix a 
 
 Hamilton, certainly the most accomplished musician and singer 
 ever known amongst English amateurs. 
 
 The compositions were copied and sent, and in a month or two 
 the Countess received a letter from the Duchess, of which the 
 following is an extract : — 
 
 "HoLYROOD Palace, 
 ^'■December i, 1830. 
 " I cannot tell you how much I think of the wonderful child, my 
 dear friend. I have been amusing myself putting basses to and 
 making variations upon his delightful compositions, and I should 
 be laughed at could people know how much the occupation affects 
 and enchants me. Dear little darhng ! how could he imagine such 
 touching tones at four years old ? And yet why should not the 
 Soul triumph at the earliest age ? It is a beautiful proof of its 
 divine nature. Pray tell me what kind of a looking child my 
 petite passion is. I quite long to see and to hear him, and were he 
 within any reasonable distance, I would fly to his pianoforte side. 
 He stands, I think you said, to play. When did he begin music ? 
 and does other people's performance interest and please him? 
 I wish there were good likenesses of him, I would ask you to beg, 
 borrow, or steal one for me. Oh, what I would give to have such 
 a child ! No wonder Sir Gore and Lady Ouseley worship him ! 
 Does he enjoy good health ? I hope they don't excite his musical 
 feelings too much. I know something about that, and certainly 
 few things produce such an electric effect on the nerves as some 
 combinations of harmony. I have often made myself ill by listen- 
 ing to certain chords. Oh, the dear child ! His image haunts me. 
 I love him for having appreciated you, and I flatter myself we 
 shall prove great friends some day or other. One more question 
 — Is he childish in manner, and does he seem happy ?" 
 
 On a further supply of the little boy's compositions being sent to 
 her Grace through the same channel, she writes :— 
 
 " I am equally astonished and enchanted with Sir Gore Ouseley's 
 child's talent. Pray tell Sir Gore I hope and trust I shall one day 
 have the happiness of hearing this second Mozart. Oh, the darling 
 child ! Heaven bless and preserve him." 
 
 But although some of the airs sent to the Duchess of Hamilton 
 were simple melodies, yet the dates of compositions in the following 
 sheets will prove that even in his fourth year he had an unusual 
 knowledge of harmony. During the short sSjour of the family at 
 Brighton, he made several discoveries of harmonies until then new 
 
 19 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 to him ; and although his parents and sisters (from apprehensions 
 of his health suffering, or his head being affected by it) cautiously 
 forbore giving him the smallest instruction in music, either practical 
 or theoretical, further than telling the names of the chords (when 
 he asked them) which he had by himself discovered, he still seemed 
 by intuition to be versed in the most abstruse mysteries of harmony 
 and modulation, so as to excite the astonishment of the most 
 eminent amateurs and professional musicians then in Brighton, 
 who even tried him in modulating from very extreme keys. 
 Amongst the former I venture to mention the name of Mr. 
 Solomon, the famous double bass player (second only to the 
 celebrated Dragonetti); and amongst the latter, that pleasing 
 maestro, Signor Gaboussi, and Signor Borgatta, the wonderful 
 improvisatore on the pianoforte. 
 
 To give the reader of these hasty memoranda some idea of the 
 manner in which this inspired child spoke of his harmonies, whilst 
 it at the same time proves the delightful childishness of disposition, 
 so much wished to be found in him by the Duchess of Hamilton, 
 the following dialogue between him and his eldest sister is copied 
 from a memorandum made at the time ; it took place at Brighton 
 in 1830, and is given in his own phraseology ; his questioner was 
 his eldest sister : — 
 
 Janie. — " Boy, how did you modulate in going from C to D flat 
 minor ? " 
 
 Fredk. — " I took the chord of A flat with the 9th, — you know, 
 Janie, the minished 7th. " 
 
 Janie. — " Why did you first strike the chord of C minor before 
 you went to A sharp ? " 
 
 Fredk. — " Because I thought it sounded pretty." 
 
 Janie.—" Why pretty ?" 
 
 Fredk. — " Because there was one note of one chord in it, and one 
 note of the other." 
 
 In these last two replies, how clearly he has demonstrated the 
 'necessity of what the masters term combination in modulating from 
 one key to another (that the chord you go to must have at least one 
 note in common with the chord you go from), dictated by Nature 
 more true even than Art, and couched in the childish but beautiful 
 expressive answer, "Because I thought it sounded pretty." It 
 tends to prove that everything, however artful and abstruse it may 
 appear in Science, originates with Nature, which the handmaid Art 
 develops, dresses, and fixes under laws and regulations, for here 
 Nature, and Nature alone, whispered to a child of four years and 
 three months that he must not jump from one chord to another 
 
 20 
 
APPENDIX A 
 
 without having some note as a bond of union common to 
 both. 
 
 All this gifted boy's replies bore the same character of simplicity 
 and charming childishness, although always direct to the point. 
 Wlien asked to go from B sharp to C flat, he immediately remarked 
 that they were the same note, innocently giving as a reason, that 
 " there was no black note between them on the pianoforte." 
 
 He was one day (in 1831) playing the cadence of D, and 
 after repeating it two or three times he dwelt upon the following 
 
 chord of the added 6th and asked what it meant. 
 
 His sister purposely delayed giving an answer, when, after trying 
 both G and E in the bass, he decided, quite unaided, that it was 
 not the chord of E minor. 
 
 In the course of the year 1831 his compositions, as will be seen 
 in the following pages, assume a character of sweet pathos in the 
 melody, and uncommon harmonies in the bass, much beyond what 
 could have been expected, and, one might perhaps add, beyond the 
 efforts of any other natural untaught genius, who had not com- 
 pleted his fourth year. 
 
 In the August of that year Sir Gore Ouseley received a letter, of 
 which the following is an extract, from the celebrated John Baptist 
 Logier, Esq., Professor of Music, and Originator of a System of 
 Musical Instruction which met with merited success in England 
 and Ireland (although more qualified in the former), but most 
 particularly in Prussia, where it triumphed over opposition and 
 obtained royal and ministerial protection and patronage. 
 
 Mr. Logier had given instructions when in England to Sir Gore 
 Ouseley, and subsequently to his two daughters, in the theory of 
 music, but at the time this letter was written he was residing in 
 Dublin, where he had for three or four years taught this system in 
 an academy filled with pupils. 
 
 [Copy.] 
 
 " Dublin, 
 
 " August 25, 1831. 
 "Dear Sir, — Miss Ouseley has just sent for my perusal the 
 last production of the young musician. No. 154 in C minor is 
 really a very elegant and pathetic little composition. I had almost 
 
 21 
 
LIFE OF SIR F. A. G OUSELEY 
 
 said (considering the infantine source from whence these effusions 
 have flowed) that they are too plaintive. Whilst I was playing 
 them over, tears involuntarily started into my eyes. The merry 
 little strain, however, which follows immediately after in C major, 
 sets all to rights again. The three pieces which are in minor keys 
 are by far the best which the little musician has written as yet. 
 This proves (if anything were necessary to prove it) how truly this 
 child is gifted with genuine musical feeling. Let us look at bars 
 
 13 and 14 of No. 159 m ^ j^ What true feeling! 
 
 Perhaps I may see more in these two bars than others do ; yet 
 I know what I am saying. 
 
 " Excuse these few hasty lines, my dear sir, I could not resist the 
 temptation of giving my opinion of the little musician's effusions, for 
 they have given me real pleasure. May I beg to present my best 
 regards to the little composer, whom I shall soon have the pleasure 
 of seeing. 
 
 " I am, my dear Sir, 
 
 " Your very obliged humble Servant, 
 
 (Signed) "J. B. LOGIER." 
 
 This testimony from such an acknowledged good judge proves 
 the proficiency that the little Frederick had made both in his choice 
 of melodies, as well as harmonies, previously to having entered on 
 his fifth year. 
 
 The uncommon beauty of the two bars alluded to by Mr. Logier 
 (where breaking off suddenly from harmonic accompaniment the 
 youthful composer indulges in four notes of unison in treble and 
 bass, emphatically pronounced) had already attracted the attention 
 and admiration of the whole Fanatici family. In fact, it was as 
 much the introduction of those unisons, as the general elegance of 
 the plaintive air itself, that induced them to send a copy of it to 
 Mr. Logier, without comment. The above letter from that excellent 
 maestro will prove that comment was not necessary. 
 
 About a couple of months after he had entered his fifth year 
 (October 1831), whilst sitting on the sofa chatting with his mother 
 and his younger sister, and apparently thinking of anything but 
 music, he suddenly started up and said, " Oh ! I know of such a 
 pretty chord, I am sure it will sound beautiful ; do come and listen 
 to it, Leili." He than ran in his usual playful manner and executed 
 
 22 
 
APPENDIX A 
 
 the following chords without the least hesitation. (See examples 
 A and B.) 
 
 In the course of this year he furnished numberless proofs, similar 
 to the above, of his wonderful recollection of the intervals between 
 the keys of the pianoforte, which enabled him to invent harmonies 
 at a distance from the instrument ; and he has often dictated to 
 his sisters, from the adjoining room, the component parts of very 
 beautiful chords, which, although often very uncommon, were 
 always correct. 
 
 In this, his fifth year, hearing his eldest sister making use of the 
 chord of the sharp sixth whilst modulating, he admired it, and 
 asked her the name of it, but took no more notice of it at the 
 moment. Some three months afterwards he said to her, " Janie, 
 I wish you would play that chord which I admired so much at 
 Woolmers ; I think you called it the sharp seventh." She guessed 
 at what he meant, and told him she would introduce it in the course 
 of modulating, and that when he recognised his favourite he was to 
 call out. She modulated for some time accordingly, introducing 
 the chords of the 7th, 9th, nth, and 13th ; but the moment the 
 sharp sixth was pronounced, he called out that it was that chord he 
 wanted, and he was then informed that it was the sharp sixth, and 
 not the seventh, as he had from forgetfulness called it. He then 
 played the chord over several times, and, to the astonishment of 
 the family, called out in great delight that it could dissolve (as he 
 then called resolve) into another chord. He had been playing the 
 sharp sixth of A flat (see example C). He then said it could go in 
 the chord of C, meaning (see example D), which he played quite 
 correctly. Everyone present was necessarily much surprised at 
 his having made this discovery, and his sister ^sked him if he 
 could find any other chord into which it could resolve, when, before 
 a minute elapsed, he discovered the following resolution into 
 C sharp by the enharmonic change (see example E). He had been 
 only playing the simple 6, not C^ ; and his auditors felt convinced 
 
 that, had he been playing the latter, he would have found the 
 remaining chord into which he might have resolved it. 
 
 23 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 B 
 
 ' E 
 
 Mr. Kingston, the tuner of our instruments, once made trial of 
 Frederick's ear in a manner that he said had hitherto puzzled the 
 most competent musicians. Whilst tuning a square piano, he 
 tuned the wire of one note exactly one note higher than the other 
 wire, and then, sounding three or four notes consecutively, asked 
 the child the name of each note, which was correctly answered 
 until he came to the ■ untuned note, which, when asked, he un- 
 hesitatingly said, " It is E, but I see D in it," to the great astonish- 
 ment of Mr. Kingston. He generally tried the instruments when 
 fresh tuned, and found out the smallest fault ; but the tuner 
 deprecated his criticism by saying, " Pray, Master Frederick, 
 don't be severe." 
 
 About the same period, as he was sitting between two young 
 ladies, his papa happened to have a bad cold, when he said to 
 them, " Only think, papa blows his nose in G," which occasioned 
 a roar of laughter. 
 
 His talent at improvising or extempore playing was extraordinary 
 beyond all description. The thoughts seemed to flow faster than 
 his small hands had the power of executing them, and often has he 
 been observed by the family, after many fruitless endeavours with 
 his two hands to give utterance to the beautiful fancies floating in 
 
 24 
 
APPEXDIX A 
 
 his brain, to give the aid of his fine and extensive voice to his 
 already overburthened fingers, with happy and singular effect. 
 
 Before he completed his fifth year, he sang many beautiful and 
 impassioned melodies, which he accompanied with both hands in 
 the fullest and most varied harmony, — sometimes in triplets, some- 
 times in Arpeggio, — and always introducing false cadences, 
 sevenths, ninths, and other chords the most recherches. 
 
 25 
 
CHAPTER II 
 
 PRIVATE TUITION AND COLLEGE DAYS — 184O-1846 
 
 In February 1 840, or perhaps earlier, at all events 
 before he was fifteen, Frederick Ouseley was sent 
 as a pupil to the Rev. James Joyce, vicar of 
 Dorking. This must have been the boy's first 
 departure from his own home circle. Some who 
 were members of the household at Dorking 
 Vicarage in those days have thus described their 
 impressions : — 
 
 Our recollections of him there are of a good and amiable boy 
 remarkable by his musical genius. . . . His voice was beautiful : he 
 used to sing little Spanish songs. He would play on a comb if no 
 other instrument was at hand. He once became deaf for a time 
 in boyhood, and used to say he never would forget his delight at 
 hearing his father blow his nose in B flat. ... I wish I could tell 
 you of some of the wonders of his early genius ; but, not being 
 musical, I am not capable of doing so. I remember, all people 
 who did understand music were wonderstruck by his beautiful 
 extempore playing. All the time we knew him at Dorking he was 
 absorbed in music, — so much so that my father [Rev. James Joyce] 
 used to say he ought not to take " Orders," because music would 
 always be the first interest to him. 
 
 Nevertheless, humanly speaking, it was prob- 
 ably to the influence of the vicar of Dorking, in 
 the first instance, and afterwards to that of his 
 son, the Rev. J. Way land Joyce {a), that the boy's 
 
 (a) Father of the writer of this book. 
 26 
 
Rough Sketch op Frederick Ousulev and his 'cello 
 
 Drausn by Jamfa Joyct, about 1841 
 
^ 
 
PRIVATE TUITION 
 
 eventual desire to seek "Holy Orders" was due, 
 Mr. Wayland Joyce was assistant curate at Dork- 
 ing during most of the time that Frederick 
 Ouseley remained there; and in after life the 
 pupil used freely and gratefully to acknowledge 
 how much he owed to the intercourse of those 
 few years which he spent at the Vicarage. No 
 doubt the rough discipline of a public school is 
 the most wholesome system of education for the 
 generality of English boys. But there are some 
 boys, of exceptional genius and of nervous tem- 
 perament, for whom an education by private 
 tuition may be the safer course. The boyhood 
 of Frederick Ouseley may well be regarded as a 
 typical instance of this kind. In a private home 
 his musical genius would be allowed a liberty of 
 development difficult, if not impossible, to be 
 found at a public school. It is evident that at 
 Dorking the boy was allowed full scope for the 
 exercise of his talent, and he was left free to 
 develop it in his own way. Meanwhile, though 
 gifted with a marvellous faculty for languages, 
 as proved in his after life, he must have found 
 the grammar of Latin and Greek, with all the 
 other technical details of a classical education, as 
 it was then conducted, irksome enough. I have 
 heard my father (most patient of teachers !) very 
 graphically describe how this youthful musician, 
 when he was preparing for Oxford, would wildly 
 tear his hair and stamp his feet over the Greek 
 plays and his other classical studies, and how there 
 used to follow the inevitable, " It's no use, 
 
 27 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Frederick, the thing must be done ! " Who that 
 has ever struggled with the dull intricacies of 
 Latin prose, or the doubtful readings of some 
 involved chorus of yEschylus or Sophocles, can- 
 not sympathise? How ill would such subjects 
 accord with those beautiful harmonies which filled 
 this pupil's head, and were pleading for deliver- 
 ance! It was a case of the old variance between 
 music and letters, between Hortensio (5) the 
 musician and Lucentio the philosopher. Hor- 
 tensio claims that his fiddle is 
 
 The patroness of heavenly harmony : 
 Then give me leave to have prerogative ; 
 And when in music we have spent an hour, 
 Your lecture shall have leisure for as much. 
 
 But Lucentio insists on the prior place of letters. 
 Music, he urges, is only to be used as a recrea- 
 tion. If we read far enough we shall learn 
 
 To know the cause why music was ordain'd. 
 Was it not to refresh the mind of man 
 After his studies or his usual pain? 
 Then give me leave to read philosophy, 
 And, while I pause, serve in your harmony. 
 
 There was a certain loft over the stable at 
 Dorking Vicarage which my father had converted 
 into a private sanctum of his own, apart from the 
 rest of a very full house. As he said, " Any 
 hole, even a cockloft, is worth having, if you can 
 have it to yourself" Here, in July 1842, a small 
 second-hand organ, which my father had bought, 
 was set up and duly opened by Ouseley. It was 
 
 (i) Taming of the Shrew, act iii. sc. i, ad in. 
 28 
 
COLLEGE DAYS 
 
 a one-manual instrument with an octave of pedals. 
 The maker was John Avery, 1790. It was 
 chosen, of course, by the young musician of the 
 household, who had already made himself an 
 authority on such matters ; and many a happy 
 hour, no doubt, he spent in discoursing sweet 
 themes and weaving cunning fugues on the keys 
 of the humble instrument. 
 
 In 1843, at the age of eighteen, Frederick 
 Ouseley went to Oxford, entering Christ Church 
 as a gentleman commoner. At that time Gais- 
 ford, the giant scholar, was Dean, The other 
 "members of the cathedral body were then, or 
 thereabout, Dr, Barnes, Sub-Dean ; Dr, Hamp- 
 den, Regius Professor of Divinity ; and the six 
 Canons — Dr. Pusey, Regius Professor of Hebrew ; 
 Dr. Faussett, Margaret Professor; Dr. Ogilvie, 
 Professor of Pastoral Theology; Dr, Clerke, 
 Archdeacon of Oxford ; Dr. Bull and Dr. R. W. 
 Jelf. The Rev. Osborne Gordon was Senior 
 Censor, and the Rev. W. E. Jelf, Junior Censor. 
 The reins of college discipline at Christ Church, 
 as elsewhere, were no doubt more tightly drawn 
 in those days than they have been in later times. 
 Still, on going up to Oxford, the young Ouseley 
 must for the first time in his life have found him- 
 self more or less his own master. Music naturally 
 continued to be his chief interest, and must have 
 always hindered any very intense application to 
 other studies. Nevertheless, he was endowed 
 with good general abilities, and he was conscien- 
 tious enough to feel that he must put them to 
 
 29 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 account with a view to securing his university- 
 degree. The amount of classics then required 
 for a pass was not anything very extensive. 
 Three Greek plays, or three books of Herodotus 
 or Thucydides, together with three books of 
 Livy or four books of Virgil, Latin prose and 
 some logic, made up the sum. Ouseley's great 
 natural gift for languages must have made these 
 classical studies easier than they would have 
 otherwise been to him. The possession of a 
 o-ood musical ear is said to be allied with the 
 faculty of learning languages. His marvellous 
 memory, too, must have stood him in good stead. 
 After reading a work over two or three times, 
 when he could bring himself to that amount of 
 perseverance, he could repeat the greater part of 
 it by heart. But it was to mathematics that he 
 chiefly applied himself, under the guidance of 
 Edward Hill, who was then mathematical lecturer 
 at Christ Church, and for whom he always enter- 
 tained a very high esteem. Ouseley's quarters 
 were in Peckwater while in college; afterwards 
 he lodged at Ringrose's in St. Aldates. There 
 are extant a dozen or so of the letters, all un- 
 dated, but written to him from home during his 
 first few terms at Oxford. They are, of course, 
 of an essentially private and domestic character ; 
 but they illustrate well two points — on the one 
 hand, how exceedingly inexperienced he was in 
 the ways of the world ; and on the other hand, 
 how greatly those at home feared lest his natural 
 want of application to books, or rather his im- 
 
 30 
 
COLLEGE DAYS 
 
 patience of the routine work of reading, should 
 tend to prejudice his studies at Oxford. 
 
 It was, indeed, this lack of power to apply 
 himself persistently to the dry details of any study 
 which, throughout his whole life, was probably the 
 weak joint in his harness. There can be no 
 doubt but that he had splendid abilities in many 
 directions besides that of music. But he was 
 restless, — his wits worked too quickly ; like many 
 other clever men, he trusted too much to his own 
 powers of intuition, and the result was that the 
 full powers of his mind were never concentrated 
 long together on one point. Rather, perhaps, 
 one should say that he saw the point of any 
 particular subject quickly enough, sooner than 
 most men ; but he had not the patience to search 
 round it, to master its bearings, and to modify his 
 own first impressions (c). 
 
 Here are some extracts from the letters men- 
 tioned, the first ones being chiefly from the pen 
 
 {c) It should be stated that, with regard to Sir F. Ouseley's later life and 
 work, Mr. T. L. Southgate, no incapable critic on the subject, differs from 
 the view above given. He says : ' ' Ouseley never struck me as being im- 
 patient or unwilling to work methodically and steadily to an end." One or 
 two other friends of Sir Frederick have spoken to the same effect. The Rev. 
 J. Hampton, who, as his fellow-worker for over thirty years, had the best 
 opportunities for judging, says : " No man was so patient and persevering 
 when there was particular occasion for it. He has worked ten and twelve 
 hours daily to accomplish many an object upon which he had set his heart. 
 It is true, however, that when he had made up his mind on any topic, he 
 was somewhat hasty in dealing with others who differed from him. In a 
 similar way, when once he had finished off any composition, he would 
 throw it aside, and never trouble to polish or improve it." 
 
 On the whole, I still think that the impatience and restlessness of 
 character which undoubtedly marked his earlier years did influence also, 
 to a certain extent, the work of Sir F. Ouseley's later Xik.—F. JV. J, 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 of the younger of his two sisters, Alexandrina 
 Percival Ouseley. It should be premised that 
 Sir Gore Ouseley 's income at this time had been 
 much reduced, presumably by the purchase of the 
 Hall Barn estate : — 
 
 Pray remember in trifles that pence makes pounds. . . . Pray 
 do not lose your money when you get it. ... I hope you are as 
 economical as you can be. . . . Do not let Coe [his servant] be 
 extravagant, and consider well if you really can or cannot do 
 without a thing before you get it. . . . Good-bye, dearest Fred, 
 keep yourself well and in the right path. 
 
 The next extract from his sister's letters will 
 show that his standard of hours for reading was 
 by no means a high one : — 
 
 I hope, as you began so well on Saturday, you will continue, dear 
 Fred, and steadily resist all inducements not to read sufficiently — 
 I do not mean study six hours a day, you know ! 
 
 The following extracts are from his mother's 
 letters, and reveal how near to her heart her only 
 boy was : — 
 
 I have little spirits for anything without having the delight of my 
 dear boy's presence. ... I trust that you will soon be able to find 
 out if you have any chance of getting into better rooms, and when 
 you think of mounting your " coach." I confess on this last subject 
 I feel more anxious that I can express, as I think it is so important 
 to you ; and I flatter myself it will regulate your studies more than 
 anything else can do. I am convinced that you would not be able 
 to bear studying many hours in the day, as some can, and I am 
 quite satisfied that it is not necessary, but that regularity is the 
 grand essential. It requires moral courage to resolve upon de- 
 voting certain fixed hours to it ; but if you can but begin steadily, I 
 am sure you will find no difiiculty afterwards, and that four or 
 perhaps five hours in the course of each day at stated times will be 
 as much as you would require. Your having a private tutor will be 
 a great assistance to you, and a good reason to those thoughtless 
 beings by which you are surrounded for wishing to pass some 
 hours of quiet. Do not, my dearest Fred, delay, but make up your 
 
 32 
 
COLLEGE DAYS 
 
 mind at once, for, if you once fall into old habits, you will find it far 
 more difficult to fix your mind to study afterwards. ... I shall 
 rejoice to hear that you are thrown more into the society of Gore 
 Langton, and such as he is, and I long to hear that you have any 
 prospect of getting away from your present noisy Quad. 
 
 I am quite rejoiced to think that you have got a good tutor, and 
 I fondly hope you will, by your diligence and attention, make him 
 take an interest in you, and prevent the possibility of your being 
 considered idle or frivolous. Such a character would stay by you 
 for life. For safety I shall divide the check. Mind you put this 
 half-check carefully away at once. 
 
 What about Tom Quad? Have you any chance of getting 
 there? I long to hear a little about how you are going on, 
 dearest, and how you continue to like your "coach," what 
 encouragement he gives you about the "little go," and in fact I 
 want to hear all about you. . . . Have you had much music, and 
 do you find time for singing lessons ? . . . I know, my dearest 
 Fred, that I need not urge you to consider expense rather more 
 than it might have been necessary formerly, when our means were 
 more than double. Christ Church is a very ruinous place, and far 
 more so than it was formerly, or ought to be now. 
 
 The three following extracts may be perhaps 
 worth recording, if only to illustrate Lady 
 Ouseley's old - fashioned prejudice against rail- 
 way travelling, her strict views on the keeping 
 of Sunday, and her slender faith in the exist- 
 ence, or at least in the merits, of Oxford or 
 Buckinghamshire hair-cutting : — 
 
 You will not forget to tell me at what hour the coach will set 
 you down at Beaconsfield. I am very glad you prefer it to the 
 railroad. . . . 
 
 I hope we may receive a letter from you to-morrow, as surely 
 there can never be anything wrong in writing to a mother or sister 
 on Sunday. . . . 
 
 Have you got a good hair-cutter in Oxford ? If so, pray have 
 your hair in good order before you leave it, and it will save you 
 the bore of going to town. 
 
 On November i8, 1844, at the age of seventy- 
 3 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 four, Sir Gore Ouseley died ; and his only son, 
 Frederick, before he was twenty years old, suc- 
 ceeded to the baronetcy. I remember Sir 
 Frederick once saying that, on the morning 
 when the news of his father's death reached 
 him, he had a presentiment that something was 
 wrong. He had no notion what the exact trouble 
 was ; but a kind of indefinable depression took 
 hold of him. His servant knocked at the door, 
 and, directly the man had come into the room, 
 and before he had spoken, Sir Frederick at once, 
 and without turning his head, said, "You have 
 come to tell me that my father is dead." Sir 
 Gore had indeed been ill for two weeks or more ; 
 but he had not taken to his bed until three days 
 before his death, and it is evident that the son had 
 not been apprised of his father's serious condition. 
 This was the first great shock of the kind ex- 
 perienced in Frederick Ouseley's life ; and, whilst 
 it must have done much to steady his character, 
 there can be little doubt but that it would draw 
 his affectionate heart more closely still to those 
 left at home. 
 
 With his fellow - undergraduates he was a 
 general favourite. Good temper and modesty 
 go a long way in any community to ensure 
 popularity ; and these qualities the young Ouseley 
 possessed pre-eminently. Moreover, he was gifted 
 >with that rare capacity of appeasing opposition by 
 a spirit of real and unaffected forgiveness. He 
 could fire up on occasions, and speak his mind 
 as well as other men. But he could not bear to 
 
 34 
 
COLLEGE DAYS 
 
 be permanently at enmity with anyone. Tlirough- 
 out his whole life there are numberless instances 
 which might be quoted of how completely he won 
 over to peace and friendship men who had once, 
 in some way or other, been bitterly opposed to 
 him. There is a pleasing description given of a 
 certain Baron of Burford (Salop) who lived in the 
 sixteenth century (born 1535, died 1585): — 
 
 For his own delight he had a dainty touch on the lute ; and of 
 such sweet harmony [? was he] in his nature, as if ever he offended 
 any, were he never so poor, he was not friend with himself till he 
 was friend with him again. 
 
 Most exactly may this description be applied 
 to Frederick Ouseley. His simple, childlike 
 character seems to have endowed him with a 
 wonderful power of disarming opposition. Here 
 is an instance, during his undergraduate days, 
 which will illustrate also the fact that he was not 
 wanting on occasion either in spirit or in practical 
 ingenuity. There was a certain fast set among 
 the gentlemen commoners at Christ Church who 
 bore a grudge against Ouseley, because he pre- 
 ferred to consort with quieter and more studious 
 friends (d). 
 
 So a Vehmgertcht sat on him, and decreed that he should be 
 screwed up. Somehow Ouseley got wind of their intentions, and 
 took measures accordingly. He laid in a stock of cayenne pepper 
 and some fetid chemical (probably it was assafcetida), and bored 
 some holes in his oak. No softner had the enemy commenced 
 operations than they found themselves half-suffocated with clouds 
 of pepper, emitted with a hot blower, and then besquirted with the 
 foul liquid. Having forced them to beat a retreat into the opposite 
 
 (rf) Contributed by an Oxford contemporary of Sir F. Ouseley, at the 
 time of his death in 1889, to the St. James's Gazette. 
 
 35 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 rooms, he promptly screwed them up by means of the very engines 
 they had prepared against himself. 
 
 It is only fair to add that this very successful 
 ending to the Ouseley siege appears to have been 
 partly due to the aid of a certain faithful ally, who 
 also helped him to carry the war triumphantly into 
 the enemy's camp. Thereupon "the assailants 
 capitulated; and thenceforth Ouseley lived on 
 friendly terms with the ' fast' set, though he was 
 never intimate with them." 
 
 Some of the Christ Church friends with whom 
 he was most intimate were — John Rich (e), H. 
 Milman (/), R. M. Benson {£■), G. F. Boyle (/i), 
 H. P. Liddon (e), G. W. Kitchin (>), T. Vere 
 Bayne {k), Herbert Murray (/), E. R. Hamp- 
 den (m), A. C. Wilson, — Pennell. The present 
 Dean of Durham, the Very Rev. G. W. Kitchin, 
 characterises the young Ouseley of those days 
 as 
 
 Absolutely guileless, — indeed, a little more guile would often 
 have served him in good stead. His good nature made him 
 popular, in spite of certain peculiarities of appearance which might 
 otherwise have made him rather a " butt." 
 
 Canon Rich, with whom Frederick Ouseley 
 was closely associated both at Oxford and in later 
 
 («) Now Vicar of Chippenham and Hon. Canon of Bristol. 
 
 (/) Minor Canon of St. Paul's. 
 
 {g) Father Benson of Cowley. 
 
 (A) Afterwards Lord Glasgow. 
 
 {i) Afterwards Canon of St. Paul's, etc. 
 
 (y) Now Dean of Durham. 
 
 {k) Afterwards Senior Censor of Christ Church 
 
 (/) Now Governor of Newfoundland. 
 
 {m) Afterwards Rector of Cradley, near Malvern. 
 
 36 
 
COLLEGE DAYS 
 
 years, has given many reminiscences of his friend. 
 He thus describes him in his college days : — 
 
 He was of very cheerful disposition, though at times given to 
 a fit of despair when things went wrong : he was very full of fun, 
 and his excitable impetuosity often made him more funny. 
 
 This description may be supplemented by the 
 following graphic picture drawn by the hand of 
 another of Ouseley's contemporaries at Christ 
 Church : (n) — 
 
 He was always ready to play to us, and I can see him now, 
 jumping from side to side on the music stool ; for he never sat still 
 a minute, and his thin legs were never quiet directly he began to 
 get absorbed. Most of his playing was extempore, and it was our 
 frequent amusement to make him play two airs at the same time, 
 say, "God save the Queen" with the right hand, and "Rule 
 Britannia " with the left, which he did with the greatest ease, and 
 many variations. 
 
 Needless to say, this young undergraduate 
 musician made the most of his opportunities in 
 organ-playing at Oxford. Dean Kitchin recalls 
 how, in his Christ Church days, he was one day 
 walking down " The High," when he saw in the 
 distance, coming towards him, a man with his open 
 palms extended in the air over his head, like a 
 praying dervish, and running at a good speed. 
 As the man approached, he saw that it was 
 Ouseley. He stopped him and said, "Why, 
 Ouseley, what on earth is the matter ?" "I have 
 just obtained permission," replied the breathless 
 enthusiast, "to play on the organ in Magdalen 
 Chapel, and this is the only way in which I can 
 
 («) Contributed to the GMe newspaper at the time of Sir F. Ouseley's 
 death in 1889. 
 
 37 ■ 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 keep my hands cool for playing, by preventing 
 the blood running into them!" And then he 
 rushed on his way. But Ouseley's music in those 
 days was not all instrumental, nor was it always 
 solo work. He and others used on summer 
 evenings to gather in the beautiful hall-staircase 
 at Christ Church, with its groined roof and single 
 supporting pillar, and entertain the College gener- 
 ally, and " Tom Quad " in particular, with glees 
 of various kinds. The staircase (o) 
 
 has remarkable acoustic properties ; a chord sung clearly will 
 often continue to vibrate for a few seconds : therefore to stand by 
 the central pillar and shout an arpeggio was a favourite pastime 
 of the men. But Ouseley completely beat all competitors at this 
 fun, because, owing to his use of falsetto, he could produce an 
 arpeggio nearly three octaves in compass. 
 
 He was also often busied, even in his under- 
 graduate days, with organising concerts in Ox- 
 ford of a more ambitious character. Thus, under 
 his supervision, Handel's Samson was performed 
 in New College Hall. One who took part in the 
 oratorio recalls, forty-four years later, how "Ouseley 
 took the alto solo, and executed a shake, in falsetto, 
 on the words ' abyss of woe.' " On another occasion 
 he got up the Messiah in the Town Hall at Oxford, 
 for the benefit of the Irish sufferers in the famine of 
 1845. He also composed a glee, "Sweet Echo" (^), 
 
 (p) The Character and Influence of the late Sir Frederick Ouseley, 
 an Address delivered on December 2, 1889, before the "Musical Associa- 
 tion," by Sir John Stainer, and published by Novello, Ewer, & Co., p. 31. 
 
 0*) Dr. J. H. Mee sends the following note (November 1895) : — 
 " ' Sweet Echo ' was written for the Oxford Musical Society. I came across 
 the original copy, with dedication and date, some six months ago, in a 
 quantity of music that I rescued from the refuse cart of a contractor. " 
 
 38 
 
COLLEGE DAYS 
 
 the proceeds of which were to go to the same 
 object. Undergraduates at the university have a 
 character in certain quarters for ignoring all the 
 world outside their own circle and their own small 
 "set." The "set" in which Frederick Ouseley 
 moved at Oxford was certainly not of this char- 
 acter. Here is another reminiscence apropos of 
 the thoughtfulness and sympathy then shown 
 even by these young undergraduates at Christ 
 Church for the sufferers in Ireland. A friend of 
 Ouseley 's, who stayed with him for a week in 
 1 846 (his last year at Oxford), says : — 
 
 He took me to wine at places every evening. At Lord 
 Dufferin's, G. F. Boyle's (7), and J. S. Pakington's (r), there were 
 only biscuits and wine. He told me that they, as well as himself, 
 did this, that they might give what they did not spend on the 
 extravagant desserts, which were then the custom, to the Irish 
 Famine Fund. 
 
 From the same pen we get also the following 
 record, which proves that Ouseley, at the end of 
 his Oxford career, was no mean scholar, or at least 
 that he had studied his Horace to good effect : — 
 
 One other fact only dwells in my memory, viz. his readiness 
 in "capping" Latin verses in Benson's room. It came to his turn 
 unexpectedly to give a line beginning with X ; he gave — Xorius 
 amnis ; and, the same thing happening again a few minutes after, 
 he gave Xanthea Phoceu in an instant. 
 
 At the same time, this well-conducted son of 
 Alma Mater seems to have been not altogether 
 innocent of that very common failing of most 
 university students, viz. the habit of practical 
 joking. Canon Rich recalls how he once found 
 
 (y) Afterwards Lord Glasgow. (>■) Afterwards Lord Hampton. 
 
 39 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 that someone had been "making hay" in his 
 rooms, Ouseley being the culprit ; and how, on 
 another occasion, they both conspired, together 
 with a third friend of kindred spirit, to produce 
 the following musical effect. A concert was being 
 given in the Oxford Town Hall by the " Uni- 
 versity Amateur Musical Society." The three 
 conspirators were thus armed — Ouseley carried a 
 gong, the loan of which he had obtained for this par- 
 ticular occasion from the then Junior Censor, Mr. 
 W. E. Jelf, with whom he was somewhat in favour. 
 The Censor, on his part, had annexed the gong 
 from another undergraduate, who, in his judgment, 
 had been making too much noise with it. Rich 
 carried a pair of cymbals (so-called), — they were 
 really two round pieces of thick bell-metal, and 
 the noise they produced was indescribablfe. In 
 the hands of the third performer, C. Webber, 
 was borne a good-sized tin tea-tray. Behind the 
 orchestra in the Town Hall was an uncovered, 
 but hidden passage. Here the trio concealed 
 themselves, and then, without any warning, in the 
 fortissimo part of the "Wedding March," came in 
 with a tremendous crash. Canon Rich thus con- 
 cludes his reminiscences : — 
 
 Dear old Dr. Stephen Elvey, who was conducting, was at first 
 as indignant as he was astonished ; but, when he found that the 
 audience were highly amused and pleased with the effect, he took 
 it all in good part, and I am not sure that he did not himself 
 encore the performance {/). 
 
 (j) It must have been to recall these happy memories, as by way of 
 echo, that Sir F. Ouseley was known now and again, in after life, when 
 d elighting some evening party with a skilful performance of the ' ' Wedding 
 
 40 
 
COLLEGE DAYS 
 
 Here, too, perhaps, may be best inserted one 
 more vivid description given by Canon Rich of 
 his friend in those and in later days : — 
 
 Of his extraordinary musical gifts I was many times the auditor, 
 as I often went with him to different organs. He was most 
 remarkable in power of extempore fugue-playing. Given the sub- 
 ject, the treatment seemed to be at once mapped out in his imagin- 
 ation. He would ask me, " Give me a subject." I would give 
 him half a dozen or more notes. He would say, " Yes ! that will 
 do very well," — or perhaps, " No ! that will not do ; if you change 
 this note to so and so, then I can do it." As he went on he would 
 say, " Now I am augmenting it in the bass " ; " Now I am dimin- 
 ishing it in the tenor ; " " Now I am inverting it in the treble ; " 
 " Now I am diminishing in the alto, and inverting it in the bass," 
 and so on. Thus, with his running explanation as he played, he 
 gave me an insight and an interest in a fugue which otherwise I 
 should probably never have had, and which, I am glad to say, I 
 have not lost. 
 
 Throughout his whole life his extempore play- 
 ing was indeed Sir F. Ouseley's most wonderful 
 gift. Not only could he play fugues in this way, 
 but sonatas, fantasias, and any other kind of 
 music. These extemporaneous effusions would 
 always be in strict form, worked out elaborately 
 and often most originally. And yet, if required 
 to do so, he would adopt the style of any of the 
 great masters (/), 
 
 Meanwhile, as may well be imagined, the 
 Oxford influence of religion was not being lost 
 on a character like that of Frederick Ouseley. 
 His years at college, 1 843-1 846, corresponded 
 with what may be called the crisis of the 
 
 March," to spring up suddenly from his seat, at the point where the 
 cymbals come in, turn round with his face to the audience, and sit down 
 with a crash on the keys of the piano. 
 (t) Cf. pp. 116 ff. infra. 
 
 41 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 "Oxford Movement." In 1841 Newman had 
 written the famous Tract XC, and in 1845 he left 
 the Church of England for that of Rome. The 
 author of the " Christian Year," though no longer 
 the Oxford Professor of Poetry, was still a name 
 of power in the university. And all the while 
 Pusey was one of the canons of that cathedral 
 within whose walls young Ouseley was a daily 
 worshipper. Dr. Pusey's condemned sermon 
 was preached on May 14, 1843. No one of any 
 sensibility, much less Ouseley, with his strong 
 religious instincts, could have lived through these 
 years at Oxford without being influenced one 
 way or another by the " Movement." On him, 
 one of its chief effects would naturally be to 
 intensify that devotion to Church worship which 
 was the dominant note of his whole after life. 
 Already in his earliest Oxford days we can see 
 that the Services of the Church were to him 
 something more than mere compulsory attend- 
 ance at a college chapel. Years afterwards he 
 himself recalled with pleasure how delighted he 
 once was, on a certain Sunday at Christ Church, 
 when his friend G. F. Boyle came to him and 
 said (u) : " Ouseley, we are both of us unwell, and 
 have neither of us been able to attend chapel to- 
 day ; let us read part of the Church Service 
 together." 
 
 But music was the special gift with which God 
 had endowed him. And so it was in this 
 direction that the spirit of worship found its 
 
 («) Havergal's Memorials, p, 40. 
 42 
 
COLLEGE DAYS 
 
 chief expression in his case. From the begin- 
 ning to the end of his Oxford career, as under- 
 graduate hardly less than as professor, Ouseley 
 sought to elevate music, and sacred music in 
 particular, to a higher place in the university 
 life than it had hitherto occupied. And yet for 
 a gentleman-commoner at Christ Church to take 
 up a line like this could then have been no easy 
 task. Not only was the whole cathedral body, 
 from all accounts, an eminently unmusical one, 
 but all the traditions of the place were against 
 him. There is a story told of a certain canon 
 of Christ Church about that time who was asked 
 by one of the (minor canon) chaplains to be kind 
 enough to undertake a Service for him. The 
 potentate's only answer is said to have been 
 this : " Sir, I would have you to know that the 
 distance between a canon of Christ Church and a 
 chaplain is immeasurable " (v). 
 
 Whether the story be true or not, it very aptly 
 illustrates the kind of spirit against which 
 Ouseley, in all his efforts for the cause of music 
 at Oxford, had to contend. Nothing daunted, 
 however, this young gentleman - commoner 
 persevered in the cause he had at heart. Not 
 only did he seek by his position and influence 
 to lend dignity to a then despised branch of art, 
 
 {v) It is said that the same canon, finding a lady on one occasion kneel- 
 ing in the cathedral out of Service hours, and engaged in private prayers, 
 touched her on the shoulders, saying : " Come, come. Madam, no more of 
 this nonsense. " This story in turn recalls that of the Westminster Abbey 
 verger who, protesting against some pious effort of the same kind, informed 
 a private vrorshipper that his intended act would be an insult to the Dean 
 and Chapter. 
 
 43 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 but he took an active and laborious part in its 
 exercise. During his last year at Christ Church, 
 Dr. Marshall, the cathedral organist, resigned. 
 Ouseley immediately offered his services as 
 honorary organist, an offer which the Dean and 
 Chapter were only too glad to accept. He 
 made himself responsible for the whole of the 
 musical work of the cathedral, and, until Dr. 
 Corfe was appointed some months later, is said 
 not to have missed a single service. But his 
 relations with the stern Dean were not always of 
 so smooth an order : (w) — 
 
 Just before the Ter-centenary of the foundation of Christ 
 Church, Ouseley called on the Dean to ask his permission for a 
 concert in the Hall as an item in the celebration. It must have 
 required considerable courage to make this request to such an 
 imperious magnate, as concerts in College Halls were unheard of 
 in those days. " Concert, Sir," said the Dean, with unusual 
 brusqueness, — " certainly not, Sir, certainly not ; and besides. Sir, 
 there's no precedent for it." But Sir Frederick begged to remind 
 the Dean that there was such a precedent, as a concert had formed 
 part of the Bi-centenary celebration. " Leave the room, Sir, — leave 
 the room," was the only reply of the (at times) somewhat peremptory 
 magnate. But he asked Sir Frederick to dine with him the next 
 day, when his habitual kindness and courtesy had returned. 
 
 One other characteristic anecdote is related 
 of Dean Gaisford's dealings with his musical 
 alumnus : (x) — 
 
 Ouseley once, on the last day of a vacation, was at Swindon 
 Station, when, through some mistake, the last train for Oxford had 
 departed- Knowing he could not keep term unless in Christ 
 Church before midnight, he spent £2$ on a special train, and just 
 saved it. Next day he called on Gaisford to explain the unusually 
 
 (ta) Havergal's Memorials, p. 40. {x) Ibid. p. 45. 
 
 44 
 
COLLEGE DAYS 
 
 late hour, and told him what he had done to save the term. The 
 Dean said, in his dry way, nothing but, " You did wisely, Sir." 
 
 In 1846, at the age of twenty-one. Sir Frederick 
 Ouseley graduated as B.A. At one time he 
 had been supposed to be safe for a mathematical 
 first class. But either from the interruptions 
 caused, first by his father's death, and afterwards 
 by an illness of his own at a critical time; or 
 from that innate want of application on his part 
 to really hard study, which has already been 
 referred to, the idea of his seeking honours was 
 eventually given up, and he only presented 
 himself for a pass degree. The authorities were, 
 however, so well pleased with his papers that they 
 granted him an " Honorary Fourth." There are 
 some who maintain that music and intellectuality 
 do not go hand in hand. Perhaps it would be 
 nearer the truth to say that music is really one 
 branch of intellectuality, but that where a choice 
 has to be made between the study of dry books 
 or figures on the one hand, and the chaj-ms of 
 music on the other, the latter very naturally take 
 precedence. This was certainly the case with 
 Frederick Ouseley in his college days, as in all his 
 after life. Dean Kitchin's verdict on the point 
 is as follows : — 
 
 He had wonderful abilities as a linguist and as a mathematician, 
 but his passion for music prevented the full development of the 
 sterner pursuits. 
 
 45 
 
CHAPTER III 
 
 PREPARING FOR ORDINATION DEACON's ORDERS 
 
 FIRST CURACY 1846-1851 
 
 For the two or three years after he left Oxford, 
 Sir Frederick Ouseley appears to have spent 
 his time chiefly with his mother and sisters in 
 London, at 39 [?] Lowndes Street. But he paid 
 frequent visits also to my father, his old friend and 
 tutor, the Rev. J. Wayland Joyce, at Burford, 
 Salop, to which parish Mr, Joyce had recently 
 come as Rector. It was in this way that Sir 
 Frederick first made acquaintance with the neigh- 
 bourhood of Tenbury and the Teme Valley, where 
 some years later he built St. Michael's Church and 
 founded the College, and where so large a part of 
 his own after life was to be spent. 
 
 My father used to relate a story of this date in 
 illustration of the fact that Ouseley, excitable as 
 he was by nature, and " full of nerves," could yet 
 be not only as plucky, but as collected as anyone 
 else in a case of emergency. On September 16, 
 1 846, they were driving together from Burford to 
 Ludlow in a dogcart behind a somewhat uncer- 
 tain mare. When within two miles or so of 
 Ludlow, they met the mail coach. H.M. mail 
 
 46 
 
PREPARING FOR ORDINATION 
 
 was too much for the mare, and she first shied 
 and then ran away. It is a hard thing, of course, 
 to sit still when you are yourself driving a run- 
 away ; but it is a very much harder thing to sit 
 still when you are being driven behind one. On 
 this occasion my father had the reins, and, seeing 
 the likelihood of an upset, he said : " Now, what- 
 ever you do, Fred, don't move till I give you 
 the word; and then jump as quick and as far 
 as you can." Ouseley sat perfectly still. When 
 eventually they ran into the ditch by the road- 
 side, and when, being just on the balance to go 
 over, my father called out, "Jump!" he jumped 
 clear off, alighting like a bird unharmed on the 
 top of a thick-trimmed hedge. My father often 
 declared that he had never in his life seen 
 anything so neatly done, and so absolutely in 
 the nick of time. 
 
 At this period, besides paying constant visits 
 to Burford Rectory, and some to Oxford, Sir 
 Frederick Ouseley was already beginning to travel 
 about, as for years after he loved to do, trying 
 many of the best known organs in England. 
 Meanwhile he was reading for his ordination 
 — whether under any definite and regular tuition, 
 does not appear. At one time, indeed, my father 
 was credited with having "prepared him for 
 ordination." This, however, could hardly have 
 been the case ; for his visits to Burford at the 
 period in question, though very frequent, lasted 
 usually no more than from a week to a fortnight 
 at a time. But what was said of him in after life 
 
 47 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 — " Ouseley is the man to spot heresies " — is a 
 proof not merely of his natural theological ability, 
 but of the fact that he had studied theology to 
 some purpose. He once told Mr. Hampton that, 
 at the time of his reading for "Holy Orders," he 
 had worked very hard, that the argument of 
 Paley he knew by heart, and that sometimes he 
 would read fourteen hours a day. This brought 
 him to the head of the list of candidates, and he 
 read the Gospel at his ordination. 
 
 In 1848, at the age of sixty-one, his mother 
 died, four years after the death of her husband. 
 Lady Ouseley suffered from a weak heart. The 
 day before her death she had been out driv- 
 ing, and there had been an upset of some kind. 
 Though she received no actual bodily hurt, she 
 had been very much frightened. That same 
 night she sat up suddenly in her bed and died. 
 What the loss of a mother, so attached to her only 
 son as she had been, must have meant to him, 
 with his affectionate nature and his child's heart, 
 it is easier to imagine than to express. In the 
 Life of George Herbert of Bemerton (1593- 
 1633) are recorded these solemn and memorable 
 words, as spoken by him, when a youth of seven- 
 teen, to his mother — a mother to whom, as he 
 afterwards acknowledged : — 
 
 " I owe all learning, earthly and divine " — 
 
 For my own part, my meaning, dear mother, is in these sonnets 
 to declare my resolution to be, that my poor abilities in poetry 
 shall be all and ever consecrated to God's glory. 
 
 If the words "sonnets" and "poetry" be ex- 
 48 
 
DEACON'S ORDERS, FIRST CURACY 
 
 changed into "music" and "the glories of har- 
 mony," we may imagine Frederick Ouseley to 
 have made some similar vow, perhaps in his 
 mother's hearing, early in life. Anyhow, his 
 whole after life was a fulfilment of such a resolve, 
 and in his case, as in most others of a like kind, 
 no little share of the credit of the son's work 
 should be doubtless attributed to the mother's 
 influence. 
 
 In 1849 (apparently on Trinity Sunday, June 
 3), Frederick Ouseley was ordained deacon by 
 the Bishop of London (Dr. Blomfield), being 
 licensed to a curacy under the Rev. W. J. E, 
 Bennett, vicar of St. Paul's, Knightsbridge. Sir 
 Frederick had previously, as a layman, together 
 with Sir John Harington and others, sung in the 
 choir of that church. The new curate's work lay 
 almost entirely in serving the daughter parish of 
 St. Barnabas, Pimlico. At the beginning of his 
 curacy the church itself of St. Barnabas was not 
 finished. In a kind of choir college he lived with 
 the Rev. Lawrence Tuttiet and some others. 
 Services were held in the schoolroom ; and to- 
 gether they worked the district assigned to St. 
 Barnabas. Later on came two other fellow- 
 workers, the Rev. Henry Fyffe and the Rev. 
 G. F. De Gex, both his lifelong friends in after 
 years. The church was consecrated on St. Barna- 
 bas Day, June 11, 1850, the Bishop of London 
 preaching on the occasion. The music, as well as 
 the ritual, at the new church was of an advanced 
 order for those days, and Ouseley appears to have 
 4 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 been busy with choir work especially, besides 
 taking part in the general routine of a London 
 parish. But, before the year 1849 was out, more 
 serious matters were already beginning to occupy 
 his thoughts, and to cause him great anxiety as to 
 the position of the Church of England. Although 
 now only in his twenty-fifth year, he had a mind 
 naturally clear, and capable of grasping great 
 principles. The logical training which Oxford 
 then supplied to all her sons led many of them in 
 those days to consider exactly where they were 
 standing as ordained Ministers of the Established 
 Church. " What was meant by the ' Royal 
 Supremacy'.?" " How far was that doctrine or 
 principle to be carried?" " What were the true 
 relations of Church and State?" "And was it 
 a fact that the rights and liberties of the Church 
 were being encroached on ? " These were the 
 questions which many thoughtful men amongst 
 the English clergy were beginning to ask them- 
 selves. And Frederick Ouseley, thrown as he 
 was now into personal contact with some of the 
 leading men in the "Oxford Movement," came 
 quickly to close quarters with these difficulties, as 
 will be shown by the letters which follow. 
 
 Perhaps some apology should be made for 
 publishing a correspondence which, on the one 
 hand, is broken (for several of the letters are not 
 forthcoming), and, on the other hand, may be 
 regarded as in some details overfull. But there 
 are so few letters of Sir Frederick's extant on 
 subjects of general interest, such as this one, that, 
 
 50 
 
FIRST CURACY 
 
 at the risk of being prolix, I have thought well to 
 include almost the whole of this particular corre- 
 spondence between himself and my father, on both 
 sides, so far as it has come into my hands. The 
 correspondence has Iso an interest of its own, in 
 showing how very serious at that time were the 
 perplexities of many of the English clergy, steer- 
 ing their course, as they were driven to do, be- 
 tween the Scylla of Erastianism and the Chary- 
 bdis of secession. Some of Sir Frederick's friends 
 were accustomed, in later days, laughingly to call 
 my father " Ouseley's Pope." If this was only 
 meant in the sense of my father being a father 
 and adviser to him, so far as an elder friend can 
 take that position towards a younger one, then Sir 
 Frederick would have been the first to give him 
 the title, and my father would no doubt have felt 
 proud to bear it. But if the saying was in any 
 way intended to imply that the one friend was the 
 keeper of the other's conscience, or that he defined 
 his faith for him, the phrase was entirely mislead- 
 ing. Sir Frederick's own views on most subjects, 
 more especially on matters of theology, were, even 
 in his earlier years, definite and clear-cut, not to 
 say dogmatic. And my father, though the elder 
 of the two by thirteen years, would have been 
 the last man in the world to presume to be his 
 younger friend's superior, at all events in quick- 
 ness of intelligence. Nevertheless it is plain, from 
 so much of this correspondence as can be found, 
 that my father was most anxious at the time as to 
 what turn events might take. He had serious 
 
 51 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 fears lest Ouseley's impetuosity, combined with 
 those occasional fits of despondency which appear 
 to have troubled him all his life through, should 
 lead him to take some over-hasty step of secession. 
 And so the elder friend very naturally used all 
 the influence which his seniority of age, his wider 
 reading, and his riper experience gave him, to 
 insist on the true position of the Church of 
 England, and the spiritual rights of her Ministry. 
 
 F. A. G. O. TO Rev. J. W. Joyce. 
 
 St. Barnabas, /«z«. 23, 1850. 
 
 My dear Wayland, — Most truly and sincerely do I congratu- 
 ate you on the happy event you informed me of in your last letter. 
 You judged rightly when you said you counted on the interest I 
 take in you and yours — indeed, I should be a beast did I otherwise. 
 
 We are full of trouble here. Mr. Bennett, Mr. Dods worth. 
 Archdeacon Manning, Mr. Maskell, Dr. Pusey, Archdeacon Wilber- 
 force, Henry Wilberforce, and Mr. Keble — (and Mr. Marriott) — 
 have been putting their heads together on the subject of the Royal 
 Supremacy. On this point the whole question of State aggression 
 in all its branches turns — " Is the Queen's decision, through her 
 Council, on appeal, or otherwise, binding on our consciences, in 
 matters of doctrine, by virtue of our oaths (at ordination) of 
 supremacy and allegiance ? " The opinion of counsel learned in 
 the law having been taken, it appears, by the decision of Sir J. 
 Dodson and two others (one civil, another common, and another 
 counsel lawyers), that it is so binding ; and moreover, since every 
 oath is binding ex animo imponentis, the decision is retrospective, 
 and these congregated divines have each and all unanimously 
 decided that they cannot longer serve the Church, save under fublick 
 protest. Mr. Bennett, accordingly, at a large meeting of his 
 parishioners yesterday held, told them that if they would support 
 him by pledging themselves to use all lawful means to relieve his 
 conscience of the imposed load, either by memorialising or 
 petitioning the Powers that be, he would remain their pastor ; but 
 if not — si secus fecerint — if they should not think it worth while to 
 bestir themselves for him, then he must retire into lay communion, 
 or leave the English Church. His conscience would not permit 
 
 52 
 
FIRST CURACY 
 
 him to serve at God's altar with " a lie in his right hand." The 
 parishioners present unanimously agreed to take it up, and are 
 determined to fight for their pastor to the last gasp. So we are all 
 right, at least pro tempore. I think the sense of justice natural to 
 the English character, and that desire that all should have right of 
 conscience, and liberty of will, which forms so essential a character- 
 istick of the Publick Mind, will revolt [? against] the unjust oppression 
 and force the State to remove or alleviate the burthen. God grant 
 it ! If not, /, with others, have determined first to protest^ and then 
 to serve the Scotch, or American, Church — either as a missionary 
 under their Bishops, or otherwise. In this case England shall see 
 our face no more. A long voluntary expatriation is the only thing 
 left. 
 
 Pray write — I am in terrible depression of spirits on this account. 
 Your row is bad enough, and may help : but ours strikes at the 
 root of everything ! Do tell me what you think. — Yours ever 
 affectionately, Frederick A. G. Ouseley. 
 
 I left my hood behind me. Will you send it next time anyone 
 is coming here from your parts, who will bring it unoTtmpled. 
 
 Rev. J. W. Joyce to F. A. G. O. 
 
 BURFORD Rectory, Jan. 25, 1850. 
 
 My dear Frederick, — Your letter has distressed me beyond 
 measure. I wonder not that you are depressed in spirits. The 
 [? array of] names of clergymen you have sent, so much my 
 betters, who are inclined to view the Queen's decision (either by 
 herself or Council) as binding on their consciences, in matters of 
 doctrine, of course staggers me. For the lawyers' opinion I care 
 less. In ethical matters a moderate divine is a far better judge 
 than a first-rate lawyer. So peace to them ! Considering the 
 names of the clergymen contained in your letter who take this 
 appalling view of their ordination oath, you may deem it pre- 
 sumptuous in me to declare that I cannot readily agree with them. 
 So for your comfort (if it please God) I will make a brief essay on 
 the other side. 
 
 The point is, are we bound in conscience by our oaths to accept 
 the Queen's or her Council's decisions in matters of doctrine f I 
 answer. No. (i) As regards the oath in the Ordination Service, as 
 printed in the Prayer Book, it is omni exceptione major. No fault 
 
 53 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 can be found with it. It only asserts that no foreign Prince, etc., 
 must interfere with our National Church. It only asserts the prin- 
 ciple of the independence of this National Church in [ ? which] we 
 are all agreed. (2) Then comes the question of the ist Article in 
 the 36th Canon. This will require more thought, and a compari- 
 son of other declarations and other documents must be here 
 admitted, that we may arrive at its true meaning. We subscribe 
 (we doiit swear— \ merely mention this as a fact, not to endeavour 
 to shield ourselves under a paltry distinction between an oath and 
 a subscription, both equally binding on a truthful man — we sub- 
 scribe) to this : " That the King's Majesty, under God, is the only 
 Supreme Governor of this realm, . . . as well in aXi spiritual or eccle- 
 siastical things or causes as temporal." The succeeding words are 
 only an exact repetition of the allegiance oath in the Ordination 
 Service. Now, my belief, and firm belief, is that, when this was 
 compiled, those who drew it up meant to express an exclusion of 
 foreign jurisdiction. My notion is that the nation had been so 
 much vexed by Italian interference with the temporalities and dis- 
 cipline of this National Church, that it was thus sought to exclude 
 such annoyance for the future. 
 
 This, however, is but opinion ; let us go to more direct argu- 
 ment. Does the expression " spiritual or ecclesiastical things or 
 causes," in the Canon, signify questions of doctrine, or questions 
 wherein liberty of person, [? or] enjoyment of temporality, is in- 
 volved f I answer only the latter. That it does not mean questions 
 of doctrine I shall endeavour to prove by concurrent declarations 
 and authorities and considerations. You are wrong in saying that 
 an oath is binding ex animo imponentis. A promise is binding 
 " as the promiser thought the promisee accepted it." Treat the 
 question before us in a similar manner. " An oath is binding as 
 the taker thought the proposer meant it : " not as the taker meant 
 only, for he might make mental reservation ; not as the proposer 
 meant, for he might in his mind unduly enlarge the obligation ; 
 but as the taker thought the proposer meant it. Now, I venture to 
 say that neither Mr. Bennett, nor Mr. Dodsworth, nor Archdeacon 
 Manning, nor Mr. Maskell, nor Dr. Pusey, nor Archdeacon Wil- 
 berforce, nor Mr. Keble, nor Marriott, nor you, nor I, ever dreamt 
 that the subscription to the 1st Article of the 36th Canon meant 
 that the Queen was to be a judge of doctrine, or could propound 
 new doctrine, or could take away old doctrine. And why have we 
 all good and sufficient reason for not thinking so ? 
 
 Because Queen Elizabeth expressly declared "that she would 
 have her loving subjects to understand that nothing was by the 
 
 54 
 
FIRST CURACY 
 
 oath of supremacy intended but only to have the duty and allegi- 
 ance that was acknowledged to be due to the noble Kings, King 
 Henry and King Edward, and was of ancient time due to the Im- 
 perial Crown of this realm — i.e. under God to have sovereignty 
 and rule over all manner of persons born within these realms, 
 either ecclesiastical or temporal, whatsoever they be, so as no 
 other foreign power shall or ought to have any superiority over 
 them" (Strype's An. i. 159). 
 
 Because the 37th Article speaks the same sentiment in plain 
 language (which read). Not a word do we hear of doctrine, but 
 of causes and persons. " Causes " does not mean questions of 
 doctrine, as is plain to my mind from the context in which it occurs 
 always being the same. That Article plainly declares that " we 
 only give that prerogative" (by the oath of supremacy) "which we 
 see to have been given always to all godly princes in holy Scriptures 
 by God Himself." Surely there are instances enough of God's anger 
 against those who usurped priestly functions to satisfy us here. 
 
 Because King James i., in his address prefixed to the Canons 
 (containing the very passage from which all the presumed diffi- 
 culty arises), does virtually refer all doctrinal questions to the 
 Church duly represented, desiring that it should "confer, treat, 
 debate, consider, consult, and a^'ree of and upon such canons, 
 orders, ordinances, and constitutions as they should think neces- 
 sary, fit, and convenient for the honour and service of Almighty 
 God, the good and quiet of the Church," etc. 
 
 Because — and this is really the point — the Royal declaration at 
 the beginning of the Articles states : — "We are Supreme Governor of 
 the Church of England" {i.e. over causes a.nd. persons, not doctrine), 
 " and if any difference arise about the external policy concerning 
 the Injunctions, Canons, and other Constitutions whatsoever" (here's 
 doctrine at last !) " thereto belonging, the Clergy in their 
 Convocation is to order and settle them, . . . That out 
 of Our Princely Care that the Churchmen may do the work 
 which is proper to them,- the Bishops and Clergy, from time 
 to time in Convocation, shall have Licence," etc. 
 
 Now I know that my ethics are right : An oath (or subscription, 
 the same thing to a truthful man) is binding in the sense in which 
 the taker thought the imposer meant it. The imposer's intention 
 is plainly set forth in the foregoing Royal declaration. This is 
 to my mind satisfactory. My view is also strengthened by the 
 other considerations — "over causes and persons" (see Bingham). 
 I.e. in courts for deciding liberty of person and questions of tempor- 
 ality, the Queen is supreme ; but I know of no other supremacy. 
 
 55 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Indeed, previous Sovereig^ns (Queen Elizabeth and King James)have 
 disclaimed it ; the Royal declaration before the Articles disclaims 
 it ; and, until a fresh claim is set up and actually conceded by the 
 Convocation to our present Sovereign of a power, which I never 
 thought belonged to her, and which I never intended at my sub- 
 scription to consent to, I shall not think myself bound in foro 
 conscienticB to consent to any dictum or doctrine which she or her 
 Council may promulgate. 
 
 I must protest against leaving the Church because she is bullied. 
 In the time of Trajan and the Antonines, what would have become 
 of her if the Saints had left her Altars ? In the time of Julian, what 
 would have become of her pure doctrines, if her priests had deserted 
 her on account of the Imperial heresy ? I can't believe that you or 
 others will desert because she wants your help. I can't believe 
 that, just as the hour of battle begins, your places will be empty. 
 I can't believe that, at her cry for a stout heart, you will be deaf or 
 cowardly. I can well believe, if you thought you had sworn to 
 that which you don't hold, that you would think it right to retract. 
 But I cannot think, if rightly viewed, that you [ ? can so judge the 
 matter]. If your version of ex animo imponentis is the lawyers' 
 gloss, I boldly say they are wrong, absolutely wrong in ethics. 
 Divines, be assured, in such matters, as I said before, are better 
 judges than they. It is rather our province than theirs. 
 
 Now, I pray you, let me hear at once. As I have given you so 
 long a letter, I claim of you to let me know if my counsel has 
 quieted your mind. ... I am most anxious about you. — Your 
 ever affectionate, 
 
 J. W. J. 
 
 P.S. — In consulting all the authorities you will see that '■'■per- 
 sons" and '■'■causes" are always united. These are legal terms, and 
 are used in the second intention, as referring to 'jurisdiction in 
 Courts. In ancient times a clergyman, though convicted of murder 
 or felony, could not be sentenced or executed by the temporal 
 judges or officers, but was delivered to his Ordinary, and by him 
 committed to prison, and after some time admitted to compurga- 
 tion, by which he was generally acquitted, etc., etc. Before Henry 
 Vlll., the Clergy swore obedience to the Pope ; and they held that 
 if the commands of Prince and Pope varied, they ought to obey 
 the Pope. It was against this state of things that the terms " causes 
 and persons" were directed. See Vade Mecum, p. 28. The author 
 of the foregoing, Johnson of Cranbrook, fought out this very ques- 
 tion in Geo. ist's time. He said that — " The King was supreme only 
 
 56 
 
FIRST CURACY 
 
 in his Courts, and that he knew of no Supremacy besides." I am 
 convinced, my dear Fred, that this is the true view. It is a matter 
 I have considered much and long, as perhaps you may gather from 
 so ready a reply. 
 
 J. W. J. 
 
 F. A. G. O. TO Rev. J. W. Joyce. 
 
 St. Barnabas College, 
 
 Monday, February 4, 1850. 
 
 My dear Wayland,— You have doubtless wondered why I 
 have so long delayed writing to you in answer to your very kind 
 and well-written letter on the important question of State- 
 aggressions and Church-slavery. When you consider, however, 
 the necessity of carefully substantiating and verifying all one's 
 facts, ere one should venture to enter into the discussion of such 
 delicate points ; and when you reflect how little spare time I have 
 for such investigations, I feel confident you will acquit me of any 
 carelessness or neglect in the matter, and give me credit for 
 sincere and laborious search after truth : for truth after all is the 
 object. We must not stop to consider to what practical results 
 (painful or harrowing though they may perhaps be) such discovery 
 may lead us. We must shut our eyes to everything but one great 
 question, i.t. should the State enslave the Church — she not pro- 
 testing, but tacitly acquiescing — are conscientious men justified in 
 continuing to minister at her altars ? Now, I do not propose to 
 enter deeply into this discussion to-day, inasmuch as Mr. Bennett 
 has embodied the whole in a couple of sermons, the last of which 
 was preached yesterday, and which will be published immediately. 
 A copy of them I will send to you as soon as ever they are out ; 
 and they will explain the whole matter in a much clearer way than 
 could be effected by anything I could write. Still, their remains a 
 good deal which I feel inclined to say to you, only it is difficult to 
 know how and where to begin. 
 
 I laid your letter before Mr. Bennett, who, after reading it 
 attentively, said that for the most part it was just what he should 
 have written three months ago. But he perceived you had not 
 studied the Acts 23, 24, and 25 of Henry VIII. By the first of 
 these the temporal power of the Pope was transferred to the King. 
 So far, so good. But the King kept Cardinal Wolsey by him, and 
 styled him " Pope's Legate." Accordingly the Clergy did so too. 
 But lo ! the King turns round on them and says, " By so styling 
 
 57 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 him you "acknowledge foreign jurisdiction." So he brings a 
 Pramunire to bear against them : they protest : the King 
 (cunning beast !) says, " Well, I will let you off if you will 
 acknowledge me sole spiritual head of the Church." Well, the 
 Clergy fought long against this : but, finding the King inexorable, 
 they said they would do so, only with this proviso — Quantum per 
 Christi legem licet. To this, after much demur, the King con- 
 sented ; and the Clergy submitted in full Convocation. The King 
 then passed it through Parliament (25 Henry viii.), and it became 
 law, called the " Clergy Submission Act " (see Collier, Burn, 
 Blackstone, Burnet, Massingberd, etc., etc.). This has never been 
 repealed, and the law has been always interpreted to include head- 
 ship in doctrine. (Witness various subsequent Acts of Parliament.) 
 And now every lawyer tells you that you have subscribed to the 
 36th Canon, Art. i, in this sense. 
 
 And then, as to the question of ex animo imfionentis, Mr. 
 Bennett says you are wrong. Suppose a man were to say, when 
 pressed to pay a sum he had in writing agreed to pay, " I won't, 
 because I did not think, when I signed the agreement, that it was 
 ever meant I should have to pay," — would not he be laughed at 
 and forced to pay ? Especially if he voluntarily came forward to 
 sign the agreement, as we voluntarily came forward at our 
 Ordination to subscribe the Canon (for no one compelled us 
 to be ordained). Moreover, the disclaimer of Queen Elizabeth in 
 her " Injunctions," and King James's declaration at Hampton 
 Court, only exonerated those monarchs from the charge of 
 sacrilegious usurpation. But (O si sic omnes!) it did weaken the 
 force of Henry VIII.'s ttnrepealed law, whereby it was in the power 
 of the State {de jure civili, though not divine — de facto) to assume 
 such a tyrannical posture of aggression whenever they choose. 
 And now they have done so : they are doing so : and we must 
 protest, and in the event of defeat we have but to go — ^^ ytvoen. 
 
 As for the Preface to the Articles, and Article 37, — standing 
 alone they would be quite satisfactory : but, coupled with the above 
 deplorable Statute, they are worth nothing. They do not annihilate 
 it ; but it nullifies them. 
 
 As soon as Mr. Bennett's Sermons are out, you shall have them. 
 Now adieu ! — Ever most affectionately and faithfully yours in 
 Christ, 
 
 Frederick A. G. Ouseley. 
 
 58 
 
FIRST CURACY 
 
 F. A. G. O. TO Rev. J. W. Joyce. 
 
 St. Barnabas, Monday, Februaty i8, 1850. 
 My dear Wayland,— At last Mr. B.'s Sermons have issued 
 from the press, and I send you a copy. I think the matter is therein 
 so fully set forth, that any observations of mine would be quite 
 superfluous. There is one point, however, wherein I differ from 
 you, which is barely noticed in the Sermons, and that is the 
 question whether or no an oath is binding ex animo imponentis. 
 I decidedly say, // Is. Otherwise there could be no security at all. 
 I have not time to argue the point. But I will, if you please. — 
 Yours ever affectionately, 
 
 Frederick A. G. Ouselev. 
 
 Rev. J. W. Joyce to F. A. G. O. 
 
 BuRFORD Rectory, March 2, 1850. 
 My dear Frederick, — Thank you many times for the copy 
 of Mr. Bennett's Sermons, which I read with intense interest. I 
 should have acknowledged them before, but that I meditated a 
 letter to you at the same time on some very important points > 
 which I had not been able thoroughly to master in such sort as to 
 submit my conclusions to paper. I may now state that one 
 principal point in my enquiry has been the animus imfionentis 
 in case of a juramentutn assertorium. I maintain my first 
 opinion which you contradict, that is, my first opinion with a 
 shade of modification. And though I am bound in truth and 
 justice to confess this very slight shade of difference (hereafter to 
 be explained) in my opinion, yet I maintain with increased 
 confidence that the opinion of the gentlemen learned in law 
 who stated absolutely that an oath assertorium is to be inter- 
 preted according to the animus imponentis is positively un- 
 tenable and in direct contradiction to the opinions of the authorities 
 on the subject. You well less wonder at my boldness when you 
 proceed a little further into the matter. 
 
 The animus imponentis advice from the learned Counsellors 
 is an echo from Dr. Paley, Mor. Phil, cap^ 21, 22, which he 
 has not sufficiently guarded, and which is in opposition to his awn 
 views as elsewhere expressed. E.g. look at his Mor. Phil. cap. 16 
 sec. 5 : " Promissory oaths are NOT binding where the promise 
 
 59 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 itself would not be so." Then compare this with Mor. Phil. 
 cap. 5, sec. 6, § 2 : " When the promise is understood, by the 
 promisee to proceed on a certain supposition, and that supposi- 
 tion turns out false, the then promise is not binding." See also cap. 
 iy,adfin.: "His" [the Juror's] " obligation depends u^on what 
 HE apprehended at the time of taking the oath to be the design 
 of the law in imposing it, and no after requisition or explanation by 
 the Court can carry the obligation beyond that." This is a plain 
 proof that Dr. Paley himself did not hold those views absolutely 
 which the unguarded dictum in cap. 21, 22 might lead a 
 reader at first sight to father upon him. But I grudge spending 
 so much of your time on an authority which, if admitted at 
 Cambridge, we always hold in slight esteem ! 
 
 So I must take you on a journey to an armoury of earlier date, 
 furnished by more able workmen, and arm you with some of 
 the brighter and more trustworthy weapons beat out on their 
 anvils. 
 
 Now the great treatise on the subject is by the learned 
 Sanderson, of whom it has been said that " Everything he wrote 
 was gold." I might quote multitudes of his dicta to my purpose ; 
 but I shall only give one or two which satisfy me in opposition to 
 the opinions of those " learned in law " whom you quote. De 
 iuranienti obligatione is the book I refer to. Juramentum is 
 divided into assertorium and promissorium, p. 13. At p. 23 
 he speaks of oaths partaking of both characters. Such is the 
 oath before us. Then at p. 31 : "Requiritur ab homine jurante 
 ut omnino faciat secundum id quod egressum est ex ore suo : 
 Ut omnino faciat, id est ut tunc temporis bon4 fide intendat facere, 
 et postea bonS. fide quantum in ipso est conetur facere secundum 
 id quod egressum est ex ore suo : id est, secundum eum sensum 
 quern verba ab ipso prolata juxta communem et recepttim morem 
 loquendi apta sunt ingenerare in mente audientium.'' Now I 
 am at a loss to conceive any principle more opposed to the 
 absolute animus imponentis principle than this, except anyone 
 should maintain the contradictory of the animus imponentis, 
 which would be absurd. The converse of it, that of the animus 
 jurantis, would only be on a FOOTING with that of the animus 
 imponentis — both equally wrong. You must bear in mind that 
 an undue enlargement of the obligation in animo imponentis 
 is as subversive of the whole fabric of morals, both in nature 
 and in degree, as is the undue restriction of the obligation in 
 animo jurantis. Now please weigh that sentence, because in it 
 is contained the whole pith of the argument. 
 
 60 
 
FIRST CURACY 
 
 Hear Sanderson exactly to the same point :— " Neve sensum 
 aliquem juramento a nobis prasstito, aut ejus alicui parti, affin- 
 gamus, proprii commodi aut utilitatis causa, quern non quivis 
 vir alius pius et prudens ex ipsis verbis facile eliceret." Now, 
 having myself read Hooker, Ecd. Pol. viii., passim ; Hickes, on 
 Priesthood ; Sanderson, Reg. Steprem., passim ; Lowth, on Church 
 Power, pp. 433 ff.; and Collier,— all men prudentes et pit,— I find 
 that they do not elicit from the Oath of Supremacy any such notion 
 as that the Juror is bound to take Queen's decision in doctrine. 
 On this head, if you are still heterodox, be pleased to read 
 Lowth, cap. 6, sees. 5 and 6 ; and consult Henry viii. 34 & 5. i, 
 where you will read even in statute law that recourse must be 
 had to the Catholic Apostolic Church for the decision of con- 
 troversies. By the way, if the 6th chapter of Lowth had been 
 well got up by Badeley and Adams, they would have proved to 
 the Privy Council that, whatever authority they may have in 
 maritime cases, and suits simply respecting temporalities per- 
 taining to spiritual persons, their claim to decide on doctrine is 
 not grounded on a true interpretation even of statute law. 
 
 Sanderson, again, p. 77, speaks directly of the Oath of 
 Supremacy itself in these terms : " Juramenta homagii ; Jura- 
 mentum Suprematus Regii ; et similia ; quatenus obligent." . . , 
 " NoN tamen pariter obligari ad omnia ea observanda quae sunt 
 dubii aut controversi juris, prassertim cum soleant fere, qui 
 potestate praediti sunt, funiculos agrorum extendere, et ultra 
 lapides clientium salire, nee jurium suorum finibus contenti 
 esse." These expressions are somewhat pertinent to these times. 
 Hear Sanderson again, p. ill, — " Error circa substantiam rei quae 
 uit propria jurandi causa irritam facit promissionem et obliga- 
 tionem toUit." 
 
 And now, if you won't think me a very Daedalus, I must allure 
 you on another flight, whither you may follow without fearing an 
 Icarian fall. We must travel to the 313th page of Puffendorf, de 
 officio Hominis et Civis," etc.: — "Nee obligabit juramentum ubi 
 constat eum qui juravit factum aliquod supposuisse quod re vera 
 ita non se habebat, ac nisi id credidisset non fuisse juraturum." 
 And again, p. 286 : " Ubi error contigerit circa ipsam rem de qui 
 convenitur, factum vitiatur non tam ob errorem quam quia legibus 
 facti non fuit satlsfactum." And then he proceeds to say that the 
 party injured may either retract his contract or compel the other 
 to supply the deficit. 
 
 These quotations, which might be multiplied far beyond the 
 proper limits of a letter, convince me that the principle of a jura- 
 
 61 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 mentum assertorium anA promissorium (mtx/um), being absolutely 
 binding according to the animus imponentis, is untenable. 
 
 I Can explain how a mistake has arisen among the lawyers. 
 Bear in mind that they are the worst metaphysicians in the world ; 
 and for this reason— With very few exceptions they consider Acts 
 of Parliament to be ultimate principles. Now there are two kinds 
 of oaths under the head -protnissorium with which they are con- 
 versant. One is technically called the voir dire, and is thus put to 
 the juror : — " You shall true answer make to all such questions as 
 shall be put to you. So help you God." The other oath is the 
 oath of a witness sworn in chief. Thus : — " The evidence which 
 you shall give touching the matter in question shall be the truth, 
 the whole truth, and nothing but the truth." In the latter of these 
 two at least I grant you the full, absolute, unrestrained principle of 
 the animus imponentis. This is the oath to which the lawyers are 
 used (as indeed I have good reason to know), and in their meta- 
 physics this is the rock on which they have in your case split. 
 Trust not their interpretation of a vast question in morals when 
 grounded only on one subdivision of a subject which extends itself 
 to an indefinite number of ramifications. 
 
 The truth is, an oath assertorium. is to be interpreted, neither 
 according to the animus imponentis, nor according to the animus 
 jurantis (in technical language the two parties are called deferens 
 and jurans). Both interpretations would be equally improper. 
 As to one side, so to the other, the obligation might in such case 
 be unduly enlarged or unduly restricted. But an oath assertorium 
 is to be interpreted according to the plain sense of the terms, as 
 prudent and pious m.en would interpret, ag 6 (ppoui/io; ipimit. Now it 
 requires but to read Sanderson, Hickes, Lowth, Collier, Hooker (all 
 prudentis et pii), on the subject, and to couple with this the declara- 
 tion of the Statute, Hen. vill. 24. 12. i ; Hen. vill. 34 & 5. i ; 
 Queen Eliz. injunctions ; the 37th Article ; King James ist's 
 Preface to the Canons, and the Royal Declaration at the beginning 
 of the Articles ;— and surely, then, we must conclude that the oath 
 assertorium of supremacy, as expounded by the Sovereigns them- 
 selves, by the Church, and by latn prudentis et pii, does not bind 
 us to take the Queen's judgments in doctrinal matters. . . . 
 — Believe me, as ever, your affectionate friend, 
 
 James Wayland Joyce. 
 
 62 
 
FIRST CURACY 
 
 F. A. G. O. TO Rev. J. W. Joyce. 
 
 St. Barnabas College, March 8, 1850. 
 
 Dear Wayland, — In awful haste one line. I gave Mr. Bennett 
 your letter and questions. The latter he forwarded at once to Mr. 
 Kenyon, a copy of whose reply I enclose. You do not say your 
 opinion of Mr. B.'s Sermons. Have you read Keble's Tract, 
 Maskell's Tract, Sewell's Sermon, and Dodsworth's Sermon, all 
 bearing on the point at issue? Pray write again. Your letters 
 really keep me alive : they breathe a healthy, country air, uncon- 
 taminated by the feverish dust of our excited London atmosphere 
 of polemicks. 
 
 Would to God we had some shadow of hope for the English 
 Church ? But I fear the lukewarmness of her prelates, and the 
 Erastianism of her children, will smother her. 
 
 I am in wretched spirits just now. I sometimes fear I shall go 
 mad. Sleep has, I think, forgotten the abode of my eyelids ; and, 
 unless matters assume a better aspect, I know not what will 
 become of me. — Believe me ever most truly and affectionately 
 yours, 
 
 Frederick A. G. Ouseley. 
 
 F. A. G. O. TO Rev. J. W. Joyce. 
 
 [Not dated, but probably March 1850.] 
 My dear Wayland, — Many thanks for your very kind and 
 considerate letter. With regard to Church matters, it seems to be 
 agreed upon now by all hands that a great general move must be 
 made. The Church must now speak her mind. If she agrees 
 with the Committee of Privy Council, then she stands self-con- 
 victed of heresy. But if not, then all may be well. . . . 
 
 With regard to your kind invitation, I wish I could accept it. 
 Alas ! I am not my own master. My flock have a prior claim on 
 me. Perhaps in a month or so I may get a holiday. If so I will 
 assuredly come to you. I am now rather better in health than I 
 was a week ago. My doctor tells me it is all the mind— not the 
 body — that is the causa malt. . . . — Believe me ever affectionately 
 
 yours, 
 
 Frederick A. G. Ouseley. 
 
 63 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 F. A. G. O. TO Rev. J. W. Joyce. 
 
 St. Barnabas, September 28, 1850. 
 
 My dear Wayland, — The usual excuse, want of time, must be 
 mine. I know I ought to have written ; but I had neither time 
 nor spirits. I am in a great perplexity. I must, according to the 
 invariable and tyrannical rule of my Bishop, take Priest's Orders at 
 Christmas. But I cannot and will not consent to do so at St. 
 Barnabas, as it is only my being in Deacon's Orders which saves 
 me, as you know, from doing many things sorely against my con- 
 science. It is therefore essential to get away ; but I am loth to do 
 so without something definite to go to — not a curacy, because of 
 the scandal it would give against Mr. Bennett, who has enemies 
 enough ready to take hold of any pretext to defame him. Bennett 
 himself is quite willing I should go at Christmas ; and I am also 
 sure it is necessary both for my health and happiness to do so. Can 
 you advise me how to act ? Of course, I must not take a holiday 
 till then, but will make a point of coming and seeing you as soon 
 as I can get away. 
 
 Pray write to me about this. — In haste, yours ever affectionately, 
 
 Frederick A. G. Ouseley. 
 
 On Sunday, November 10, 1850, the "No 
 Popery" riots began at St. Barnabas, Mr. 
 Bennett was a man of energy and ability. He 
 had already infused a good deal of church life 
 into his parish, and had gathered round him a 
 goodly number of staunch supporters. But 
 neither his doctrinal views, nor the elaborate scale 
 (as it was then considered) of his ritual, were at 
 that time generally popular. It would appear, 
 indeed, from the above letter [the one dated 
 September 28, 1850], that Sir F. Ouseley himself 
 was not in entire harmony with all the doings at 
 St. Barnabas, and that he was thus placed in a 
 dilemma between his bishop's rule and his own 
 conscience. It is known, for instance, that he 
 
 64 
 
FIRST CURACY 
 
 disapproved of some of Mr. Bennett's ritual ob- 
 servances, and especially did the musical curate 
 object to the introduction of Gregorian chants. 
 But when at last an organised opposition broke out, 
 loyalty to his vicar and to his other fellow-workers 
 would naturally make him the more anxious to 
 take his share in their troubles. He himself had 
 brickbats thrown at him in the streets. The 
 following letter, written to his former college 
 friend, the Rev. John Rich, gives a graphic 
 description of the disgraceful riots which then 
 took place, continuing for several successive 
 Sundays : — 
 
 F. A. G. O. TO Rev. John Rich. 
 
 Nov. 20, 1850. 
 
 You have doubtless read in the papers accounts of the out- 
 rageous attack which was made by the mob on St. Barnabas' 
 Church last Sunday. But as the accounts in some of the papers 
 are incorrect, it is possible that you and others may have been 
 misled as to the facts of the case. I write this to tell you how it 
 all happened, both because I know you will take an interest in the 
 matter, and because I am anxious the truth should be widely 
 known. 
 
 On Sunday (November 10), just as the Non-Communicants were 
 about to retire, a great hissing was heard in the Church, with loud 
 cries of " Popery," etc. This was, of course, stopped, and the 
 Service proceeded ; but a multitude of men had collected outside, 
 prepared to make a rush had any sympathy been evinced within. 
 A great crowd collected in the evening, but we avoided all dis- 
 turbance then by omitting the Service at 7. Mr. Bennett remained 
 at St. Barnabas to defend his family and property if necessary, and 
 sent me to preach for him at St. Paul's, at 6. When 1 returned at 
 8.30, I found the crowd, gathered in knots of men, threatening 
 what they would do next Sunday. I had been insulted and 
 threatened the night before in the street, and Mr. Bennett too had 
 received several threatening letters. We had every reason to be 
 certain of a more violent attack on Sunday, the 17th ; so we took 
 5 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 every precaution to be prepared for it, nor were they superfluous. 
 The 8 A.M. and 9 a.m. Services went off quietly ; but at 10.30 A.M. 
 the mob began to collect, but luckily our own congregation were 
 seated in time. Nothing in the Church happened before the Ser- 
 mon, but during it a prodigious yell was heard without, which 
 frightened some of our people much. The Church was crammed to 
 suffocation, and a body of staunch friends were stationed up the 
 body of the nave to prevent any attack on the chancel. When the 
 Sermon was concluded, and the Non-Communicants prepared to 
 retire, a violent rush was made by the populace outside ; and 
 doubtless, had they succeeded in their attempt, our beautiful 
 edifice would have been dismantled, and our lives endangered. 
 We know that was their object ; but it pleased God to defeat 
 their sacrilegious intention. The well-affected within were too 
 strong for them : 100 policemen succeeded in quelling the mob 
 without, sufficiently to let the congregation retire. The organist, 
 by my direction, played " Full Organ " the whole time, to drown 
 the row, which had no small effect in preventing the disaffected 
 from communicating with one another. In about forty minutes 
 the Church was at length cleared. It was truly gratifying to see 
 the very large nimiber of Communicants who remained to thank 
 God in this way for His Almighty protection. 
 
 F. A. G. O. TO Rev. J. W. Joyce. 
 
 St. Barnabas College, November 22, 1850. 
 
 My dear Wayland, — Many thanks for your kind letter. I 
 have given up all thoughts of the living about which the question 
 of Simony arose, as indeed I have of all livings at present. I 
 must go abroad for a year, at least. My health requires it, and 
 many other motives incline me to it. 
 
 You will doubtless have read accounts of our fearful riot here last 
 Sunday. Next Sunday it will be worse. We are prepared as for 
 a siege. It keeps Bennett faster to us ; for it makes him obstinate. 
 For a true account of it all, I refer you to the Morning Chronicle, 
 the only just paper. The Church of England is in an awful state. 
 I see no hope, and am thoroughly disgusted with everything. In 
 short, I am quite ashamed of my country. I abhor all the popular 
 principles of the day, and shall never be happy till on some distant 
 shore I. forget that I have been an Englishmen. . . . Pray write : 
 a letter from you always does me good. — Ever yours affectionately, 
 
 Frederick A. G. Ouseley. 
 66 
 
FIRST CURACY 
 
 At the close of the year 1850 Mr. Bennett 
 resigned the living of St. Paul's, Knightsbridge, 
 and Sir F. Ouseley resigned his curacy at St. 
 Barnabas. The following letter would seem to 
 have referred to some unwarranted report that his 
 resignation of the curacy meant secession to Rome. 
 A reference to the end of his letter (a), dated 
 January 23, 1850, will show with what justice 
 he might repel the charge, and be indignant with 
 those who would not accept his disclaimer : — 
 
 39 {or 37 ?) Lowndes Street 
 \Not dated, but probably January 1851]. 
 
 My DEAR Wayland,— I have written a letter to the editor of 
 the Daily News, and another to the editor of the Morning 
 Chronicle ; and neither have been inserted. What shall I do 
 next? It is a monstrous thing to tell a vile lie against a man, and 
 then ignore his confutation of it. I really do not know what to do. 
 Shall I write an advertisement f They must insert that. 
 
 As regards Dorking — Fyife objects to go so far from London. 
 He is going to take a large house near, but not in, London. 
 
 I have altered my travelling scheme. I intend now to go 
 straight to Lisbon, where I intend to spend a week, then by sea 
 to Cadiz, then up the Guadalquiver to Seville, then to Granada, 
 etc. etc., from Barcelona to Marseilles, from Marseilles to Genoa, 
 etc. etc. 
 
 What think you of this ? I lionised A , two days ago, all over 
 St Barnabas, and played the Organ for him, and then took him to 
 the temple and played that Organ too, all which he liked much. 
 
 Pray remember me to all your circle, and believe me yours ever, 
 
 F. O. 
 
 (a) Cf. p. 53 supra. 
 
 67 
 
CHAPTER IV 
 
 TRAVELS ABROAD — THE COLONY AT LANGLEY 
 — 1851 
 
 Early in 185 1 Sir F. Ouseley left England for a 
 tour through various parts of the Continent, and 
 did not return until the close of the year. Mean- 
 while, in order that the choir of St. Barnabas, with 
 its educational advantages and its college tradi- 
 tions, should be kept together, he made generous 
 arrangements for its migration to Lovehill House, 
 Langley, Bucks, a few miles from London, on 
 the Great Western Railway. Here, under the 
 superintendence of his friend, the Rev. Henry 
 Fyffe, was formed the nucleus of his future 
 school. 
 
 The following extracts from a series of letters, 
 written to my father from abroad, will explain 
 themselves. They are interesting not only as 
 describing Sir Frederick's travels, but also as 
 showing how, in that one year 185 1, when he had 
 leisure to think and to observe, his views, both 
 political and ecclesiastical, were becoming fixed in 
 that one stereotyped form from which they never 
 swerved in after life. Like many other con- 
 scientious men, he thought out his views once 
 
 68 
 
TRAVELS ABROAD 
 
 and for all, and then set himself to do the work 
 of life on those lines : — 
 
 Genoa, March 21, 1851. 
 
 My dear Wayland, — Many things have happened to me since 
 we last met. I have seen strange people, strange places, strange 
 things. I know more of the world than I did. Yet I hope you 
 give me credit for not thinking the less of old friends. However, 
 to make it the surer, I write this, both because I fancy you will 
 like a letter from me, and also because I want to get one from you 
 when I am at Rome, where I hope to be in Holy Week. I have 
 several times wished you had been with me ; and never more so 
 than when 1 went over the splendid Cathedral at Seville. But I 
 will begin at the beginning and trace out my travels ab initio. 
 
 The first place I came to was Lisbon, where I stayed ten days. 
 My good friend De Gex is travelling with me ; so we took a private 
 sitting-room, hired a pianoforte, and made ourselves as happy as 
 we could. But still we found Lisbon a horrid place : every kind of 
 dirt is thrown out of window, and the whole place stinks abomin- 
 ably. But the worst thing is the state of the Church — despoiled 
 and impoverished by a semi-infidel Government — the priests not a 
 whit less corrupt for their poverty, most of them open fornicators. 
 Nothing can be at a lower ebb than religion in Portugal : their 
 monastic establishments are all secularised, the greater part gone 
 to ruin, some turned into barracks, or secular schools, or tobacco- 
 factories. The only places worth seeing in the ecclesiological line 
 are Cintra and Mapa — the former celebrated for its scenery and 
 old Moresque Castle, and the latter for the enormous palace and 
 quondam Franciscan Monastery erected there. We went all over 
 it. The best thing about it now is its chime of 114 bells. 
 
 The next place we anchored at was Cadiz. Nothing can be 
 more striking than the first view of this city as you approach it 
 from the sea. The houses being all white and semi-Moorish, it 
 has almost the appearance of alabaster. It is a very clean, nice, 
 town : but dull, I should think, for a long stay. We only stayed 
 there five days, and then steamed up the Guadalquiver to Seville. 
 Here indeed we were enchanted, first by the splendid old Gothick 
 Cathedral, and then by the Museum, the Alcazar, the Alamedo, and 
 Giralda tower. The Cathedral is pure, unspoiled Gothick : every 
 window full of beautiful stained glass : every side chapel contain- 
 ing some beautiful painting, many by Murillo. The Organs, too, of 
 which there are two, are splendid. But I did not hear them to 
 advantage ; for, being Carnival time, they were busy in the Chancel 
 
 69 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 all day ; so I could not try them, and in Service the Organist used 
 hardly anything but the trumpet ! 
 
 Our next halting-place was Gibraltar. It was a comfort to come 
 to an English town again, and I was very fortunate, too, in having 
 an introduction to the Governor, Sir K. Gardiner, who treated us 
 with marked civility. We stayed there nearly a fortnight, which I 
 am sorry for, as there is nothing there but what may well be seen 
 in three days. But we gained one thing by it, an expedition to 
 Tangiers in a war - steamer. This was most interesting, as you 
 may suppose. We were fortunate, too, in being there on a market- 
 day, and so seeing more of Arab customs and habits than we other- 
 wise should have done. The Moors are but half-civilised : they 
 are barely civil to an European. We were told if we ventured out 
 unguarded into the interior, we should certainly be murdered. 
 However, we did so venture, and here we are at Genoa, safe and 
 sound — sit laus Deo ! . . . Adieu. — Ever yours most affectionately, 
 
 Frederick A. G. Ouseley. 
 
 59 Via del Babuino, Roma, 
 May 9, 185 1. 
 My dear Wayland, — . . . With Rome I have been woefully 
 disappointed. Of course it is full of objects of classical and anti- 
 quarian interest : but it is not in this point of view that I speak of 
 it. It is Rome ecclesiastical which has disappointed me. I cannot 
 tell how disgusted I am with Romanism in its headquarters. 
 What I have seen here has quite made up my mind that even if 
 my own Church were to apostatise — which God forbid ! — yet it 
 were better to trust to uncovenanted mercies than join a Church 
 so corrupt, so false, so self-seeking and self-deceiving, as the 
 Church of Rome. The lies which one would have to believe, the 
 lies one would have to preach, the utter abandonment of one's own 
 reason which would become necessary, would soon make one an 
 infidel. Ita sit I You are more sanguine about the prospects 
 of the Church of England than anyone else I know. I wish I 
 could look forward as hopefully as you do. As far as I can see, 
 the fearful persecutions at St. Barnabas seem only to be a sample 
 of what may be expected to ensue all over England. ... No good 
 thing can prosper in Church or in State. ... All we can do is to 
 pray for the peace of our Jerusalem fervently, incessantly, and 
 trust to God's mercy to make this a temporal chastisement for our 
 
 70 
 
TRAVELS ABROAD 
 
 sins, and not root us out utterly ! You see, I am as yet none the 
 happier for my travels. Absence only rivets the thoughts more on 
 what we leave behind. It is a mistake to suppose it can make us 
 forget our home troubles. But enough of this, you will say. 
 
 Oh ! how wretchedly disappointed I have been with the musick 
 in Rome ! On Palm Sunday there was a beautiful Mass of Pales- 
 trina's ; and during Holy Week I heard beautiful Misereres and 
 Lamentations by Palestrina, Bai, Allegri, and Baini ; also on Easter 
 Day a very fine Mass by Siciliani — all first-rate composers. But 
 these Romans can't sing their own musick ! They have fine 
 voices (Basses and Tenors, that is), but the (? Alte) Trebles are 
 execrable. With the exception of the above-named things, and a 
 Greek Mass I heard one day by Baini, I have not heard a note of 
 musick worth a straw since I arrived in Rome ! I have, however, 
 tumbled on my legs in the way, for I have made the acquaint- 
 ance of 3 good musicians — Fontemaggi, organist of St. Peter's ; 
 Bovieri, director of the Sistine choir ; and Abbate F. Santini, who 
 has one of the best collections of MS. musick, of an ancient Church 
 style, in the world. By means of these three worthies I have been 
 able to make very extensive and valuable additions to my own 
 private collection of classical musick, already not a contemptible 
 one. So that I hope ere long to be spoken of — tnonstrari digito 
 pratereuntium — as the possessor of a most enviable musical MS. 
 library. There are no good Organs in Rome, which annoys me 
 much. The only really good one I have met with since Seville is 
 at Catania in Sicily. You would be amused if you could see how 
 hard I have been reading up Horace, Livy, Pliny, and Tacitus. 
 But I was determined to be well au fait of all the objects of 
 antiquarian interest here, so I have mugged pretty hard. . . . 
 
 With regard to a living, . . . my final plans must be in nubibus. 
 Much depends on the events which are coming on the Church : 
 much depends on my health, which is very indifferent just now : 
 much, too, depends on a sort of offer I have hadofaprecentorship 
 at Winchester which is expected soon to become vacant. Still, in 
 spite of all this, I may, after all, settle down into a country parson. 
 If so, I had rather be near you. You see, I have scruples about 
 hiding my musical talent under a bushel. I think I clearly ought, 
 if it be possible, to devote it to God's service in His Holy Church. 
 Now, in a regular country living this is impossible : for a large 
 town living I have neither health nor strength. A precentorship 
 is more the thing : but it has its drawbacks, and they are of no 
 small weight. So, on the whole, I am pulled all ways : I know not 
 whither to turn. 
 
 71 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Pray do not omit to write to me to Florence. I like to hear of you 
 and yours. I cannot tell you how interested I am in your proposed 
 restorations at Burford. But, whatever you do, sink the floor to its 
 former level. Your nave wants height, and your windows start too 
 low now, in consequence of the ill-advised raising of your floor. 
 Be your roof what it may, the nave will never be perfect without 
 this, not even if all open-seated and the windows muUioned and 
 coloured : verbum sat. ... I assure you I think much of all my 
 old friends. No one knows the full value of friends at home till 
 he becomes a wanderer like me. . . . — Believe me to be ever 
 yours most sincerely and affectionately, 
 
 Frederick A. G. Ouseley. 
 
 Venice,/?^/)/ 4, 1851. Hotel Danielli. 
 
 My dear Wayland, — Here I am at length at the Sea-city — a 
 sort of " amphibilious " place, with which I expect to be much 
 pleased ; although I can hardly judge yet> having only arrived this 
 morning. 
 
 Your letter, which I got at Florence, pleased me much. You 
 are almost the only correspondent I have who can speak cheer- 
 fully on ecclesiastical or political matters. Everybody else inundates 
 me with most doleful productions, which would suffice to make me 
 despair even if I were not naturally inclined to do so. But 1 try to 
 persuade myself to think as you do, hoping even against hope. 
 God grant that some day I may find cause for more than a vague 
 hope ! But, alas ! the times are very bad indeed. Do not, how- 
 ever, think from this that I am going to Romanise. No ! I have 
 seen quite enough to take away any hankering of that kind ; and, 
 unless I were convinced that the Papal Supremacy was of Divine 
 right (which is impossible, as you truly say), I never can or will 
 become a member of the Roman Communion. But still I cannot 
 but see the shortcomings of the English Church, and that I grieve 
 over. 
 
 What a beautiful road is that between Rome and Florence ! 
 We came by Siena, passing Lake Thrasymene. I found several 
 Organs, too, worth trying. The tone of the mixture stops in the 
 Italian Organs is generally good, especially in the old ones ; the 
 new ones excel in their reed stops. I think they are in this respect 
 above the average, but the diapasons are always weak both in new 
 and old instruments. The great point of inferiority, however, is 
 
 72 
 
TRAVELS ABROAD 
 
 in their arrangement and mechanism ; it is always execrable, the 
 compass almost invariably from F in alt. to CC short octaves. 
 A more vile compass can hardly be conceived, especially when 
 you remember that short octaves in the Pedals is a barbarism never 
 perpetrated in more enlightened countries. I have got in my 
 writing-book descriptions raisonn^es of all the best Organs I have 
 tried, which you shall see some of these days. 
 
 I like to hear your accounts of English Polemicks. I fancy I see 
 you now sitting midst piles of huge tomes, while I am lying half- 
 dead with the heat at the bottom of a Gondola ! But pray write 
 me accounts of all your researches, as, although I am not studious 
 enough to enter into them myself, yet the results interest me 
 beyond measure. As far as regards Convocation, it would only be 
 a bear-garden now, and might possibly lead to authorised heresy {a). 
 It seems to me to be a dangerous thing. I fancy, after all, that the 
 Puritan party in the Church are very strong. The accounts I read 
 in Galignani of their meetings to alter the Book of Common Prayer 
 seem to prove it ; and they are the Government favourites too, 
 which is a strong point. Now, I contend that they would very 
 likely prevail in a Convocation just now ; and who knows what 
 might be the result? Who knows what alterations they might 
 make in our Sacramental Services and Ordinal ? Who can tell how 
 many pious and hard-working High Churchmen might be driven 
 thereby to seek shelter in another Church ? These are no trifling 
 dangers. Have you duly i considered them ? It strikes me our 
 state is this — we have no acting or energetic head ; the only one 
 we can have is Convocation ; we cannot get on without it. But 
 Convocation will probably ruin us : therefore we must either be 
 starved or smothered. But enough of this ! . . . 
 
 If you write me soon, direct Paste Restante, Geneva. I will not 
 give you a later address, both that you may have no excuse for 
 delaying to write to me again, and also because my ro^te is most 
 uncertain. — Believe me, as ever, most truly and affectionately yours, 
 
 Frederick A. G. Ouseley. 
 
 The book of descriptions raisonnSes, referred 
 to in the above letter, appears now (1896) to be 
 lost. But it is evident from the recollections of 
 friends that Sir Frederick visited a very large 
 number of the best known organs in Europe. 
 
 {a) Of. p. 158 infra. 
 
 72, 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 He went about trying organs everywhere, and 
 the " natives " used to come and ask when the 
 English gentleman was going to play. Canon 
 Rich recalls, as one of Sir Frederick's observa- 
 tions, that "he thought the organs in different 
 countries were very expressive of the character- 
 istics of the people. German organs were like 
 the English, round, full -toned ; French, noisy and 
 reedy ; Italian and Spanish, mellow and soft." 
 
 At this time Sir Frederick Ouseley had almost 
 made up his mind to build a church, and take 
 charge of a district to be assigned to it, at 
 Ludlow. Eventually this scheme fell through ; 
 but the following letter shows how clearly he 
 already had before him the project which he 
 afterwards carried out to completion in the 
 building of St. Michael's : — 
 
 Lucerne, September i, 1851. 
 My dear Wayland, — I have begun two letters to you which 
 have come to grief, for lack of time ; but I really must not delay 
 any longer sending you a letter ... to speak a little of the Lud- 
 low affair in which you have so very kindly interested yourself. 
 I have determined to undertake it. It is, I think, a very feasible 
 project, and I am tired of a roving life. But there are difficulties 
 still. In primis, I cannot afford to build the Church and endow it 
 too. My income will not do it, and I cannot touch my capital : it 
 is locked up in Chancery. . . . What I have in my thoughts is a 
 Church in the 14th Century style, with Collegiate buildings adjoining, 
 for residences for myself, two Curates and Choir, and Cloisters, too, 
 enclosing a private portion of the Cemetery. Now, this plan is 
 expensive, and so I can only accomplish it by degrees. I will give 
 ^1000 every year towards this building, if anyone else will help 
 me in any degree proportionably — che nd pensate f Then as to the 
 Service. I must have daily choral Service : my choir must be a 
 model choir : and I will not give up anything if I once commence. 
 . . . Anyhow, I am ready for any preliminary personal measures 
 
 74 
 
TRAVELS ABROAD 
 
 at Christmas. If absolutely necessary, I will come home sooner ; 
 but would rather not, for I have many Churches to see and many 
 Organs to try. The Freyburg Organ I tried a short time ago, and it 
 delighted me. It is undoubtedly the best I have ever yet seen or 
 heard. There is also a very fine one at Berne just put up ; and I 
 am going to try one in a few days at Winterthur which is said to 
 be better still. So you see my hobby still bears me well. I will 
 give you a detailed account of all my organising experiences when 
 we meet. 
 
 Fancy my having the good luck to tumble upon a lot of Christ 
 Church men reading with my old and good double first friend, 
 Kitchin. . . . — Believe me, as ever, yours affectionately and faith- 
 fully, Frederick A. G. Ouseley. 
 
 Munich, September 26, 1851. 
 
 My dear Wayland,— It is a great comfort to me to have 
 a correspondent in England like yourself, always able and willing 
 to enter into my views and feelings, and to sympathise with 
 my doubts and perplexities when they arise. I only wish I was 
 able to express to you half the sense I have of the very great 
 kindness you show me in your last as in all other letters. I think 
 I like the Ludlow scheme more and more. The only difficulty I 
 foresee is money. You see, my funds are rather reduced just now, 
 in consequence of all I disbursed at St. Barnabas both toward the 
 Church and Choir. . . . Perhaps, however, I may find my affairs 
 better than I expected on my return — Speriamo / . . . I will not 
 do without daily choral Service. I have no talent for teaching, no 
 powers of preaching, and no health for hard parochial work. But 
 God has given me one talent ; and that I am determined to devote 
 to His Service, and offer it up to adorn His Church. I should never 
 forgive myself, if I did otherwise ; my conscience exacts it of me, and 
 you may tell Hampden(^) so if you like, or think it expedient. . . . 
 
 I wish you could see the beautiful Churches the ex-King has 
 built in this town. Were it not for the Lola Montes Extravaganza, 
 he would be called a great man— not a dotard, or worse, as he now 
 is ! In the matter of coloured glass, the Munich windows are of 
 course quite splendid. Still, I infinitely prefer the old Mozaick 
 glass, which you see in Strasburg, etc. ; it is darker and richer, and 
 I think more ecclesiastical in its general effect, which is of more 
 
 (iJ) The then Bishop of Hereford. 
 
 75 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 importance in my opinion than excellence of detail. . . . Believe 
 me ever yours most truly and affectionately, 
 
 Frederick A. G. Ouseley. 
 I shall and will be home by Christmas Day. 
 
 Dresden, October 21, 1851. 
 
 My dear Wayland, — ... I shall be, I trust, once more in 
 England — post tot tautosque labores — by the first week in 
 December ; and, as soon as ever I shall have seen a little of my 
 sisters, I intend, if it be convenient to you, to run over and see 
 you : albeit it must be only a very short affair, for Fyffe requires 
 my assistance at his place on Christmas Day, and I have promised 
 to go and look after my protdgds there, which is of course a duty 
 as well as a pleasure. . . . 
 
 I am quite out of conceit with English Chorister boys. I think 
 every Precentor and Choir Master ought to come and hear the boys 
 here, both in the Roman Catholick and in the Lutheran Church. I 
 never heard anything equal or approaching to the excellence of 
 their voices. The intonation is so true, and the style so tasteful 
 and refined, and the quality so rich and full and round, that it 
 leaves nothing to be desired. I wish I could catch a Saxon lad 
 and import him ! But I fear this is impossible. I assure you, I 
 am " all agog " about this matter. And then I heard, the other day, 
 old Schneider, the best living Organist, play on one of the best 
 Organs in Europe ; and I really have not had the heart to touch an 
 instrument since, so unapproachable does his excellence as a fugue- 
 player and accompanist appear to be. So I have had two musical 
 snubs, the first a national snub, and the second an individual one ! 
 De Gex says he thinks a book, yclept " the snubbed one," might 
 be written, so much amused is he at my mortification and envious 
 feelings. . . . The English Aldermen are to fSte Kossuth . . . Why, 
 these are the very men who preach against war, and armies, etc., 
 etc. : and now they are doing their best to embroil us with Austria ! 
 Upon my honour I am nearly driven mad by these evil times in 
 which we live. It is enough to arouse every latent feeling of 
 indignation tojhear all the foreigners say of my country, and not be 
 able to confute or gainsay one word of it ! ... Of all the towns I 
 have been in, I like this the best, and I only regret being forced to 
 leave it so soon. But Fyffe needs my presence so much that I 
 
 76 
 
TRAVELS ABROAD 
 
 must be back, and should be sorry not to see Paris first, and try 
 the Dutch and Flemish Organs .... — Yours very faithfully and 
 affectionately, Frederick A. G. Ouseley. 
 
 Berlin, October 2%, 185 1. 
 
 My dear Wayland, — ... I think in my last letter I told you 
 about the boys' voices at Dresden. Well, at Leipzig, at the 
 Thomankirche, they are well nigh as good. I wish I could 
 capture one ! I am quite certain I shall never care for English 
 Cathedral trebles again. I assure you it is worth any musician's 
 while to come to Dresden or Leipzig from any part of the world, if 
 it were only to hear these boys. You never in your life heard any- 
 thing approaching to it. The best boy's voice I ever heard in 
 England was at Windsor, a great many years ago, when Foster, 
 now Organist at Wells Street, was a chorister there {c). But these 
 Saxon fellows beat him hollow : he can't come within a mile of 
 them. I suspect they are chosen from a somewhat higher class of 
 Society than our own choristers usually are ; and this is perhaps 
 the cause of their more refined style. 
 
 In my humble opinion it is very desirable indeed to raise the 
 position of our English Choir boys. Now they are too often mere 
 rabble, and what refinement of style can one fairly expect from 
 such materials ? Of course, I know there are exceptions, and that 
 not only choristers taken from a higher grade do exist, but that 
 also cases do occur where even those of the lowest rank do by 
 their own individual labours and talents overcome their dis- 
 advantageous circumstances, and attain no small excellence. 
 
 is an instance : is another. But still, as a general rule, 
 
 I must say the usual system is radically bad. Now, my choral 
 scheme will tend, maybe, by God's blessing, to improve this state 
 of things. I hope also that by instituting a model choir I may 
 supply another great deficiency, i.e. Choir men, brought up as 
 Choristers, who shall know how to be reverent and devout in 
 Church ; singing not for their own sake, but for God's glory ; not 
 to earn a scanty pittance, or gain a musical reputation, but to 
 promote the solemnity and impressiveness of the Choral Service of 
 our National Church. This is what a Choir man ought to be, and 
 
 (c) Mr. John Foster, when he grew to man's estate, developed a very 
 beautiful alto voice, and was appointed, in or about the year 1856, a Lay 
 Vicar at Westminster Abbey, which position he still holds (Nov. 1895). 
 
 77 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 what he hardly ever is : and nothing but an improvement in the 
 education and training of Choir boys can ever bring it to pass. 
 This, then, is one main object I have in view. But yet further, as 
 some chorister boys will become professional musicians, so others 
 may wish to be ordained. Now there is a great lack of good 
 chaunting clergy in the Church of England. No man can be so fit 
 to perform the Priest's part well, in a Choral Service, as he who has 
 been brought up as a Chorister boy. But alas ! too many of those 
 who have been so brought up have proved themselves afterwards 
 but too unfit for their Holy Profession. The common education 
 which our Choristers have hitherto received being anything but a 
 good school for piety and devotion. Now this deficiency I hope 
 my scheme will materially tend to remedy, under God ; and I 
 cannot but feel sanguine that when the objects thereof are known, 
 I shall gain the countenance and support of the good and the 
 charitable. 
 
 I do not like Berlin ; so we go, on Thursday the 30th, to 
 Hanover, and on the 31st to Cologne, where we stop a week ; 
 then quickly through Holland to try Organs, etc. . . . ■ — Believe 
 me ever yours affectionately, 
 
 Frederick A. G. Ouseley. 
 
 LovEHiLL House, Langley, Bucks, 
 Feast of St. John the Evangelist ^December Tf\, 1851. 
 
 My dear Wayland, — I have been so engaged since I have 
 been in England that I could not fix any time to propose to pay 
 you my promised visit. But now I write to say that I can 
 come any day after January 7th, on which I have to get through 
 some very unpleasant business with my lawyers in Lincoln's Inn. 
 I do so long to have a chat with you again, and to talk over old 
 times and present times and future times, and Church matters, and 
 my own Church Schemes, last but not least. It would be forestall- 
 ing to say much in this, but I am still anxious to get work, only 
 not yet. I had rather wait till next Christmas and read quietly, 
 for reasons I will tell you, and which I think you will acquiesce in. 
 I still hold good for Ludlow eventually. 
 
 Bennett has come home furious at all the evils he has seen 
 among Papists abroad, and is going to belch forth a sour pamphlet 
 on the subject. He has been appointed, / believe, to the Vicarage 
 of Frome, in the Diocese of Bath and Wells. 
 
 78 
 
COLONY AT LANGLEY 
 
 Direct to me here, please. All our old choristers are here, under 
 the able superintendence of my late fellow-curate, Fyffe ; and it is 
 with these materials that I hope to form a nucleus for my projected 
 institution and College. . . . — Believe me to be, as ever, yours very 
 truly and affectionately, Frederick A. G. Ouseley. 
 
 From the date of the above letter right on to 
 the very end of his Hfe, one chief object seems 
 now to have occupied Sir F. Ouseley's time and 
 best energies, viz. the serving God with his one 
 talent (d), as he called it. From this time onward 
 his scheme for the improvement of choral music 
 in the Church was the one great end of his life. 
 Undoubtedly he did much valuable work for the 
 Church of a more general kind as well, but for the 
 most part it all centred round this one depart- 
 ment of sacred choral music. 
 
 Near the house at Langley a temporary chapel 
 had been fitted up, converted from a stable loft ; 
 and here twice a day a regular Cathedral Service 
 was rendered. Of the domestic arrangements of 
 this choir colony, we have a suggestive description 
 in the following reminiscence, written in after years 
 by one of Ouseley's friends : (e) — 
 
 My friendship with our dear friend Ouseley lasted for a great 
 many years, and was intimate. But what I know of him is, I 
 fancy, only what was equally well known to the hundreds whose 
 lives were brightened by his unbounded kindness and cordiality. 
 
 I have a pretty keen remembrance of one occasion when (at 
 Langley) I arrived one Sunday evening, after a fatiguing day in 
 London, to take part in a devotional performance, in the chapel, of 
 the entire Messiah — nothing omitted, and standing throughout 
 the three parts. It began, I think, at 8 p.m., and certainly did not 
 end before midnight. Then he took us up into his own room, and, 
 rubbing his hands, said, "Well, I think we must want some 
 
 (d)Cf. p. 75 su^ra. («) Havergal's Memorials, p. 59. 
 
 79 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 refreshment." The refreshment was strong green tea ! Of course, 
 an absolutely sleepless night followed, especially as the room was 
 an exceedingly cold one. At daybreak, however, I was just drifting 
 into unconsciousness, when a long single file of boys, in their night 
 shirts, passed through the room on their way either to lavatory or 
 oratory, I forget which. The next day was the prize-day for the 
 school, but, as might be expected, Ouseley was disabled by head- 
 ache, and commissioned me (a stranger to the place) to represent 
 him and conduct the ceremonies ! I well remember, too, the 
 misery which he suffered from the possession of that gorgeous, 
 but perilous, heirloom, the Persian enamelled plate (/), of pure 
 gold, which he used to hide under his coat, and bring down with 
 whispered cautions to show to his friends. 
 
 (/) Cf. p. 3 supra. 
 
 80 
 
Church of S. INIichael and All Angels, Oi.u W'uod, Tknuur^' : looking eastwards. 
 
 I' I, III. /graphed b<j R. C. Munis, Tvnhury. 
 
CHAPTER V 
 
 Foundation of St. Michael's Church and 
 College — Appointment to Professorship 
 OF Music at Oxford — Priest's Orders 
 AND Appointment to Precentorship at 
 Hereford — Consecration of St. Michael's 
 — 1852-1857. 
 
 On Sir F. Ouseley's return from his foreign tour, 
 the proposed scheme for a new district in the 
 parish of Ludlow, to be assigned to him, appears 
 to have fallen through. He also had it in his 
 mind about this time to restore Buildwas Abbey, 
 near Ironbridge (Salop). Many who have visited 
 that beautiful old ruin would fain wish that 
 another Ouseley might arise in the Church, and 
 carry the idea into execution. But early in 1852 
 a third opening offered itself in the same neigh- 
 bourhood, in the parish of Tenbury. Tenbury 
 is a small market town in the extreme north-west 
 corner of Worcestershire. It belongs to the dio- 
 cese of Hereford, and lies within a mile of where 
 the three counties of Shropshire, Herefordshire, 
 and Worcestershire meet at the junction of the 
 rivers Teme and Ledwyche. In 1852 the popu- 
 lation of Tenbury was but small, as it remains 
 6 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 to this day. But the parish was a scattered one, 
 and the new district was to comprise portions 
 also of the parishes of Leysters and Middleton- 
 on-the-Hill. It might have been thought that 
 the offer to build and endow a church in any 
 district, by a man of Sir F. Ouseley's character and 
 position, could have met with nothing but wel- 
 come, on the part of churchmen at all events. 
 Yet it is a fact that this scheme too all but fell 
 through, partly, no doubt, from that natural 
 dislike to novelties which distinguishes purely 
 agricultural neighbourhoods, and partly, perhaps, 
 from real fear, existing in the minds of some, 
 that Ouseley would prove to be a " Puseyite " — 
 a name which in those days was spoken with 
 bated breath. The then vicar of Tenbury, the 
 Rev. John Churton, was at first unfavourable to 
 the scheme ; and it is clear, from what evidences 
 remain, that it required the combined efforts of 
 the brothers Miller of Bockleton (of whom more 
 anon), as well as my father, the Rev. J. W. Joyce 
 of Burford, to conciliate the opposition. At last, 
 however, the tide turned. Bishop Hampden 
 approved the scheme, and engaged to assign the 
 district. In June 1852 Sir Frederick bought 
 some land adjoining the " Old Wood " Common, 
 and nearly two miles from Tenbury. In August 
 Miss Harriet Rushout, of Burford House, died, 
 leaving, amongst other charitable legacies, one 
 of ;^6oo towards the proposed new church. 
 Before the year was ended Sir Frederick had 
 settled on the site, not only for the church, but 
 
 82 
 
FOUNDATION OF ST. MICHAEL'S 
 
 also for a college for his school. Throughout 
 1853 the plans were being prepared by Mr, 
 Henry Woodyer of Guildford, the architect; 
 and on May 3, 1854, the foundation-stone of 
 the new church was laid. 
 
 To many who have since visited St. Michael's, 
 the question has often naturally suggested itself — 
 What would have been the future of Sir Frederick 
 Ouseley's institution, and of his own career, had 
 he built the church and college near London, as 
 was at one time proposed, or at least within 
 easier reach of some large centre ? Some of his 
 friends strongly urged him to do this, and he did 
 indeed, at the outset, make a definite proposal to 
 found his establishment near Oxford ; but Bishop 
 Wilberforce, who had at that time been driven 
 into a condition of extreme caution, felt con- 
 strained to decline the offer of one whose name 
 had been so closely connected with St. Barnabas, 
 Pimlico. Had St. Michael's been built near some 
 large town, with all the advantages of good rail- 
 way communication, it is quite likely that the 
 school, at all events, might have more materially 
 prospered. But undoubtedly the whole place 
 would have lost one of its chief charms, and that 
 which no one more thoroughly appreciated than 
 its founder, from the beginning to the end of his 
 work, viz. the simplicity of its rural surroundings. 
 On the one side, the rough, open, breezy, common, 
 with the blue Clee Hill and the Ludlow Vinhalls 
 in the distance ; on the other side, the lovely 
 scenery and peaceful quiet of a typical Hereford- 
 
 83 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 shire parish, buried in the richest foliage, — all 
 these combine to give St. Michael's a character 
 and charm of its own. There, before your 
 eyes, as you pass through this scene of primitive 
 English life, springs, as it were, out of the very 
 ground a lofty church with a noble pile of 
 college buildings by its side ! St. Michael's has 
 been characterised as (a) — 
 
 The one real development of the aesthetic principle that England 
 is yet able to boast, . . . emphatically one of the loveliest architec- 
 tural efforts of the century — the chef-d'oeuvre of an architect 
 pre-eminently capable of grasping the spirit of the Middle Ages. 
 
 This description may be somewhat overdrawn. 
 But few could pass St. Michael's Church and 
 College, springing up suddenly as they do in 
 this sequestered spot, without delight and admira- 
 tion. And certainly, — whatever may be thought 
 of the exact architectural merit of the buildings, — 
 anyone with an eye for beauty of purpose, seeing 
 in them a living expression of the faith of their 
 founder, may well take heart for the future of 
 the English Church. Far beyond any artistic 
 appreciation, however, such as that quoted above, 
 Sir Frederick himself would have been likely to 
 welcome what his friend Canon Rich said to 
 him one day in later years, when on a visit at 
 St. Michael's : " This is the first collegiate church 
 founded in England since the Reformation." The 
 fact had never struck the Founder himself before. 
 
 In 1850 Sir F. Ouseley had taken his 
 Bachelor of Music degree at Oxford. At that 
 
 (a) St. Stephens Review, October 1883. 
 84 
 
MUS. DOC. DEGREE 
 
 time some of the authorities in the university 
 had remonstrated with him. Not only did they 
 point out that it was unfitting to take a lower 
 after a higher degree, a Mus. Bac. (in 1850) 
 after M.A. (in 1849); but they seem to have 
 urged that a man of his rank and position should 
 scorn to take" any musical degree at all. Sir 
 Frederick, however, knew his own mind even 
 at that time, and viewed the dignity of art from 
 a higher standpoint than that which was then 
 commonly prevalent (d). The wider experience 
 gained in his travels abroad would, of course, 
 tend to strengthen his own views on the matter. 
 Accordingly, in 1854, he proceeded to the degree 
 of Doctor of Music, his exercise for the occasion 
 being the oratorio, " The Martyrdom of St. Poly- 
 carp " (c). The band and chorus consisted chiefly 
 of his personal friends in the university, the 
 soloists being Miss Dolby, Mr. W. H. Cummings, 
 Mr. John Hampton, and Mr Weiss. Great was 
 the composer's delight when, at the last moment, 
 the unmusical Dean Gaisford walked into the 
 "Sheldonian" to be present at the performance 
 
 {d) On Halle's arrival in London, immediately after the Revolution of 
 1848, and in consequence of that event (which drove all the aristocratic 
 patrons of art away from the French capital), he was much struck by the 
 not merely inartistic but absolutely anti-artistic feeling of a considerable 
 section of the English public. For a man to be able to play the piano was 
 looked upon as a sign of effeminacy, and even of vicious tendencies ; and 
 Hall^ once told the present writer a sad but amusing story of a clergyman 
 who came to him for pianoforte lessons, and before visiting him always 
 threw off his clerical garb to put on the dress of a private gentleman, in the 
 hope that his " slight sin 'gainst ionos mores " would thus escape detection ! 
 We have improved since then. — St. James's Gazette, October 28, 1895. 
 
 (<:) Cf. p. IIS infra. 
 
 85 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 of the Mus. Doc. exercise. Thus did Sir F. 
 Ouseley continue to use his influence, as when 
 he was an undergraduate, to popularise music 
 in circles where it had hitherto been banned as 
 either an individual craze, or as a mere pro- 
 fessional drudgery. 
 
 It is said that the present fashion of the Oxford 
 Doctors of Music wearing velvet caps is entirely 
 due to the fact that Sir F. Ouseley, as a gentle- 
 man-commoner, continued to wear his velvet cap 
 when he took his Mus. Doc. degree. Other 
 Doctors of Music, seeing this, followed his 
 example, some of the earlier imitators being very 
 much "chaffed" by their contemporaries. Now 
 all Doctors of Music wear the velvet cap, but 
 it is no real part of the Mus. Doc. academic 
 dress. 
 
 Early in 1855 Sir H. R. Bishop, the Professor 
 of Music, died; and the Proctors, unsolicited, 
 offered the vacant post to Sir F. Ouseley. 
 Hitherto the office appears to have been little 
 more than a sinecure. Evidently the authorities 
 regarded it cheaply. The following is a copy 
 of the certificate of Sir Frederick's appointment, 
 written on a very common sheet of paper, scarcely 
 worthy of the great university and of one of her 
 professorships : — 
 
 University of Oxford. 
 
 These are to certify that on this day, namely, the eighth day of 
 May, in the year of our Lord God, one thousand eight hundred and 
 fifty-five, the Reverend Frederick Gore Ouseley, Baronet, Master of 
 Arts and Doctor of Music of Christ Church, was duly elected to the 
 
PRIEST'S ORDERS AND PRECENTORSHIP 
 
 office of Professor of Music in this University, vacant by the death 
 of Sir Henry Rowley Bishop, Doc. Mus. 
 
 As witness our hands this day and year above written, 
 
 John Murray Holland, Senior Proctor. 
 Arthur F. Stopford, Junior Proctor. 
 Edward Rowden, Registrar. 
 
 On Trinity Sunday, June 3, 1855 (six years to 
 the day, it would seem, after his ordination as 
 deacon). Sir F. Ouseley was ordained priest by 
 Bishop Hampden in Hereford Cathedral. Two 
 days later he was installed as precentor. Thus 
 within the space of one month, besides receiving 
 his Priest's Orders, he had been appointed to 
 two public offices of more responsibility than 
 pecuniary worth. How much emolument Sir 
 Frederick reaped as precentor of Hereford — an 
 office he faithfully served for the remaining 
 thirty - four years of his life — may be gathered 
 from the following note, in which Bishop Hamp- 
 den offered him the appointment : — 
 
 Eaton Place, London, March i, 1855. 
 Dear Sir Frederick, — The Precentorship in Hereford 
 Cathedral is now vacant. I wish to ask you, if it is an office which 
 you would like to fill. The Ecclesiastical Commissioners have 
 appropriated to themselves the revenues of the office, whatever 
 they may have been. Stat nominis umbra, I fear, is all that can 
 be said of it now. Still, I think it important that that should be 
 preserved, and worthily embodied in some living Person. All, 
 however, I ask at present is, whether you would like the sort of 
 thing. You will know generally what the duties are of a Precentor, 
 and that he has an assistant in them under the name of a Succentor, 
 who performs them in the absence of his chief. . . . — Yours faith- 
 fully, R- D. Hereford. 
 
 Meantime, whilst the horrors of war were going 
 
 87 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 on in the Crimea, the church on the peaceful Old 
 Wood Common was slowly rising upwards. By- 
 August 1855 the foundations were got out for the 
 college, and in January 1856 the roof was on the 
 church. Sir Frederick, who had all the while 
 been backwards and forwards to Langley, Slough, 
 superintending the work there, now took a house. 
 Spring Grove, on the " Old Wood " ; and this 
 was made the headquarters for the first batch of 
 boys when, later on, they arrived from Langley. 
 At this period he was staying on and off at a 
 rectory near Tenbury, and he is remembered as 
 being then in the best of health and spirits. He 
 would run, as hard as he could tear, up and down 
 the rectory stairs, singing the up scale or the 
 down scale, according to his destination. As the 
 staircase contained seventeen steps, it would well 
 include the two octaves, which would be essential 
 for his vocal practice. He was fond also of sing- 
 ing, among other songs, in alto voice, the air out of 
 L' Allegro, " Let me wander not unseen," playing 
 his own accompaniment. 
 
 The dedication of the new church and college 
 was to be to St. Michael and All Angels, and 
 accordingly preparations were made for a grand 
 Consecration Service on Michaelmas Day, Sep- 
 tember 29, 1856. The day fell on a Monday 
 that year. Though the morning was cold and 
 wet, the weather gradually improved, and a fine 
 day succeeded. The event caused the greatest 
 interest for many miles round. Every lodging in 
 Tenbury and its neighbourhood was engaged. 
 
 88 
 
FOUNDATION OF ST. MICHAEL'S 
 
 The roads were lined with carriages and " carriage- 
 folk," from far and near; so that only a limited 
 number of those who came could gain admission 
 to the church itself. Some of the London 
 musicians who were present made their first 
 acquaintance with Herefordshire mud. The choir 
 was, of course, a mixed one, gathered from various 
 sources ; but it comprised representatives from 
 several of the chief musical centres in England. 
 There were fourteen trebles, including C. J. Corfe, 
 now bishop in Korea, and Arthur S. Sullivan, 
 the now celebrated composer, who was then one 
 of the "children" of the Chapel Royal at St. 
 James's Palace ; four altos, including Sir F. 
 Ouseley himself ; twelve tenors, of whom one was 
 Mr. J. Hampton, the present Warden of St. 
 Michael's, and fifteen basses. A long proces- 
 sion of clergy and laity was marshalled by 
 Colonel Rushout (afterwards Lord Northwick). 
 At 11.30 A. M. Bishop Hampden met the Founder, 
 signed the consecration deed of the Church, and 
 consecrated also the beautiful set of vessels, 
 presented by Miss Georgiana Rushout of Bur- 
 ford, for the celebration of the Holy Eucharist. 
 The prayers were intoned by Sir Frederick, and 
 the Lessons were read by the vicar and curate of 
 Tenbury. Dr. George J. Elvey, the organist of 
 H.M. Chapel Royal, St. George's, Windsor, 
 presided at the organ {d). The service was 
 
 (rf)This instrument Sir Frederick himself had planned. Great com- 
 plaints were made of its incomplete state on the day of the consecration. 
 The facts were, that the organ itself had been finished in the factory at 
 least two years before it was wanted, and had been pronounced perfect as 
 
 89 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 " Rogers in D." The anthems were Boyce's 
 "I have surely built Thee an House," Elvey's 
 "O praise the Lord of Heaven," and Goss's 
 "Praise the Lord." In the middle movement of 
 the latter, Arthur Sullivan sang the treble, and 
 the principal bass parts were taken by Mr, H. 
 Barnby, of Armagh Cathedral choir, and after- 
 wards of Windsor. Bishop Hampden preached 
 the sermon from Ephesians iii. lo and ii. There 
 were between three hundred and four hundred 
 communicants. Afterwards the churchyard was 
 also consecrated in due form, the whole time of 
 the various functions extending over four hours. 
 A luncheon then followed in the scarcely finished 
 library of the now growing college ; and the 
 day ended with the first of those many evening 
 services which have since been offered up from 
 the " Old Wood " Church of St. Michael and 
 All Angels. 
 
 The following account of the church, as it was 
 then seen, may be taken as approximately accurate. 
 The account appeared in the newspapers at the 
 time of the consecration, and was probably written 
 by the architect himself. At all events, it is likely 
 to have passed under his eyes, as well as Sir 
 Frederick's, before publication, and so has an 
 
 interest and accuracy of its own : — 
 
 « 
 
 The Church of St. Michael and All Angels is middle pointed in 
 style, and cruciform in plan. It consists of a choir of three bays, 
 
 to tone and mechanism. But when the organ arrived at St. Michael's, the 
 architect insisted upon some change in its position, which resulted in what 
 the builder prophesied would be serious mischief. It was on this account 
 that the organ could not be got ready for the consecration day. 
 
 90 
 
FOUNDATION OF ST. MICHAEL'S 
 
 with a polygonal apse, north and south transepts, and nave, with 
 three large and one smaller bay to the west. There are lean-to 
 rests to the choir and nave, beneath a lofty clerestory, communi- 
 cating by moulded and corbelled niches with the transepts. The 
 sacrist or vestry is on the south side, adjoining the south aisle. A 
 vaulted passage leads from it round the south transept into the 
 south nave aisle. There is a lean-to north arch. Excepting the 
 aisles, porch, and vestry, the church is groined and vaulted through- 
 out in wood. The ceiling over the choir is treated with colour 
 slightly, but over the apse more elaborately. The pavements are 
 entirely composed of Messrs. Minton's tiles, disposed in different 
 patterns, more richly towards the east, that within the ahar railing 
 of minute tessaroe in geometrical figures. The altar-table, under 
 an elaborate canopy, surmounted with a gilt metal cross, stands in 
 the chord of the apse. It is not yet finished, but when completed 
 will have a gorgeous appearance. The stalls and other choir fittings 
 are of oak, the choir-boys' desks being of wrought-iron. A lofty 
 iron screen, with folding gates, divides the choir from the nave, and 
 screens of the like material [? are] in the double arches leading into 
 the choir aisles. The former screen is surmounted by seven candle- 
 sticks (in which seven wax candles were placed on the day of con- 
 secration). The screen was coloured ultra-marine, and decorated 
 with gold. The south transept will be entirely filled by a magni- 
 ficent organ of 56 stops, by Flight. It was so far advanced in 
 erection as to be used on the day of consecration. The pipes 
 already in position were richly decorated in diaper pattern. When 
 completed, the pipes will be projecting, and spreading out in front 
 in Spanish form (fan-like shape). The north transept will be 
 used as a baptistery. The font, on a cross-shaped platform and 
 steps, is circular in plan, carved with foliage, and inlaid with green 
 Egyptian marble, surmounted by a rich oak canopy or cover, 22 
 feet in height. Contiguous to the font is a well, with stone canopy, 
 and arched recess, with stone desk for the registery. The pulpit, 
 which is placed on the north side of the nave, adjoining the screen 
 which divides it from the chancel, is also of stone, and is orna- 
 mented with several exquisitely carved figures. At the opposite 
 end of the screen is the lectern (a brazen {e) eagle). The nave will 
 be filled partly with open and movable benches, and partly with 
 
 («) Like so many of the lectern eagles made in our generation, the one 
 at St. Michael's was not a conspicuous success. A good old Herefordshire 
 dame was once taken to St. Michael's for a Sunday evening service. When 
 asked her experiences, she answered, " Oh yes, I got a good seat; right 
 up anunst the turkey ! " 
 
 91 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 church chairs. The choir and apse are Hghted by nine two-light 
 windows, filled with stained glass, containing figures of angels. 
 The east window represents our Blessed Lord seated in majesty, St. 
 Michael kneeling at His feet, with the usual symbols in allusion to 
 the dedication. From the ceiling of the chancel a number of lamps 
 are suspended, in which camphine will be used. . . . The com- 
 munion plate and altar vestments are the magnificent gift of Miss 
 Rushout of Burford House, as also is part of the stained glass. 
 Various other offerings to the church have been made by friends 
 of the founder. The church and college, contiguous to and in 
 connection with it, are built with sandstone dug upon the site, 
 grained, and chased with Bath-stone. The roofs are covered with 
 Delabole slating, and a blue stone from the Forest of Dean has 
 been used for the several columns and shafts. The gables are 
 surmounted by crosses, and the western is pierced for two bells. 
 Mr. Woodyer is the architect, and Mr. Chick his clerk of works ; 
 Messrs. Wheeler of Reading are the contractors ; and the under- 
 mentioned tradesmen have been employed, viz. Messrs. Woochaffe 
 and Lukes, carpentering and glazing ; Mr. Fisher, decorating ; 
 Messrs. Minchall and White, carving ; Messrs. Hardman, stained 
 glass ; Messrs. Filmes and Mason, ornamental iron- work. The font- 
 cover was executed by the Wood Carving Company in the Belve- 
 dere Road, Lambeth. The communion plate was manufactured by 
 Mr. Keith. The length of the church is 1 14 feet, the chancel being 
 43 feet 6 inches, and the height from the ground to the cross, 74 
 feet. The width, including the transepts, 67 feet. The nave is 22 
 feet wide (with the aisles, 45). From the apex of the ceiling to the 
 ground is 45 feet. The nave and aisles are intended to accommo- 
 date 600 persons, although they would evidently hold more. There 
 are two bells placed outside the west front, immediately under the 
 cross (/). 
 
 Although Sir Frederick's noble gift to the 
 Church generally, and to the neighbourhood of 
 Tenbury in particular, was welcomed warmly in 
 most quarters, yet there were no doubt many, both 
 of clergy and laity, in the diocese of Hereford 
 at that time, to whom his known, or at least his 
 suspected, views on Church matters carried no 
 small amount of alarm. That significant paren- 
 
 (/) Worcestershire Chronicle, October I, 1856. 
 92 
 
FOUNDATION OF ST. MICHAEL'S 
 
 thesis — (" in which seven wax candles were placed 
 on the day of consecration ") — was evidently in- 
 serted in the architect's structural description of 
 the church, above quoted, by the Worcestershire 
 Chronicle's reporter. The insertion reveals to us, 
 perhaps, how serious to the popular mind of 1856 
 was the very moderate amount of ritual (as we 
 should now count it) which then prevailed at St. 
 Michael's. Seven wax candles ( ? unlighted) at 
 the top of a chancel screen ! 
 
 There is, however, further and more substantial 
 evidence forthcoming on this point. At the time 
 of the building of St. Michael's, there were living 
 at Bockleton, a few miles off, two brothers named 
 Thomas and John Miller. They were both clergy- 
 men, doing duty alternately at the churches of 
 Leysters and Bockleton ; but Thomas, the elder, 
 was also squire of the Bockleton estate. No two 
 men in the neighbourhood were better known ; 
 none were more highly respected. They were 
 old-fashioned English gentlemen, bachelors both, 
 and thorough Churchmen. Their memory is still 
 green in the parish they once served so faithfully. 
 John Miller, the younger of the two brothers, was 
 a man of great ability. He had been Bampton 
 Lecturer at Oxford in 1817 {g), and had been the 
 friend of Keble, both in the university and in after 
 years. Keble, indeed, held him in the highest 
 reverence, alike for his piety and his wisdom. 
 He used to call him " Hooker," as being the 
 most judicious of all his friends. Both Keble 
 
 (^) Lock's Biography of John Keble, 2n(i ed. pp. 6, 7. 
 
 93 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 and Wordsworth used to stay with the Millers at 
 Bockleton (^). John Miller, with all his spirit of 
 religious seriousness, was exceedingly witty and 
 full of fun. A friend called on him one day, and 
 found him suffering from a bad toothache. His 
 cheek was puffed up to twice its usual size. " I 
 am so sorry," his friend said, " to have come in 
 on you just now." " Oh no ! " said the sufferer ; 
 " I am doubly glad to see you." 
 
 To such a work for the Church as Sir F. 
 Ouseley had now embarked on, the Millers would 
 of course be among the first to wish " God speed." 
 But the following letters read together will show 
 that the gradual development of Sir Frederick's 
 scheme was not only causing alarm in certain 
 quarters, where alarm might have been expected ; 
 but that it had now begun to create misgiving 
 even in John Miller's mind. Such letters as these 
 of his would be worth reproducing, if only as 
 samples of the perfect literary style in which men 
 of the old Oxford School then wrote to one 
 another. They well illustrate, too, that judicious 
 caution which Keble noted as the characteristic 
 of his friend. It should be premised that, in the 
 interval between the consecration of St. Michael's 
 and the writing of these letters, Thomas Miller, 
 the elder of the two brothers, had died. The 
 
 (h) A mile or so from St. Michael's, across the fields, on the Leysters 
 road, is a spot whence may be seen one of the most beautiful views in this 
 beautiful district. On a ferny bank lies a large stone, called the " Poet's 
 Stone." It bears the initials W. W. But they are cut deep, and evi- 
 dently by a mason's hand. It is said to have been a favourite walk of 
 Wordsworth when he came to Bockleton. The buildings of St. Michael's 
 now form a striking feature in the foreground of the view. 
 
 94 
 
FOUNDATION OF ST. MICHAEL'S 
 
 Deanery of Burford, in its two divisions of East 
 and West, comprises some thirty-five parishes : — 
 
 Rev. John Miller to Rev. Sir F. A. G. Ouseley. 
 
 BOCKLETON, March 13, 1857. 
 Dear Sir Frederick, — Before the Church of St. Michael and 
 All Angels was completed, it was felt that a work of such disinter- 
 ested munificence and piety had a strong claim to some expression 
 of acknowledgment and respect on the part of the neighbourhood. 
 Of course this term had need to be defined ; and therefore the 
 limits of the Deanery of Burford were assigned, in the first instance, 
 as being the Ecclesiastical Division in which the Church is situate. 
 The day of Consecration, however, gave many others an oppor- 
 tunity of witnessing your noble work, and a consequent desire to 
 take part in an offering so justly due. It was then suggested, that 
 probably the contemplated tribute could take no form more accept- 
 able to yourself than that of placing at your disposal such means 
 as might be raised towards adorning the west window of the 
 Church in a manner corresponding with those in the Chancel. 
 
 As treasurer of a subscription entered into for this object, with 
 sanction of the Bishop, and of the other Ecclesiastical authorities 
 of the Deanery, it is now my duty to hand over to you (clear of all 
 deduction) an amount of two hundred and seventy pounds, together 
 with a detailed list of the contributors. And I trust it may be as 
 gratifying to yourself to accept this expression of goodwill, as I 
 feel sure, from manifold evidences, it is to them to offer it to your 
 acceptance — with every earnest wish that your good work may 
 prosper, and that you may live long to witness and rejoice in the 
 fruits of it. 
 
 I venture to add, personally, that it was a great satisfaction to 
 one who zealously promoted this offering, by a liberal example in 
 the outset, to know that the desired means had been secured, 
 although his vEiluable life has not been spared to see the project 
 carried into execution. — Believe me, dear Sir Frederick, faithfully 
 yours, John Miller. 
 
 95 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Rev. John Miller to Rev. Sir F. A. G. Ouseley. 
 
 Private and needing 
 
 no notice. Bockleton, March 14, 1857. 
 
 Dear Sir Frederick,— It seems advisable to accompany the 
 official note, which travels with this, with a few private explana- 
 tions ; in respect of one of which I shall trust entirely to your 
 kindness for not misconstruing me. 
 
 First let me say, with great pleasure, respecting the contributions 
 generally, that you could not have wished for anything more agree- 
 able than the prevailing spirit in which they were given. In send- 
 ing you one note for special illustration of this, I am only doing 
 justice to an entirely disinterested subscriber, on whom there was 
 no claim at all. He does not reside within the Deanery, and I 
 was not aware of his having been present at the Consecration ; 
 until an accidental mention of such fact, at a late day, and of the 
 delight he had taken in it, led me to write to him : and lo ! the result. 
 
 It seems well to let you see an answer in a very different tone, 
 where there was special ground of claim upon the writer. The 
 name is suppressed, but the copy is true ; and I have subjoined a 
 fragment of what I wrote in reply, that you may see how little 
 sympathy I have with this correspondent, though there may be 
 some agreement between us in opinion. And here it is that I need 
 your indulgence. 
 
 I should feel, then, that my own part in a crusade (z), which I 
 rejoice to think has proved so successful, might be misunderstood 
 by you if I did not honestly confess myself largely dissentient from 
 what I cannot but think the hyper-ritualism of St. Michael's ; and 
 also, that the whole scale of the establishment is something alto- 
 gether different from what we had any conception of here, when 
 the subject of a site was first broached. Hence it has been a main 
 object with ourselves throughout (I speak as if my brother was not 
 lost) to conciliate just forbearance towards what is unquestionably 
 a startling innovation in these parts, and obviously open to unkind 
 constructions. And it seemed desirable to show, by holding out 
 the right hand of fellowship, that your work was not regarded with 
 fear or jealousy by persons of such old-fashioned pattern and notions 
 as ourselves ; nor yet by the Bishop, or by any officials of the 
 Deanery. But we have all along regarded the extent of your plan 
 as a great local mistake ; and I would fain express an earnest hope 
 that you will be careful not to damage a good cause by any such 
 
 (?) The "crusade" appears to have been the attack on the contributors. 
 
 96 
 
FOUNDATION OF ST. MICHAEL'S 
 
 form of excess as might possibly lead to unthinking resistance. I 
 should not think it becomingly respectful to say more than this ; 
 but I cannot feel it consistent with perfect sincerity to say less. 
 Not to have felt respect for your noble generosity woiild have been 
 cold-hearted indeed. . . . — With kind regards and every good 
 wish, believe me, dear Sir Frederick, very sincerely yours, 
 
 John Miller. 
 
 [No. I Enclosure, referred to in above Letter^ 
 
 , A Neighbouring Layman, to Rev. John Miller. 
 
 Dec. 1856. 
 My dear Sir, — With many thanks for your kind letter and 
 circular, I beg to say I have great pleasure in giving the enclosed 
 ten pound note in aid of the stained window proposed in St. 
 Michael's Church ; and I am very glad to find you are going to 
 present a small tribute of respectful acknowledgment to Sir 
 Frederick Ouseley — whose noble generosity I, in common with 
 everyone in this neighbourhood, must ever most highly appreciate. 
 And I sincerely wish him health for very many years to see his 
 good work prosper. — Believe me, etc., 
 
 \No. 2 Enclosure referred lo.] 
 
 TO Rev. John Miller. 
 
 Dec. 1856. 
 Dear Sir, — I am obliged by the favour of your letter, which 
 has placed me in some difficulty. Not knowing whether St. 
 Michael's is intended to carry out the ceremonial practices and 
 principles of St. Barnabas, PimUco, I am unwilling, by subscribing, 
 to give countenance to anything of that kind, at the same time 
 that I duly appreciate the earnestness and sincerity of Sir F. 
 Ouseley. — I beg to remain, etc., 
 
 Fragment of Rejoinder to above by Rev. John Miller. 
 
 After mention of the cordial sanction received in every way, and 
 at every step (as believed), of the Bishop of the Diocese, I wrote : 
 7 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 "I cannot think, under such circumstances, that we who sub- 
 scribe to the window make ourselves in any way responsible for — 
 still less, that we acquire any right to object to— the mode of per- 
 forming Service." ' 
 
 " I will not give up anything, if I once com- 
 mence" (/) — such had been Sir Frederick's 
 determination before ever his foundation was 
 established. He had no doubt seen ritual 
 troubles enough at St. Barnabas, and would wish 
 for no more. On the one hand, it would seem 
 that he had not been in absolutely full accord 
 with everything that had been done there (k). 
 He did not go all lengths with Mr. Bennett, 
 nor, indeed, with his own sisters, probably, 
 as to the vital importance of particular ritual 
 points. But, on the other hand, he had long 
 cherished a high ideal of how all that was offered 
 to God should be of the best possible kind. He 
 had founded St. Michael's at a time when the 
 standard of Church worship in England was de- 
 plorably low, and his heart's desire was to raise 
 it. Some men, by their very natural strength of 
 will, manage to carry all before them within the 
 range of their own personal influence. Others, 
 conscious that they do not possess this natural 
 will-power, have to fall back upon the bases of 
 their own principles. Sir Frederick belonged to 
 this latter class. He could be as resolute as any- 
 one on points of principle which he had once 
 thought out ; and the resolution of never giving 
 up anything that he had once begun was faith- 
 
 (y) Cf. p. 74 supra. (k) Cf. p. 64 supra. 
 
 98 
 
FOUNDATION OF ST. MICHAEL'S 
 
 fully adhered to in the future history of St. 
 Michael's. It was undoubtedly the wisest course 
 a man of his disposition could have taken. Any 
 irritation which may have been caused at first, by 
 the "ceremonial practices and principles" of St. 
 Michael's, soon gave way before the genial influ- 
 ence of his simple character, combined, as it was, 
 with transparent honesty of purpose. St. Michael's 
 ceased before long to be regarded in the light of 
 a "startling innovation," and became with all 
 classes a favourite institution, of which the neigh- 
 bourhood is justly proud. 
 
 This may perhaps be the best place for noting, 
 what is an undoubted fact, that, from the outset. 
 Sir Frederick himself regarded the foundation 
 of St. Michael's as to some extent a restitution, 
 on his part, of Church property. Whether through 
 the purchase of the Hall Barn estate, or otherwise, 
 it does not appear ; but he certainly believed that 
 some temporal advantage had accrued to his 
 patrimony from a sacrilegious source. There is 
 evidence that he often thought and spoke to his 
 friends in this sense, by way of justification, as it 
 were, of his munificent contribution to God's 
 service from his own private means. One can 
 well imagine how, to a heart like his, sensitive in 
 the highest degree to all instincts of honour and 
 religion, such a manifold restitution as he made 
 must have been a real relief as well as a great joy. 
 Some people would call this superstition. Others 
 of us prefer to regard it as simply honourable 
 dealing in the highest relations of life. 
 
 99 
 
CHAPTER VI 
 
 WORK AT HOME — THE CHURCH THE PARISH THE 
 
 COLLEGE — MUSICAL COMPOSITION AND TREATISES 
 
 Sir Frederick Ouseley's best friends could 
 never have claimed for him that he was a good 
 man of business. In truth, he lacked many of 
 those practical qualities required for developing 
 with success such an institution as St. Michael's. 
 One most valuable faculty, however, he did 
 possess even in this direction, namely, the faculty 
 of keeping a single end in view. From the time 
 when St. Michael's was first founded, down to the 
 day of Sir Frederick's death, he had before him, 
 as his one chief aim in life, the improvement, in 
 accordance with his own high ideal, of Church 
 worship in England. The work he did for the 
 Church was indeed manifold ; but nearly all of it 
 tended towards this one object. 
 
 The noblest passages in Paradise Lost are said 
 to have been composed whilst Milton's daughter 
 played to her father on the organ. And Dr. 
 Pusey, in one of his University sermons, — that on 
 Dominus Illuminatio Mea (Ps. xxvii. i), — speaks 
 of "the almost spiritual properties of harmony." 
 Music, with its wondrous power over the soul of 
 
 I GO 
 
WORK AT HOME— THE CHURCH 
 
 man, is, he says, "the echo, as it were, of the 
 harmony of all creation." No doubt Sir F. 
 Ouseley felt all this in his own person to the 
 highest degree. But his work in life was to make 
 other people fe,el it, and to make them feel it in 
 connection with the Church (a). In his view, the 
 highest form of music was sacred music. The 
 highest purposes to which musical gifts could be 
 applied were those of divine worship. But if 
 music be the common language of the world, — the 
 language understood by all, or nearly all, people, 
 and if beautiful Church music does make most 
 worshippers more conscious of the presence of 
 God, — then to what higher use could a musician 
 like Sir Frederick have devoted his "one talent" 
 than to the improvement of choral worship ? 
 
 In accordance with this guiding principle, the 
 Services of the Church always took the first place 
 at St. Michael's. Alike from a devotional and a 
 musical point of view. Sir Frederick sought to 
 make those Services of the highest order. Hence 
 he always insisted on the strictest punctuality and 
 regularity in all things connected with them. 
 Everything else had to give way to their regular 
 and careful performance. To him a Service was 
 a Service always. It was not a cut - and - dried 
 musical performance for the congregation to listen 
 to. It was an actual offering up of prayer and of 
 praise to God. Moreover, proportionate to his 
 recognition of this truth was his own intense en- 
 joyment of the Service itself. Undoubtedly, to 
 
 (a) Cf. p. 79 supra. 
 
 ioi 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 many minds the expression of such joy might at 
 times naturally present its ludicrous side. But 
 there is surely another side to the question. Al- 
 though the dancing of David before the Ark was 
 a ludicrous, if not a contemptible, sight to Michal, 
 yet it was Michal's judgment which was at fault 
 in the matter. We English are proverbially cold- 
 blooded, unemotional, in our religion as in other 
 things. All the more may we be thankful that 
 there are worshippers still left in our midst who 
 can now and again, forgetting themselves and their 
 fellow-creatures, remember only the divine Object 
 of their worship. Sir Frederick Ouseley was one 
 who could, and often did, so forget himself And, 
 though his direct influence with the simpler poor 
 may sometimes have been weakened for the 
 moment by an un-English ecstasy, yet even in this 
 way he taught them definitely one much-needed 
 lesson, i.e. that there is such a thing to be found 
 as enjoyment in the worship of God. 
 
 It may well be imagined how, to one who thus 
 loved the sacred Services of the Church, every 
 part of the building, too, with all its various orna- 
 ments and furniture, would be very dear. In the 
 account of St. Michael's Church, quoted above (b), 
 it has already been noticed that a special well 
 had been dug beneath the Church floor, for 
 baptismal use only. The whole appearance of 
 the Baptistery, with its raised font and lofty font- 
 cover, as also of the Altar, with its striking canopy, 
 or baldachino, testifies to that prominence which 
 
 {b) Cf. p. 91 supra. 
 102 
 
WORK AT HOME— THE CHURCH 
 
 the Church of England assigns to her two great 
 Sacraments. As Sir Frederick had given to God's 
 glory, and continued to give, of his best, so no- 
 thing touched him more deeply than the gifts he 
 occasionally received from friends for the adorn- 
 ment of St. Michael's. For many of these he had 
 to thank his good friend, Miss Rushout of Bur- 
 ford ; and it was to her, as their most generous 
 benefactress, that he wrote as follows, some ten 
 years after St. Michael's was founded — on a certain 
 occasion when a present of a beautiful Lenten 
 altar cloth had been made to the church by every 
 member of the college : — 
 
 I was, of course, immensely gratified, for it showed such good 
 feeling towards myself, besides the higher motive, which I appre- 
 ciate even more. No one has a greater right than you to be the 
 first to know of any good done to us here ; for no one has been — 
 no one can ever hardly be — so great a friend to us as you have 
 been. So I beg you to rejoice with me — as indeed I know you 
 will — and pray for all those who have joined in this work — for you 
 know how we always think of you in our prayers. 
 
 Amongother treasures belonging to St. Michael's, 
 and well worth a close inspection, is the altar- 
 book, or missal, handwritten throughout and mar- 
 vellously executed. It was the work of the late 
 J. C. Blidinger, for a long while a member of the 
 choir, and master of the parish school. He was 
 a wonderful penman, and copied and wrote out a 
 vast quantity of music for Sir Frederick at various 
 times. 
 
 It was, however, the organ which would natur- 
 ally attract most attention on the part of those 
 who visited the Old Wood Church. As might have 
 
 103 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 been expected, Sir Frederick Ouseley was not 
 easily satisfied in the matter of organ-building ; 
 and probably some of his greatest disappoint- 
 ments must have been connected with the early 
 failures to procure an instrument worthy, not 
 merely of that particular Church, but of his own 
 high ideal of a model service and choir. The 
 original organ, of fifty-six stops, was built, as has 
 been already mentioned (c), by Flight of London. 
 After ten years or so this was reconstructed, and 
 enlarged to the number of sixty -five stops, by 
 Harrison of Rochdale. The instrument still 
 proving unsatisfactory, it was added to and re- 
 built by Willis of London, in 1873-74. Some 
 further improvements have since been made. 
 Organ-building on the scale of Sir Frederick's 
 tastes must have been very expensive work ; but 
 with his devotion to high aims, he grudged no- 
 thing in the cause of sacred music. In his later 
 years the front pipes, instead of projecting, as 
 they used to do in the fan-like Spanish form, 
 were placed upright in the ordinary way. There 
 were good reasons, no doubt, for the change, but 
 not a little was lost to the eye in artistic effect. 
 
 As a preacher there can be little doubt but 
 that Sir F. Ouseley might have done, from the 
 mere human point of view, a great deal more than 
 he did. He had several of the chief gifts which 
 make an attractive preacher, using the word 
 "attractive" in its highest sense. To begin with, 
 besides his clear, high - pitched voice, he had an 
 
 (c) Cf. p. 91 supra. 
 104 
 
WORK AT HOME— THE CHURCH 
 
 exceptionally clear and logical mind. This enabled 
 him, to a certain extent, to make deep subjects 
 plain to the simplest people. Some of his ser- 
 mons were models in this respect. He had also 
 a wonderfully retentive memory. He could write 
 a sermon, as indeed any other production of his 
 pen, and could then, with a very slight effort, 
 learn it by heart. It has been said that, though 
 he usually preached written sermons, he could, on 
 occasion, preach "extempore" with telling effect. 
 More probably these " extempore " sermons attri- 
 buted to him were, like most others so - called, 
 only " extempore " to the extent of being delivered, 
 ex ore, without paper. At all events, he has 
 been known at times, when the pulpit was ill- 
 lighted, to set aside his MS., and trust to memory 
 alone to complete his subject. He had also one 
 other preaching gift, the greatest, perhaps, of all, 
 and one of the rarest, namely, that he could at 
 times entirely forget himself. Some one, for 
 instance, who once heard him preach on Galatians 
 vi. 14, — God forbid that I should glory, save in the 
 cross of our Lord Jesus Christ, by Whom the 
 world is crucified unto me, and I unto the world, — 
 recalls the wonderfully rapt and transformed look 
 with which his whole face was lighted up as he 
 unfolded the great secret of St. Paul's life — that 
 same secret which went so far to inspire his own. 
 It is manifest that a man with gifts like these 
 must have had no little power of drawing, not 
 only the attention, but the hearts of his hearers. 
 Nevertheless, it should be acknowledged that, in 
 
 105 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 this matter of preaching, as in most other branches 
 of his work, Sir F. Ouseley lacked that power of 
 sustained application which can alone ensure the 
 highest permanent results. Whilst all preachers 
 are variable, men of Sir F. Ouseley's tempera- 
 ment are likely to be most so. Moreover, he 
 laboured under one other disadvantage in this 
 respect. His own view of the place of preaching 
 in the Church Services was not a high one. To 
 him, as might be expected. Worship was the great 
 object of all church-going. And so, in his view, 
 the sermon took not only a second place, but one 
 very far behind the prayers and the praise and the 
 music. "What was the Text?" is a question 
 often asked in connection with some Churches. 
 The proverbial question asked by most absentees 
 from St. Michael's used to be — " What was the 
 Anthem ? " {d). 
 
 The population of the Old Wood parish is about 
 600. The church itself, though in the diocese of 
 Hereford, stands actually in the county of Wor- 
 cester. But, looking westwards, it is almost within 
 a stone's-throw of Herefordshire, — Cadmore brook 
 being the boundary, — and a large part of the 
 parish lies in that county. Sir Frederick, partly 
 by reason of his many outside engagements, and 
 partly also from his own gentle and conceding 
 nature, could never have been all that is some- 
 times associated with the idea of a model parish 
 Priest. For that idea involves to a certain extent 
 
 {d) Two examples of Sir F. Ouseley's sermons will be found in Ap- 
 pendix B ; see infra, pp. 123 S. 
 
 106 
 
WORK AT HOME— THE COLLEGE 
 
 the quality of masterfulness, a quality of which he 
 was wholly devoid. Nevertheless, he was the last 
 man to forget that, as vicar of a country parish, he 
 held the charge of the souls therein. The parish 
 was worked and visited on a settled system, he 
 himself taking one side, and his valued fellow- 
 worker and assistant curate, the Rev. J. Hamp- 
 ton, taking the other. Any parishioner in sickness, 
 or in trouble, appealing to Sir Frederick, as many 
 a one did, might be always sure of a ready hand 
 and a tender heart. His people loved him in no 
 ordinary sense of the word, regarding him, it 
 would almost seem, rather as the child than as the 
 father of the parish. Nothing, perhaps, could 
 better describe the feeling cherished towards him 
 by his simpler parishioners than the title "St.. 
 Frederick " once given him by one of the Old 
 Wood dames. Quite likely it may have been only a 
 slip of the tongue, or, maybe, a mistaken estimate 
 of the worth of an English baronetcy, but it con- 
 veyed a real impression which existed with regard 
 to the Founder and first Vicar of St. Michael's. 
 
 As Warden of a College, with accommodation 
 for thirty boys or more. Sir Frederick's duties 
 were no doubt defined clearly enough in its statutes 
 and constitution by his own hand. He never 
 took part himself either in the regular educational 
 course of the school, or even in the musical in- 
 struction of the choir. He had not the patience, 
 even if he had any of the other qualities, requisite 
 to make a good teacher. But the college duties 
 which he had reserved to himself were neither 
 
 107 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 forgotten nor neglected. He always considered 
 himself as responsible, in the last resort, for the 
 general management, discipline, and tone of the 
 place. He had strict notions about manners, and 
 his influence with the boys in this respect was 
 most marked and wholesome. The school was 
 once described as one combining (e) " the manners 
 of Eton with the enthusiasm of Leipsic." Cer- 
 tainly Sir Frederick did his best in both directions. 
 He was fond of "taking out the boys," that is, of 
 taking out one or two of them at a time for a 
 walk, or when he went to call on some friend in 
 the neighbourhood. In this way he would get to 
 know each boy individually. He was happy with 
 boys ; and they, seeming to catch his spirit, were 
 happy with him. Needless to say, he was not a 
 little proud, too, of those who were the ripening 
 fruits of his own planting and his life's work. It 
 was also his invariable custom, when the boys 
 were of age to be confirmed, to prepare them 
 himself with regular instruction for the sacred 
 " laying on of hands." Nor did he lose sight of 
 them when they left St. Michael's. He was a 
 voluminous correspondent, not in the sense of 
 writing long letters, but in the sense of writing 
 many, and to many people. Especially was he 
 always eager to keep in touch, through pen and 
 ink, with old St. Michael's boys ; and the letters 
 he wrote to them formed no small part of his 
 heavy correspondence. He loved his boys with 
 more than a mere general feeling of affection. 
 
 (e) Si. Stephen's Review, October 1883. 
 108 
 
WORK AT HOME— THE COLLEGE 
 
 The following reminiscence (/) illustrates with 
 what thoughtful tenderness he still studied their 
 feelings, even when they had left his charge : — 
 
 Once, having just received a letter from an old St. Michael's 
 College boy, which was merely an outcome of affection, and con- 
 tained nothing of importance. Sir Frederick, who was in a few 
 minutes about to start for Oxford, sat down immediately to write 
 an answer, saying to me, " I never leave a boy's letter unanswered : 
 it is not fair to their good nature, and I do not know when I may 
 have time to write if I don't do it at once.'' 
 
 This was one secret of that individual remem- 
 brance of his boys, which was the more striking 
 in his case, because, even during their school days, 
 he was often called away from their midst by his 
 other duties, and because also he took no practical 
 part in their daily education. None the less, he 
 was the real Warden, as well as the real Founder, 
 of his College, — honoured by all, loved by all. 
 Familiarly known as "the Bart." — or, as one 
 valued member of the staff (not of English ex- 
 traction) used to term it, "the Chevalier," — he 
 drew all hearts in the College to him by his guile- 
 less, affectionate disposition. He was the College 
 Orpheus, if the simile may be pardoned by those 
 whom he drew after him with no stronger force 
 than the sweet music of his own life and example. 
 A good many years ago one who had been a choir 
 boy at St. Michael's somehow came to grief in 
 England, and enlisted as a private soldier. In 
 that capacity he went out to one of the South 
 African wars. Entering the Cathedral at Cape 
 
 {/) From the pen of the Rev. V. K. Cooper, once Headmaster of St. 
 Michael's, and now Precentor of Durham. 
 
 109 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Town, the first bars of music he heard were 
 from the " March " out of Polycarp, played as 
 a voluntary. What thoughts must that familiar 
 " March" have then recalled of him who wrote it, 
 and of the far-off St. Michael's where, as a choir- 
 boy. Private had often heard it played ! 
 
 St. Michael's has often been spoken of as a 
 mere musical school. To Sir Frederick himself 
 it was of course primarily, and by its very con- 
 stitution, a place of religious education, his " one 
 talent " (^) of music being made a leading feature 
 in the service of religion. Since Sir Frederick 
 Ouseley's death, one {h), keenly alive to all educa- 
 tional instincts, has visited St. Michael's in his 
 official capacity, and has paid tribute to the in- 
 delible influences of a religious training such as 
 that which is there afforded. Having spoken of 
 the beautiful choral Services daily rendered at St. 
 Michael's, and of the memories which such Ser- 
 vices would awaken in the boys' after lives, he 
 said : — 
 
 This, then, is my closing word. Your school is a favoured one, 
 and you enjoy many privileges belonging to it. Amidst such 
 surroundings, and under such influences as prevail here, it is easier 
 for you than for most others to grow up, through a happy boyhood, 
 to a strong, and pure, and reverent Christian manhood. And we, 
 your elders, as we look on your life, or share in your worship, pray 
 that you may not be found unworthy of this beautiful home of your 
 early days, in which its pious founder intended that you should be 
 trained, each and all of you, to be loyal and faithful servants of 
 God, and of His Holy Church. These walls stand here in the 
 
 Cr) Cf. p. 75 supra. 
 
 (h) Bishop Percival (of Hereford), preaching on Acts vii. 48, 49, at the 
 St. Michael's Commemoration Service, on October 3, 1895. 
 
 no 
 
WORK AT HOME— THE COLLEGE 
 
 midst of your daily life, and witness to your souls, as they are a 
 witness to all who look on them, that you recognise a place and 
 times, in which it is your duty to draw near to God in a peculiar 
 sense, in order that you may live nearer to Him at all times and 
 in all places. So it comes to pass that your share in the Services 
 of this House is a gift of great price to you ; it sinks into your 
 growing life as the sign and seal of a Holy Presence. 
 
 Sir Frederick took sadly to heart all the worries 
 and anxieties inseparable from such an institution as 
 he had founded. He is remembered on one occa- 
 sion to have suddenly appeared in a neighbour's 
 house in a grievous state of distress, having had to 
 give notice to one of his staff. He came in, sat 
 down, flung up his hands, and said : " I won't go 
 back as long as he is in the place." Here, too, is 
 another typical pouring forth of his woe, in a letter 
 written to an Oxford friend, at a time when nearly 
 the whole staff of St. Michael's College was ren- 
 dered hors de combat : — 
 
 My dear , Certainly my name should be connected with 
 
 the " Memorial Fund," and I am obliged to you for naming 
 
 it. I feel, however, I can't be as liberal towards it as I could have 
 been last year ; for, like all landed proprietors, I have had severe 
 losses of late, and am retrenching in every possible /erw«a/ way, 
 so as not to injure my College. Still, of course, I will contribute 
 something. 
 
 We have had such a wretched Christmas. I was down with bad 
 
 Influenza for a whole week. has had a narrow escape of 
 
 rheumatic fever, and is still very seedy. kept his room for a 
 
 week, and is now away for a couple of days to recruit. was so 
 
 bad that I have had to play the Organ for him. Most of the boys 
 had bad colds, and there was more barking than singing in Church. 
 Twice we have had to have a monotoned Service, and no Anthem. 
 We could not have our annual Concert for the Farmers, nor could we 
 have our children's treat, because of the prevalence of whooping- 
 cough in the parish. So you see we have been in a bad way 
 indeed I And when you add to all these miseries, the anxiety 
 
 III 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 consequent on a change of Headmasters, and the fact of my having 
 had to dismiss a page-boy at a moment's notice for gross negU- 
 gence, you will agree that I have had a very bad time of it. . . . 
 — Believe me always very sincerely yours, 
 
 Frederick A. G. Ouseley. 
 
 This mention of the negligent page-boy — the 
 last drop in the Warden's bitter cup — recalls the 
 fact that it was the domestic part of college life 
 for which Sir Frederick was least fitted, and 
 which he naturally found most irksome. If it 
 were not pathetic, it might well furnish a comedy 
 to trace out some of the various experiences in 
 household management through which the first 
 Warden of St. Michael's passed at one period or 
 another of his lifetime. And, indeed, much as he 
 fretted about the troubles at the time, he himself 
 was usually only too ready, when they were over, 
 to view them from their comic side. Another 
 of his pages once gave notice to leave, on the 
 ground that he had " no time to think." And in 
 the case of a third youth, whose general duties 
 lay in the line of " Day & Martin," but who 
 on this occasion had been accused of poaching, 
 the Warden used to give a graphic description of 
 how he himself sat, as Rhadamanthus, on the 
 kitchen dresser, hearing the evidence for and 
 against the culprit. By the way, this youth was 
 of a particularly staid and serious character. He 
 was only known to laugh twice in the course of 
 each year — at cider-making and at pig-killing! 
 The truth is, that, as has been said already, Sir 
 Frederick was no man of business ; yet he was 
 too conscientious to ignore those duties which he 
 
 112 
 
WORK AT HOME— THE COLLEGE 
 
 felt devolved on him as the head of his own 
 establishment. Fortunately, throughout his whole 
 life at St. Michael's, he had the ever-present aid 
 of his friend, and his now successor in the 
 Wardenship, the Rev. John Hampton, He, in 
 all practical matters, whether as Choirmaster, 
 Curate, or Sub- Warden, proved an invaluable 
 helper. To him especially must be attributed not 
 only the splendid choral training of the boys, but 
 also the loving care with which the whole place 
 has been always kept — Church, Churchyard, and 
 College grounds alike. 
 
 Amongst the treasures prized at St. Michael's 
 comes first, of course, the magnificent musical 
 library, said to be the most valuable and exten- 
 sive private collection in England. The collection 
 is lodged in what used to be called Sir Frederick's 
 "study," and is thus described : (?) — 
 
 It contains nearly 2cxx3 volumes, mostly rare full scores and 
 treatises, including, among other things, the old Palais Royal 
 collection, with the French Royal Arms on the covers, consisting of 
 scores of operas, motets, etc., by LuUy, Colasse, Destouches, 
 Lalande, Campra, and many other French composers now forgotten. 
 There is also a very large collection of MS. Italian sacred music of 
 the Palestrina schools, copied from the magnificent library of the 
 late Abbate Santini of Rome. Then they possess a very valuable 
 MS. of Handel's Messiah, partly in that immortal composer's own 
 autograph, and partly in that of J. C. Smith. It was from this copy 
 that Handel conducted the work on its first performance in Dublin, 
 and it contains various readings and curious annotations in 
 Handel's own handwriting. Amongst the autographs in this 
 library may be mentioned a large collection of curious fugal music, 
 original and selected, in the handwriting of Dr.' Crotch ; a full 
 score of Spohr's Symphonies, and autographs of Orlando di Lasso, 
 
 (j) Sir George Grove's Dictionary of Music and Musicians, vol. ii. 
 p. 423. g 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 of Benevoli, Blow, Croft, Bononcini, Travers, Boyce, Arnold, 
 Mozart, Paganini, and Mendelssohn. Probably the only copy in 
 England of Eslava's Lira Sacro-Hispano is in this library, which 
 also contains copies of all the treatises of Galorius, including the 
 earliest and rarest one, published in Naples in 1480. 
 
 This library also contains the forty-part song 
 by Tallis. Besides these musical treasures, Sir 
 Frederick Ouseley and his father had collected 
 between them a very fine general library as 
 well (/). This consists of French and Oriental 
 books, with numerous works on theology, archae- 
 ology, and topography, and is arranged in the 
 large library of the college. 
 
 As to Sir F. Ouseley's musical writing and 
 composition, although his pen worked probably 
 by fits and starts, yet it never seems to have lain 
 wholly idle for long. One of his earliest pro- 
 ductions, after settling down at St. Michael's, was, 
 in conjunction with Dr. E. G. Monk, at first the 
 organist at Radley College, for many years after- 
 wards organist of York Minster, to arrange and 
 point the Psalter for chanting. This work 
 was undertaken in a thoroughly practical and 
 painstaking way, and has probably formed the 
 basis of the various improved Psalters since 
 published. The general plan having been pre- 
 arranged, the two musicians worked together at 
 frequent meetings, for several years, either at 
 Tenbury, Radley, or York. Their aim was to 
 steer between the two extremes of "syllabic" 
 and "polysyllabic" pointing. 
 
 Together also with Dr. Monk, Sir Frederick 
 
 {j) Cf. p. 4 supra. 
 114 
 
WORK AT HOME— COMPOSITIONS. ETC. 
 
 edited, later on, the popular collection of Monk 
 and Ouseleys Anglican Psalter Chants. He 
 likewise contributed several tunes to Hymns 
 Ancient and Modem, besides giving much general 
 advice, in connection with that far-famed book, 
 to its editor, Sir Henry Baker of Monkland, 
 near Leominster, who was his own neighbour 
 and intimate friend. Sir Frederick's larger 
 musical works (li) comprise his two oratorios (/), 
 St. Polycarp and Hagar, two string quartettes, 
 two organ sonatas, three andantes, some forty 
 preludes and fugues, a large number of anthems 
 and services, besides several glees, madrigals, 
 and songs. He also edited the cathedral services 
 and anthems of many of our old English masters. 
 His educational treatises on harmony, counter- 
 point and fugue, musical form and general com- 
 position, were published by the Clarendon Press, 
 and became standard works, passing into two or 
 more editions. They are all scholarly and 
 accurate works, and they are written throughout 
 in his usual lucid style, alike of langoiage and 
 thought. He was also a contributor to Sir 
 George Grove's Dictionary of Music and 
 Musicians, begun in 1879; ^.nd rendered in- 
 valuable service to the cause of general musical 
 knowledge in England by editing and supervising 
 Praeger's translation of Dr. Emil Naumann's 
 
 (Ji) See Appendix D, Catalogue of Sir F. Ouseley's Compositions, by 
 Mr. J. S. Bumpus. 
 
 (/) Hagar was produced at the Hereford Festival in 1873, and performed 
 in 1874 at the Crystal Palace. St. Polycarp was performed at the Here- 
 ford Festival in 1888. Cf. p. 85 supra. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 History of Music, the translation being one of 
 Cassell's popular serial editions. He wrote three 
 chapters for this work, — " Early English Music," 
 " Music in England in the Middle Ages," and 
 " Music in England after the Reformation," — 
 which, though naturally sketchy, formed an ex- 
 cellent conspectus of the progress of the art in 
 this country, and served to show the importance 
 of English music, rendering a measure of justice 
 to our too much neglected native composers, more 
 especially to those who had written for the Church. 
 Besides making these more solid contributions 
 to musical literature. Sir Frederick was very fond 
 of devising all kinds of musical puzzles. 
 
 " All students," he said, " should make it a rule to write at least 
 one canon every day ; I did so myself for twenty-five years, and I 
 have never had occasion to regret it." 
 
 Only four nights before his death he was amusing 
 himself, before going to bed, by composing a strict 
 canon, 12 in 6 (fit). No doubt he kept his hand in 
 constant practice of this kind in order to preserve 
 that wonderful faculty in fugue and counterpoint 
 with which he had been naturally endowed. For in 
 his day he was accounted the best extempore fugue 
 player in England. Sir Herbert Oakeley, Pro- 
 fessor of Music in the University of Edinburgh, 
 one of Sir Frederick's oldest friends, was of 
 opinion that {n) — 
 
 No living British organist surpassed Ouseley in this now rare 
 art. . . . He would treat a fugal theme in its various contrapuntal 
 
 (ni) Cf. p. 225 infra. («) Havergal's Memorials, p. 58. 
 
 Ii6 
 
WORK AT HOME— COMPOSITIONS, ETC. 
 
 possibilities, introducing "inversion," "augmentation," "stretto," 
 etc., if either device were feasible, and never abandoning legitimate 
 style. I know of very few published fugues by Englishmen better 
 than some of his improvisations. 
 
 Indeed, it was said by the late Sir George 
 Macfarren, the Cambridge Professor of Music, 
 that after Ouseley's death this particular kind of 
 performance, in its highest sense, would have to 
 be considered almost a lost art. 
 
 Mr. T. L. Southgate also bears the following 
 testimony to Sir F. Ouseley's remarkable powers 
 of this kind : — 
 
 When seated at the organ or pianoforte, a never-failing inspira- 
 tion came to him, such as perhaps rarely happened when he sat 
 down to write quietly ; a flow of melody, all the resources of 
 harmony, a classic and refined feeling, joined to the profound 
 scholarship which resulted from a complete mastery of counter- 
 point and the constructive side of music, were all present. He 
 could play with ease in any style or form of composition desired. 
 The art of extempore playing seems to be a dying art in our day, 
 and particularly so as regards the severe type of organ music, i.e. 
 the fugue and sonata styles. Perhaps the fugue form, over which 
 this master seemed easily to triumph, used to astonish his listeners, 
 who were capable of appreciating this lofty species of scientific 
 music, the most. Indeed, it has been said that these mari'ellous 
 improvisations were really not played on the spur of the moment, 
 but were studied in advance, easily stored in his memory, and then 
 played when the occasion required. But there seems to be no 
 truth in this conjecture. Over and over agEiin, friends were asked 
 by Sir Frederick to give him a subject when seated at the 
 instrument. Once, when I was staying at St. Michael's, Sir 
 Frederick gave us several evenings of extemporisation, sometimes 
 at the organ in the Church and sometimes at the pianoforte in the 
 drawing-room. For these feats I was told off to write fresh 
 subjects ; and I purposely made some of them particularly 
 cranky and difficult to treat strictly, or to develop according 
 to the customary devices. But nothing seemed to baulk this 
 learned and ready player. Subject and answer, augmentation 
 and diminution, episode, the working of the second subject 
 
 117 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 with the first, inversion, stretto, pedal point, the "knot," and 
 coda came out from his richly-endowed brain and ready fingers 
 with ease. On one occasion I supplied a theme in C sharp 
 major, previously thought out and made especially troublesome to 
 work. Sir Frederick looked at it as he put the music paper on the 
 desk, and frowned a little. When the performance was over, he 
 said quietly, " What a villainous task you set me, — but," he added 
 with a little smile, " I don't think I disgraced myself" ; and that 
 was indeed true. One noticed that after such feats the player 
 often showed a considerable amount of exhaustion, and would do 
 no more work until he went to bed. 
 
 But musical curiosities of every kind had 
 always a great fascination for him ; and some of 
 his cleverest compositions are oddities of design 
 and construction, — musical epigrams, as it were, 
 or sometimes musical mazes, yet always true to 
 the strictest lines of classical law. Such were his 
 set of fugues on the Oxford chimes, with which 
 he used often to charm his musical friends on the 
 pianoforte. Some of these, it is feared, are now 
 lost for ever, but Sir John Stainer possesses two 
 of his fugues in autograph on the Magdalen 
 chimes. Other productions of Sir F. Ouseley's 
 pen were the canon that could be sung backwards, 
 upside down, and as it appeared on the reverse 
 side of the paper when held up to the light 
 (Haydn also wrote something of this kind); the 
 chant modulating up a semitone at each repetition, 
 written at the request of a man who wanted to 
 cure his choir of singing flat ; and the clever 
 twelve-part chorus, " War, Wine, and Harmony," 
 written at Cambridge, by the Oxford Professor of 
 Music, to show what the sister University could do. 
 It is said that this chorus was written one night 
 
 ii8 
 
WORK AT HOME— COMPOSITIONS, ETC. 
 
 when someone had said that Oxford musicians 
 could not do eight -part work. The leading 
 Oxford musician was put on his mettle, and 
 came down to breakfast next morning with his 
 opus in his hand: 
 
 Sir John Stainer has given the following 
 description of some of the Ouseley canons in his 
 possession : (p) — 
 
 I have, I am glad to say, preserved a considerable number of 
 these, and I have brought them here to-day for you to see and 
 examine. Here is a Gloria Patri in Canon, 4 in 2 at the under 
 Sth and 8th. Another is 3 in \ at the under 7th and 8th, a most 
 troublesome thing to construct. On the back of one of these slips 
 I find an ingenious little canon sixteen bars in length, in three 
 parts ; the second part answering the first by inversion, while the 
 third part is the first part by augmentation. One page of MS., 
 contains four ingenious canons, which evidently gave him as much 
 amusement as trouble to construct : the first is 3 in i at the under 
 Sth and nth ; the second, 4 in i at the under 6th, nth, and i6th ; 
 the third, 3 in i at the under 17th and 19th by inversion ; the last 
 is 3 in I by double augmentation. At the bottom of the page he 
 wrote : " A page of the driest possible music, to console those who 
 suffer from the effects of moist weather." 
 
 It is quite true that they are dry musically, but as specimens of 
 his skill and patience they are most valuable. When he had 
 brought a difficult canon to a successful issue, he used to burst out 
 laughing, and clap his hands for joy like a child. He has also 
 written across the top of the canons I have just described : " Heavy 
 artillery discharged on the night of Dec. 20th, being St. Thomas's 
 Eve, in defence of a fortress closely besieged by envy and malice, 
 and garrisoned by y* Oxford Professor." Along the side he 
 wrote : " The notes on this page were made to establish the 
 reputation of our Cathedral dignitaries by one of their own body, 
 who hopes to put cavillers to flight — i.e. quiinimicos fugare sfierat" 
 which, of course, might mean — " hopes to make his cavillers write 
 fugues." 
 
 (0) The Character and Influence of the late Sir Frederick Ouseley, an 
 Address delivered on Dec. 2, 1889, and published (1890) by Novello, 
 Ewer, & Co., in the Proceedings of the Musical Association, p. 35. 
 
 119 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Sir Frederick was also an omnivorous reader on 
 all musical subjects : {p) — 
 
 His knowledge of music was almost universal, and extended 
 from St. Ambrose to Wagner. He was a most accomplished 
 linguist, and in his magnificent library of upwards of 2000 volumes 
 (besides enormous quantities of full scores and other music), there 
 was only one book which he had not read through. This was a 
 Spanish treatise on harmony, of Brobdignagian proportions ; but at 
 the time of his decease he had perused 1700 pages of it. 
 
 The following appreciation of Sir Frederick as a 
 musical scholar was written by Mr, T. L. South- 
 gate, in the Musical Standard oi April 28, 1889: — 
 
 His ripened knowledge, profound scholarship, and grasp of 
 every phase of the history and science of music, were astonishing. 
 There seemed no department of it that he had not investigated, no 
 difficult problem that he had not probed and formed a judgment 
 upon. His extensive knowledge was ever at the service of those 
 who asked him for information ; he could add something more to 
 the laboriously - acquired knowledge of every student. A good 
 classical scholar, he was also a great linguist and reader ; con- 
 sequently no work on music appeared to have escaped his observa- 
 tion. He seemed to have read everything. The curious treatises 
 of the old Greek philosopher-musicians were as familiar to him as 
 the obscure writings of the mediaeval monks, the learned works of 
 French, Italian, and Spanish writers of a bygone age, and the last 
 new theory of harmony by some aspirant who fondly fancied he 
 had solved all root difficulties, and placed harmony on a basis that 
 the merest tyro could understand and appreciate. He knew them 
 all, and his logical and critical powers enabled him to judge these 
 works at their proper appraisement In the literature of music 
 proper he was just as well read. He was acquainted with the 
 various works of the great masters, and yet could go back beyond 
 these, century after century, describing early counterpoint, the 
 gradual growth of the art through the many ages, until it was firmly 
 settled on its present basis, showing just where each departure and 
 fresh advance took place, quoting and playing from the store of 
 his wonderful memory passages and pieces culled from all times 
 
 (/) For the following quotation, and for some of the matter on the 
 preceding pages, see Havergal's Memorials, pp. 14, 45, and 60. 
 
 120 
 
WORK AT HOME— COMPOSITIONS, ETC. 
 
 and schools, to illustrate his discourse. Nothing seems to have 
 escaped his notice, — ^he had read deeply, and he forgot nothing. 
 
 As to his method of composition, like most 
 other great musicians, he had a wonderful power 
 of "thinking in music." He used to say that 
 when composing he had it all in his mind before 
 putting it down on paper. This faculty of mental 
 composition could not be better described than in 
 the following reminiscence furnished by the present 
 Bishop of Wakefield (Bishop Walsham How), 
 formerly rector of Whittington, Salop, who stayed 
 more than once at St. Michael's as Sir Frederick's 
 guest : — 
 
 Three things which he told me remain in my memory. I. He 
 told me that wherever he went, especially in walking about his 
 parish, music was always passing through his mind. 2. He said 
 he never thought of a tune, or of any piece of music, by the treble 
 part alone, all the harmony being equally present to him. 3. He 
 assured me he could enjoy reading Bach or Beethoven in his arm- 
 chair more than he could listening to them at a concert, because 
 when he read the music to himself there were no false notes. 
 
 Finally, as to the real place which Sir F. 
 Ouseley's name deserves to occupy in the world 
 of music as a composer, the subject must be left 
 for fuller discussion to the two chapters at the 
 end of this book. But meanwhile it may be well 
 to record here Sir John Stainer's view on the 
 question. After paying tribute to Sir Frederick's 
 memory as a man of genius and as a friend, the 
 present Professor of Music at Oxford thus pro- 
 ceeds : (^) — 
 
 {q) Vide Sir John Stainer's Address on The Character and Influence 
 of the late Sir Frederick Ouseley, pp. 36, 37, in the Proceedings of the 
 Musical Association (1890). 
 
 121 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 In the sphere of historical knowledge of his art, probably no con- 
 teiriporary surpassed him ; but as a composer it is impossible not 
 to feel that he ought to have secured a higher position than he did. 
 
 This disappointing fact must be ascribed partly to the neglect of 
 that technical training which even a genius cannot dispense with, 
 partly to what I conceive to be the false historical view which he 
 formed of music, especially of Church music. For this false view Dr. 
 Crotch must be blamed. Ouseley thoroughly imbibed the spirit of 
 Crotch's Lectures. In these. Crotch traces the history of music 
 as if analogous to the arts of painting and architecture. Other arts, 
 he argues, have reached a culminating point of excellence, and 
 then have gone into decadence ; therefore the art of music is in a 
 similar condition. As a sequel, students are advised to imitate the 
 compositions of the so-called " best period " of style. Crotch was 
 an ardent admirer of Sir Joshua Reynolds's Discourses, and his 
 Oxford lectures are simply loaded with quotations from Sir Joshua. 
 If you will take the trouble to read pp. 196 to 202 or 203 of the 
 Discourses (1778 ed.), you will find the gist of Crotch's advice to 
 young composers. 
 
 But there is this important distinction between Reynolds and 
 Crotch. In Sir Joshua's advice to students to imitate the old masters, 
 you will always find that he guards himself against a reactionary 
 limitation of the scope of art. Not so Crotch in his lectures ; he, 
 an infant prodigy just as remarkable as Ouseley, managed to ruin 
 his career as a musician by his blind imitation of the past ; and I 
 fear it must be said he too truly succeeded in helping to mar the 
 splendid future which Ouseley's early life distinctly promised. 
 
 I know no more sad example of the fallacy of the argument by 
 analogy than this creed of Crotch — that music had seen its best 
 days. If you remember that Crotch began to lecture publicly 
 in 1 801, or thereabouts, you will at once see what a very false 
 prophet he has proved to be. 
 
 Sir John Stainer's conclusion is that a good 
 musical training would have been a greater 
 benefit to Sir Frederick than the prescribed 
 classical course of a university. Undoubtedly, 
 from a musical point of view, this is sound criticism. 
 But whether other parts of Sir Frederick's life- 
 work would have gained thereby, especially that 
 which he did for the Church, is another question. 
 
 122 
 
APPENDIX B 
 APPENDIX B. 
 
 ON THE OPENING OF A NEW ORGAN. 
 
 (A Sermon preached by the Rev. Sir F. A. G. Ouseley, Bart., 
 at All Saints, Worcester, April 12, 1871, and subsequently 
 at several other churches.) 
 
 ' ' But now bring me a minstrel. And it came to pass, when the minstrel 
 played, that the hand of the Lord came upon him."— 2 KINGS iii. 15. 
 
 Who was this who called for a minstrel? Brethren, it was 
 Elisha the prophet. He needed the aid of music for a particular 
 purpose, and therefore he called for a minstrel. It was no ordinary 
 occasion which led to this event. Great interests were at stake. 
 Three powerful kings had come to consult him, as an accredited 
 prophet of Jehovah. The armies of these three kings were warring 
 against Moab. And the kings of Judah, Israel, and Edom were 
 leading the forces in person. They had got into a wilderness, a 
 desert, where there were no wells, no rivers, and they could find no 
 water to drink. On this, the king of Israel lamented, saying, 
 " Alas ! that the Lord hath called these three kings together, 
 to deliver them into the hand of Moab ! " But Jehoshaphat, 
 the king of Judah, had more faith in his God, and did not so 
 easily yield to the useless lamentations of despair, he said, 
 therefore, " Is there not here a prophet of the Lord, that we may 
 enquire of the Lord by him?" And "one of the king of Israel's 
 servants answered and said. Here is Elisha the son of Shaphat, 
 which poured water on the hands of Elijah. And Jehoshaphat and 
 the king of Edom went down to him." The next thing we read of 
 is the reception Elisha gave them. He was evidently indisposed 
 to aid them. Jehoram, the king of Israel, was the son of that 
 wicked king Ahab, and that still more wicked Queen Jezebel, who 
 introduced the grossest idolatry into their country, and who had 
 well merited the divine judgment which had been denounced 
 against them by the Prophet Elijah. Nor does Jehoram appear 
 to have been a whit better than his predecessor. No wonder, 
 then, that Elisha felt inclined to refuse a request proffered by such 
 a man. On the other hand, Jehoshaphat, the king of Judah, was 
 comparatively a good king, who served the Lord. And his 
 presence procured that from the prophet which the king of 
 
 123 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Israel would otherwise have failed to obtain. Accordingly, 
 " Elisha said unto the king of Israel, What have I to do with 
 thee ? get thee to the prophets of thy father, and to the prophets 
 of thy mother. And the king of Israel said, Nay ; for the Lord 
 hath called these three kings together, to deUver them to Moab. 
 And Elisha said, As the Lord of hosts liveth, before Whom I 
 stand, surely, were it not that I regard the presence of Jehoshaphat 
 the king of Judah, I would not look toward thee, nor see thee. 
 But now bring me a minstrel. And it came to pass, when the 
 minstrel played, that the hand of the Lord came upon him ; and 
 he said, Thus saith the Lord." 
 
 Now, with the rest of the narrative which follows I do not pro- 
 pose to deal on the present occasion, but I wish to confine myself to 
 one circumstance alone — and that is, the engagement of a minstrel, 
 an instrumentalmusician, as an essential preliminary and preparation 
 for the utterance of a divine and prophetical message. In the first 
 place, this is by no means a soUtary instance of the connection of 
 prophecy with music. Indeed, there is good reason to believe that 
 the ancient " schools of the prophets," those seminaries or colleges 
 of divine instruction which formed so important an element in the 
 national institutions of the Israelites of old, devoted much attention 
 to the cultivation of music, both vocal and instrumental. It would 
 appear to have been considered a necessary element in the training 
 of a prophet. Would that such were more the case in these days 
 among ourselves ! Would that musical knowledge formed a part 
 of the regular education of those who are intended to become 
 ministers of the Church ! As an example of this, I would refer 
 you to the wonderful communication made by Samuel to Saul 
 when he anointed him to be king over Israel. You will find it in 
 I Sam. X. 5, " It shall come to pass, when thou art come to the 
 city, that thou shall meet a company of prophets coming down 
 from the high place with a psaltery, and a tabret, and a pipe, and 
 a harp, before them ; and they shall prophesy ; and the Spirit of 
 the Lord will come upon thee, and thou shalt prophesy with them, 
 and shalt be turned into another man.'' And all this came to pass 
 literally, in every particular, as we read in the same chapter. It is 
 evident, therefore, from this passage, that the prophets had a band 
 of instrumental music to walk before them, and to excite them to 
 prophecy ; and not only so, but that this excitement communicated 
 itself also to Saul, so that he became for the time a prophet likewise ; 
 and that this last was so unusual an occurrence as to excite 
 great wonder, is proved by the fact of the exclamation of the 
 people, " Is Saul also among the prophets," being recorded, and 
 
 124 
 
APPENDIX B 
 
 also by his change of manner and habits being accepted as a 
 token and evidence of his divine appointment to the kingdom of 
 Israel. I may also refer to another very salient instance of the use 
 and power of music to affect the energies of the mind — it occurs 
 only a very few pages farther on in the same book of Samuel, and 
 forms also a part of the history of King Saul. You will doubtless 
 remember that, on the disobedience and rebellion of Saul, the 
 Prophet Samuel was sent to announce to him that the kingdom 
 should be taken from him and given to another, and then we read 
 of the anointing of David to be Saul's successor. And immediately 
 afterwards, probably as a direct consequence of this, the Spirit of 
 the Lord departed from Saul, and an evil spirit was allowed by 
 God to torment him (or, as the original word rather imphes, 
 to terrify him). A kind of melancholy madness appears thence- 
 forth to have taken hold of the afflicted king, and, doubtless, all 
 the then known resources of medicine were invoked to cure or to 
 alleviate the malady. At length the use of music was suggested, 
 as we read in i Sam. xvi. 15, 16, 17, "And Saul's servants said 
 unto him, Behold now, an evil spirit from God troubleth thee ; let 
 our lord now command thy servants, which are before thee, to 
 seek out a man, who is a cunning player on an harp : and it shall 
 come to pass, when the evil spirit from God is upon thee, that he 
 shall play with his hand, and thou shalt be well. And Saul said 
 unto his servants, Provide me now a man that can play well, and 
 bring him to me." The result of this was that David, the very 
 man who had been appointed to be Saul's successor, was selected ; 
 and Saul made him his armour-bearer, and took him into his 
 highest favour. And then in ver. 23 we read, "And it came 
 to pass, when the evil spirit from God was upon Saul, that David 
 took an harp, and played with his hand : so Saul was refreshed, 
 and was well, and the evil spirit departed from him." Josephus, 
 the Jewish historian, asserts, further, that David was inspired to 
 compose some of his psalms when he thus played on his harp for 
 Saul's relief— and it is probable that this was a universal tradition 
 among the Jews, very likely founded on fact. And if so, then 
 is it not most probable that, when David struck the chords of his 
 harp, they disposed him and fitted him for the reception of those 
 divine inspirations which have been handed down to the Church 
 in all subsequent ages as a most precious inheritance, and have 
 won for their originator the well - merited title of the " Sweet 
 Psalmist of Israel?" I cannot doubt but that the harp of David 
 acted on the diseased and troubled mind of Saul in a twofold 
 way. Indirectly, by inspiring David to compose his Psalms, and 
 
 125 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 to pray more earnestly to God on Saul's behalf ; and directly, by 
 composing the nerves and quieting the fury of the maddened 
 king, in a way which music has been known to do in countless 
 other cases, and in all ages and countries. 
 
 If we turn to the records of secular history in ancient days, we 
 find this faith in music as a powerful engine to affect the mind to 
 have been well-nigh universal. Sometimes it was used to excite 
 passion, sometimes to allay it. Seneca tells us that " Pythagoras 
 quieted the anxieties of his mind with the sound of his lyre," and 
 then he adds, " Who does not know that trumpets and clarions are 
 excitements to action, whilst certain vocal strains are blandish- 
 ments by which the mind is softened?" (Seneca, ex Pythag. de 
 Ird. cap. ix.) Asclepiades, the physician, was accustomed to 
 smooth and allay mental passions and diseases by the use of 
 music. Timotheus, by his wonderful performance of music, could 
 so excite Alexander of Macedon, that he madly would seize his 
 arms, burning to fight. In short, music was recognised among 
 the ancient Greeks as a powerful agent for the quieting and curing 
 of lunatics and maniacs of every description. And, from the cases 
 to which I have already referred, it is plain that the Jewish nation 
 was not ignorant of its efficacy. And when the music performed 
 was of a sublime and solemn nature, it naturally provoked and 
 encouraged feelings of religious devotion and ecstasy. An instance 
 of this may be found in the account we have of the dedication of 
 Solomon's temple. With the exception, perhaps, of the delivery 
 of the Law from Mount Sinai, and of the supernatural events which 
 accompanied the death of Christ on the cross, no event recorded 
 in Holy Scripture is so astonishing, so calculated to fill our minds 
 with awe and with reverential fear, as the account, in 2 Chron. v., 
 of the manifestation of God's Presence which was vouchsafed to 
 Solomon on the occasion to which I have referred. " It came 
 even to pass, as the trumpeters and singers were as one, to make 
 one sound to be heard in praising and thanking the Lord ; and 
 when they lifted up their voice with the trumpets and the cymbals- 
 and the instruments of music, and praised the Lord, saying. For 
 He is good ; for His mercy endureth for ever : that then the house 
 was filled with a cloud, even the house of the Lord ; so that the 
 priest could not stand to minister by reason of the cloud : for the 
 glory of the Lord had filled the house of God." We see from all these 
 instances, then, that music, not only vocal, but instrumental, was 
 recognised both by heathens and Jews, in ancient days, as of vast 
 power and usefulness as a means of influencing the mind. We 
 see, too, that such an application of it, with reference to religious 
 
 126 
 
APPENDIX B 
 
 objects, had direct divine sanction, and is recorded for our instruc- 
 tion in the pages of Holy Writ. When to these considerations we 
 add these further ones : that such music formed a regular and 
 ordained part of the Jewish service, — that it was kept up not only in 
 Solomon's temple, but in the second temple, and in the syna- 
 gogues, — that our Lord Himself frequented the Services in which 
 it was employed, and Himself took part in them, — that after His 
 last reception of the Passover, and the institution of the Lord's 
 Supper, He and His apostles joined in the regular Hymn, or great 
 Hallelujah, which always concluded the Paschal Feast, — that in St. 
 Paul's Epistles are several allusions to music, and injunctions to 
 sing psalms, to make melody, and so forth, — that it is matter of 
 history that, from the earliest period of the Christian Church, music 
 has ever formed an important and integral part of her Services ; 
 when we duly reflect on all these facts, we cannot for a moment 
 doubt that it is not only lawful, not only expedient, not only 
 scriptural, not only primitive, not only edifying, but that it is 
 also, and especially, our bounden duty not only to sing God's 
 praises, but to do so " with the best member that we have," to do 
 so with all the best appliances of the art of music which we can 
 secure, to do so without grudging either the time or the expenditure 
 of money which it may incidentally involve. It is an offering to 
 God : therefore we should be ready to say, as David did to 
 Araunah, "God forbid that I should offer to the Lord of that 
 which doth cost me nothing." 
 
 But here, and in these days, there is no fear of controversy as to 
 the desirability and necessity of vocal music in the Service of the 
 Church. Nor is it my object to discuss that branch of my subject. 
 Indeed, it does not properly belong to it, nor does it in any direct 
 way flow from my text, to which I wish now to return. We read 
 that when Elisha wished to utter his prophecy, and to quiet his 
 spirit from the indignation caused by the sight of the wicked king 
 of Israel, he said, " But now bring me a minstrel. And it came to 
 pass, when the minstrel played, that the hand of the Lord came 
 upon him," and he immediately uttered his prophecy. Nothing 
 was sung — no psalm, no invoking words ; only the minstrel played, 
 and the divine inspiration flowed into the prophet's soul. From 
 which it is plain, I think, that instrumental music, by itself, may be 
 of the greatest efficacy for spiritual purposes. Who can doubt it ? 
 If the sound of a military band can excite the ardour and zeal of 
 the marching army ; if the Neapolitan tarantella can suffice to 
 cure the deadly bite of the tarantula spider ; if in these mundane 
 affairs instrumental music can work such wonders through the 
 
 127 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 medium of our emotions, who can doubt that it may be equally 
 powerful as an incitement of devotion, or an assistant to the otTier 
 externals of worship, in riveting the mind of the worshipper on the 
 unseen object of his adoration ? Music has not lost its powers ; on 
 the contrary, during the last 400 years it has risen to an unpre- 
 cedented degree of perfection, both as an art and as a science. If, 
 then, the simple minstrel in the wilderness of Edom could so affect 
 the prophet as to fit him to receive direct communications from on 
 high, surely we may expect corresponding and most blessed results 
 to ourselves through the agency of that noble instrument, the organ^ 
 which as far excels the rude harps and lutes of the Israelites as a 
 modern steamship transcends the ship which wrecked St. Paul. 
 
 Although the organ was not unknown to the ancient Greeks and 
 Romans, yet it was not introduced into the service of the Church 
 till about A.D. 660, when (according to Bellarmine) Pope Vitalian 
 sanctioned its use in divine Worship. The earliest representation 
 of an ancient Church organ occurs in a valuable MS. known as the 
 Utrecht Psalter, which also contains the earliest known copy of the 
 Athanasian Creed, and is ascribed by some to the sixth century, 
 and by others to the eighth or ninth. The organ was first intro- 
 duced into England by Aldhelm, Bishop of Sherborne, in the 
 seventh century ; William of Malmesbury describes one given by 
 St. Dunstan to Malmesbury Abbey, in the reign of King Edgar, 
 and the same Saint gave a similar one also to Glastonbury. OElfeg, 
 Bishop of Winchester, in 951, obtained for his cathedral the 
 largest organ then known, which has been duly celebrated by 
 poets and historians. But it must not be supposed that the organs 
 of that period were at all like those we now possess. They had no 
 separate keys, no stops, no pedals. Only one note could be 
 sounded at a time, nor indeed was more needed, for harmony did 
 not then exist — melody of the crudest kind was alone in use, and 
 this the early organ could play. As music was brought gradually 
 to its present state of perfection, organs were improved or enlarged, 
 till at length they became what they are now. 
 
 Of course, I take it for granted that the music played on the 
 organ should be always of a solemn and sublime kind, suitable to 
 the Sanctuary, and to the devout Services therein offered up. 
 When such is the case (which alas ! is not always), the effect of the 
 voluntaries and interludes played on the king of musical instru- 
 ments will always tend to dispose the mind of the worshipper to 
 fresh acts of devotion and holy fervour. But that is by no means 
 the only, or the most important, part of the functions which the 
 organ is intended to perform. For, after all, its chief use is to 
 
 128 
 
APPENDIX B 
 
 accompany the musical parts of the Service — ^to blend into one 
 harmonious whole the voices of the singers, to enable them to 
 sing many things, to God's glory and praise, which would be out 
 of their power without such aid, and thus to conduce, indirectly, 
 indeed, but no less effectively, to the great ends for which we come 
 together in Church. And what are those ends ? First and chiefly, 
 to glorify our God by acts of worship ; and secondly, to receive 
 edification and instruction for ourselves. Of all the arts, music is 
 the most adapted for sacred use, for it is the only one which we 
 know will survive the grave. In heaven we are nowhere told that 
 there will be painters, or sculptors, or architects, but we are told 
 much of musicians — ay, and of instrumental musicians too. St. 
 John in his vision saw and heard "harpers harping with their 
 harps : and they sung, as it were, a new song unto the Lord." And 
 when the angel announced to the astonished shepherds the glad 
 tidings of the birth of Christ, then immediately " Heaven's white- 
 robed choristers appeared," and sang their glad anthem, " Glory 
 be to God on High, and on earth peace, goodwill towards men." 
 Such, indeed, would appear to be the constant habit of the blessed 
 spirits on high — they never can, they never will, tire of hymning 
 God's praises, till the empyrean shall ring again with their voices 
 for ever and for evermore. Glorious thought ! Oh ! that men 
 would so habituate themselves to singing God's praises here below, 
 that hereafter they may find themselves fit to join the angeUc 
 choir ! 
 
 Let the organ be to you a figure of your own spiritual life. 
 It sounds by means of a combination of pipes and mechanism, 
 acted on by wind, and regulated by the intelligent will of the 
 player. He causes the proper pipes to sound, when they are in 
 proper order, and supplied duly with wind. They are silent unless 
 so acted on and so supplied. Nor will any amount of wind-supply 
 produce music without the pipes and the player. Now let us apply 
 this figure. We are all made in God's image, with full capabilities 
 for good. When we duly use our mental and bodily gifts to God's 
 service, and according to His commands, we are truly doing the 
 work we are sent into this world to do, and that work is— our own 
 salvation ; and in working it out we are promoting God's glory, 
 which must always be considered the ultimate end and object of 
 every good thing in the universe. Now, what is the power by 
 which we set all our works in motion to this good end ? what is the 
 ■wind-supply for our organ pipes ? It \% faith which works by love. 
 Without faith it is impossible to please God. Without Christian 
 love love to God and love to man — our faith is dead and worthless. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 But can we acquire this loving faith for ourselves ? Can we apply 
 it properly to the end in view by ourselves ? Can our organ play 
 itself? No ; — and just so we cannot save ourselves without God's 
 direct help. " By grace are ye saved through faith ; and that not 
 of yourselves, it is the gift of God," and therefore we must strive 
 earnestly to " work out our own salvation with fear and trembling, 
 for it is God which worketh in us both to will and to do His good 
 pleasure." When you hear the sounds of this organ, then, dear 
 brethren, think of your own state as before God, and ask whether 
 you have properly responded to His heavenly Touch, to the Master- 
 Hand which ever strives to reduce your discordant parts to perfect 
 harmony ; ask whether your faith is of the right kind, whether it 
 is mere empty wind, producing no music of the soul, a mere inflation 
 of vanity and self-delusion, or whether it duly issues in that 
 heavenly harmony of Christian faith in Christian character which 
 is the distinguishing mark of all true servants of Christ. And, 
 lastly, pray earnestly to God to send His blessed Spirit to guide 
 aright all the imaginings of your hearts, and all the actions of your 
 lives, so that there may be no more discord, no more harsh sounds, 
 jarring the even song of heavenly Service ; but that you may be 
 continually enabled to utter those blessed strains which, though 
 imperfectly begun in this nether world, shall at length burst forth 
 into the perfection of angelic worship in the glorious realms of 
 future and eternal bliss. 
 
 \The following postscript was added when this sermon was 
 preached in the Abbey Church of Tewkesbury on September 26, 
 1882 :— ] 
 
 In this church you have a very remarkable organ, which 
 possesses many points of historical interest. It is one of the very 
 few organs which escaped the wholesale destruction dealt by the 
 Puritans, at the time of the Great Rebellion, against all instruments 
 and music books in Churches. It is, consequently, a curious link 
 between two very divergent epochs in musical history. It is also, 
 I believe, the only known extant specimen of the work of its 
 original builder. It was built in 1637 by one Harris, the grand- 
 father of the celebrated organ builder Renatus Harris, for the 
 chapel of Magdalen College, Oxford. Oliver Cromwell is said 
 to have taken it to Hampton Court, where Milton the poet often 
 played on it to solace the stern Protector. In 1660 it was 
 restored to its original position at Oxford. In 1672 it was 
 repaired by Harris, son of the man who built it. And then, in 
 1690, it was enlarged and reconstructed by Renatus Harris, the 
 
 130 
 
APPENDIX B 
 
 third generation of the Harris family who had to do with it. It 
 was then considered one of the finest instruments in England. In 
 1737 the organ was removed to this splendid Abbey Church, and 
 after a long period of neglect was renovated and modernised, in 1 848, 
 by the well-known builder Henry Willis. It is undoubtedly not only 
 an interesting organ from an historical point of view, but it is also 
 a fine and well-toned instrument, as far as it goes. But you will 
 remember that it never was intended for a Church of such large 
 dimensions as this, nor for the accompaniment of such a body of 
 voices as have been brought together here to-day. Indeed, it is in 
 many ways utterly inadequate. It is deficient in variety of effect, in 
 power, and in mechanical contrivance, and not only behind the age 
 in these respects, but miserably unequal to the requirements of 
 this magnificent building. Let me then strongly press upon you 
 the duty of subscribing to its completion and enlargement — for 
 which £,yxi at least is required. Do not grudge your donations to 
 so good an object ; remember that it is all for the glory of God 
 and the better setting forth of His praises. 
 
 THE SURPLICE. 
 
 {A Sertnon preached at St. Lawrence, Ludlow, August 23, 1874, 
 by the Rev. Sir F. A. G. Ouseley, Bart.) 
 
 "But Samuel ministered before the Lord, being a child, girded with a linen 
 ephod." — I Sam. ii. 18. 
 
 It is probable that nine out of ten persons who read these words 
 look upon them as little more than an amplification of the eleventh 
 verse of this same chapter, and so pass them over without any 
 special consideration. And yet there is very great importance to 
 be attached to the difference between the two verses, as I hope 
 presently to show. In the eleventh verse we read that on Elkanah 
 leaving his son Samuel with Eli the priest, he " went to Ramah to 
 his house. And the child did minister unto the Lord before Eli 
 the priest." Here we have the simple fact related that Eli took 
 charge of the child Samuel, and employed him as an acolyte or 
 server in the service of the tabernacle of the Lord in Shiloh. But 
 the eighteenth verse adds an important item to this information. 
 It tells us that " Samuel ministered before the Lord, being a child. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 girded with a linen ephod." Now, this garment called an 
 ephod was specially appointed as a holy garb for the priests 
 when they ministered before God, as we may see by a reference to 
 Ex. xxviii. 4 and 6. And we find also, in the second verse of that 
 chapter, that Moses was commanded to make these holy garments 
 for his brother Aaron, " for glory and for beauty," i.e. in order to 
 advance God's glory by enhancing the beauty of His worship. 
 The ephod is here described as adorned with embroidery, gold, 
 and precious stones, that being the way it should be made when 
 used by the priests. But we find that it was also used by the 
 Levites, the singers, and other officials of the Jewish Church. 
 And when so used it is probable that it was made simply of white 
 linen. That it was used also by those who were not of the family 
 of Aaron, or of the tribe of Levi, is clear from 2 Chron. v. 12, where 
 we find that, when Solomon dedicated the temple solemnly to God, 
 his enormous band of singers were all arrayed in white linen ; and 
 this is an important instance, because it is not only the first and the 
 grandest sacred musical festival on record, but also the most 
 wonderful instance of God's visible appearance in answer to 
 solemn public invocation. I will read you the whole passage. " It 
 came to pass, when the priests were come out of the holy place : (for 
 all the priests that were present were sanctified, and did not then 
 wait by course : Also the Levites which were the singers, all of 
 them of Asaph, of Heman, of Jeduthun, with their sons and their 
 brethren, being arrayed in white linen, having cymbals and psal- 
 teries and harps, stood at the east end of the altar, and with them an 
 hundred and twenty priests sounding with trumpets :) It came even 
 to pass, as the trumpeters and singers were as one, to make one sound 
 be heard in praising and thanking the Lord ; and when they lifted 
 up their voice with the trumpets and cymbals and instruments of 
 music, and praised the Lord, saying. For He is good ; for His 
 mercy endureth for ever : that then the house was filled with 
 a cloud, even the house of the Lord ; so that the priests could not 
 stand to ininister by reason of the cloud : for the glory of the Lord 
 had filled the house of God." And again, in 2 Sam. vi. 14, where 
 we find that when David brought the Ark home to Jerusalem from 
 Kirjath-Jearim, he " danced before the Lord with all his might ; 
 and David was girded with a linen ephod" ; and the corresponding 
 passage in i Chron. xv. 27 informs us that all the party of officials 
 who accompanied him on that occasion were similarly attired. 
 " And David was clothed," we read, " with a robe of fine linen, and 
 all the Levites that bare the Ark, and the singers, and Chenaniah 
 the master of the song with the singers : David also had upon him 
 
 132 
 
APPENDIX 6 
 
 an ephod of linen." In short, it is perfectly clear that those who 
 in any way ministered before God, in the days of the Jewish dis- 
 pensation, always did so having on them this holy garment, a linen 
 ephod. 
 
 We shall have some more to say on this part of the subject 
 presently, but let us first of all turn our thoughts to the circum- 
 stances under which the child Samuel began his career as a 
 minister in God's tabernacle in Shiloh. He was no ordinary child. 
 His birth was foretold by an angel, and heralded by a miracle of 
 mercy to his mother, Hannah. Accordingly, she, in her gratitude 
 for this gift, devoted her son to God's service from his birth, and 
 therefore she at length brought him to Eli the priest, who made 
 him take some part in the service of the tabernacle, although he 
 was too young at first to understand what it was that he was doing. 
 Eli's two sons, Hophni and Phinehas, who were also priests in 
 Shiloh, were very wicked and profane men, who greatly offended 
 all devout persons by their irreverent and blasphemous character. 
 And, in process of time, when Samuel had grown old enough 
 to comprehend the message, God called to him miraculously, and 
 commissioned him to inform Eli of the terrible punishment which 
 the iniquity of his two sons would bring on the nation, on his 
 family, and on himself. And as Samuel grew on, he became 
 famous throughout Israel for his prophetical sayings. " For the 
 Lord revealed Himself to Samuel in Shiloh by the word of the 
 Lord." It is not my object to-day to go into the history of Samuel, 
 for time will not allow of it, but I strongly recommend you to read 
 the first chapter of this First Book of Samuel yourselves, and you 
 will find much to interest and instruct you profitably in it. The 
 point I wish now to impress on you is that the priestly garment 
 called an ephod was that which was also appropriate to a child 
 engaged in God's service, and that it was to a child so clad that the 
 wonderful revelations to which I have alluded were made. And in 
 connection with this point, do not lose sight of that passage which 
 I read to you from the 2nd Book of Chronicles, in which we found 
 that this same white linen ephod was the special garb of all those 
 who formed the singers before God in the time of David. 
 
 Now, of course, the ephod was peculiar to the Jewish services, 
 but there can be no doubt whatever that, from the very earliest 
 days of Christianity, some corresponding white linen vestment has 
 always been the appropriate dress of God's ministers. This is 
 plain from the paintings on the old Roman catacombs, as well 
 as from many passages in the writings of the earliest Christian 
 divines and fathers of the Church. We are therefore justified, as 
 
LIFE OF SIR f . A. G. OUSELEY 
 
 I think, in applying to our Christian ephod, t.e. the surphce, what- 
 ever we can find in Scripture as to the symbolical meaning of that 
 ancient Jewish garment. I have already quoted the passage in 
 Exodus which tells us of the institution of the ephod and other 
 Jewish vestments. God there says to Moses, " Thou shalt make 
 holy garments for Aaron thy brother, for glory and for beauty," 
 which can only mean for Go^s glory, and for the beauty of His 
 sanctuary and service. But there are not wanting other passages 
 which speak of the symbolical meaning of white raiment. For 
 example, in Daniel's wonderful vision of the horns, in Dan. vii., we 
 find white raiment mentioned as the adornment of the King of 
 kings. " I beheld," he says, " till the thrones were cast down, and 
 the Ancient of days did sit, Whose garment was white as snow, and 
 the hair of His head like the pure wool : His throne was like the 
 fiery flame, and His wheels as burning fire." And it is certain that 
 this refers to God the Son, for it corresponds to what we read in 
 Rev. i. 13, 14. " And in the midst of the seven candlesticks" was 
 " One like unto the Son of Man, clothed with a garment down to the 
 foot, and girt about the paps with a golden girdle. His head and 
 His hairs were white like wool, as white as snow ; and His eyes were 
 as a flame of fire.'' Another case, in which a shining white robe 
 was seen round the form of the Son of Man, is that of our Lord's 
 Transfiguration. " After six days Jesus taketh Peter, James, and 
 John his brother, and bringeth them up into an high mountain apart, 
 and was transfigured before them : and His face did shine as the 
 sun, and His raiment was while as the light"; or, as St. Mark ex- 
 presses it, " His raiment became shining, exceeding while as snow; 
 so as no fuller on earth can white them." From all which we may 
 infer that, when our Lord appears to us in glory at the end of the 
 world. He will be clothed in this same shining white apparel, — His 
 heavenly attire, — of which the Jewish ephod and the Christian 
 surplice are but faint imitations, or rather representations, "for 
 glory and for beauty." But not only is this white garment a divine 
 covering ; it is also the dress of angels and glorified spirits. On the 
 morning of our Lord's Resurrection, " Mary Magdalene and the 
 other Mary came to see the sepulchre. And behold there was 
 a great earthquake : for the Angel of the Lord descended from 
 heaven, and came and rolled back the stone from the door, and sat 
 upon it. His countenance was like lightning, and his raiment 
 white as snow" St. Mark thus relates it : " They saw a young 
 man sitting on the right side, clothed in a long white garment ; and 
 they were affrighted." And that such a white garment will be 
 worn by the redeemed saints hereafter is clear from several 
 
APPENDIX B 
 
 passages in the Apocalypse ; for example, Rev. iii. 4, 5 : " Thou 
 hast a few names even in Sardis which have not defiled their 
 garments ; and they shall walk with me in white : for they are 
 worthy. He that overcometh, the same shall be clothed in white 
 raiment ; and I will not blot out his name out of the Book of Life, 
 but I will confess his name before My Father, and before His 
 angels." 
 
 Or again, in chap. iv. 4: "And round about the throne were 
 four and twenty seats : and upon the seats I saw four and twenty 
 elders sitting, clothed in -white raiment; and they had on their 
 heads crowns of gold." And again, in chap. vii. 9 : " After this I 
 beheld, and, lo, a great multitude, which no man could number, of 
 all nations, and kindreds, and people, and tongues, stood before the 
 throne, and before the Lamb, clothed with white robes, and palms 
 in their hands ; and cried with a loud voice, saying. Salvation to 
 our God Which sitteth upon the throne, and unto the Lamb. And 
 all the angels stood round about the throne, and about the elders 
 and the four beasts, and fell before the throne on their faces, and 
 worshipped God, saying. Amen : Blessing, and glory, and wis- 
 dom, and thanksgiving, and honour, and power, and might, be 
 unto our God for ever and ever. Amen. And one of the elders 
 answered, saying unto me, What are these which are arrayed in 
 white robes ? and whence came they ? And I said unto him. Sir, 
 thou knowest. And he said unto me. These are they which came 
 out of great tribulation, and have washed their robes, and made 
 them white in the blood of the Lamb. Therefore are they before 
 the throne of God, and serve Him day and night in His temple : 
 and He that sitteth on the throne shall dwell among them. They 
 shall hunger no more, neither thirst any more ; neither shall the 
 sun light on them, nor any heat. For the Lamb which is in the 
 midst of the throne shall feed them, and shall lead them unto living 
 fountains of waters : and God shall wipe away all tears from their 
 eyes." 
 
 From all these Scriptures, then, it is perfectly clear that white 
 robes are the universal garb of the glorious denizens of heaven — 
 that they symbolise and represent holiness and purity, and are 
 bright and shining just because they are holy and pure ; they are 
 white and shining " for glory and for beauty." Of such pure heavenly 
 garments our white surplices, and the Jewish ephods of old, are the 
 appointed types and figures "for glory and for beauty." And the 
 reason why I have dilated so largely on this point is because to-day 
 your choir, in this glorious and beautiful church, has been for 
 the first time arrayed suitably in white robes, such as we find 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 so copiously described in Holy Scripture, "for glory and for 
 beauty." 
 
 In every Cathedral and Collegiate Church in England ithas always 
 been customary so to vest those who minister before God, and this 
 custom is in accordance with primitive Christian practice. Nor is 
 it only in Cathedral and Collegiate Churches that such a practice 
 has been in use ; for wherever regular choirs have been preserved, 
 the white surplice has always been their attire, except in those 
 cases where, following the bad example of modern Roman Catholic 
 Chapels, they have thrust their singers into an organ gallery, and 
 so separated them from the other ministers of God, to the great 
 disparagement, detriment, and impoverishment of the Service. But 
 here I must once more remind you of the meaning of white robes. 
 We have clearly seen, from the scriptural teaching already quoted, 
 that this meaning is holiness, purity, innocence — and therefore 
 " glory and beauty." Now, dear brethren, I think there is a way in 
 which this consideration should convey a useful lesson to every one 
 of us. In the epistle to the angel or bishop of the Church of Sardis, 
 in Rev. iii. 4, 5, these words occur : "Thou hast a few names even in 
 Sardis which have not defiled their garments ; and they shall walk 
 with Me in white : for they are worthy. He that overcometh, the same 
 shall be clothed in white raiment ; and I will not blot out his name 
 out of the Book of Life, but I will confess his name before My Father, 
 and before His angels." When we, as unconscious babes, were 
 presented to God at the holy Font, and washed in the cleansing 
 waters of Baptism, we were freed from the stain of original sin, and 
 clothed with the righteousness of Christ. If it had pleased God to 
 take us out of this world then, before we had committed any actual 
 sin, we should have been undoubtedly saved ; for our pure baptismal 
 robe of purity and innocence would have been unsullied, and we 
 should have been permitted to walk with God in white, in the ever- 
 lasting realm of life. But since that time who is there amongst us 
 who has not often, nay, continually, stained and defiled his white 
 garment of innocence and purity ? Who is there amongst us who 
 cannot show many a loathsome stain of sin ? Alas ! there is not 
 one who is clear in this matter — not one who has kept his bright 
 baptismal robe in its first state of splendour. What is to be 
 done then ? Can we in any way get rid of those foul stains ? Is 
 there any means of washing out those hideous blots ? Yes, God be 
 praised ! there is a way in which we can apply to them the Blood of 
 the Redeemer, shed to purge away our sins ; and the mode of appli- 
 cation is by the tears of penitence and contrition. These, when 
 applied by the act of faith in Christ crucified, will wash out every 
 
 136 
 
APPENDIX B 
 
 stain, and restore our white raiment to its original purity and 
 splendour. If, then, by faith and repentance, we overcome the 
 power of sin, and become converted to God, we shall be allowed, 
 through all eternity, to wear the glorious white attire of saints, and 
 angels, and our Heavenly King Himself; for it is the uniform of 
 heaven — " He that overcometh shall be clothed in white raiment, 
 and I will not blot out his name out of the Book of Life,'' saith the 
 Lord. But if so, then is the converse also true. He that -over- 
 cometh not, his name shall be blotted out of the Book of Life, — and 
 we know what that will signify. 
 
 Lastly, I would say a word to the members of the choir. Do not 
 put on your surplices, dear friends, without a thought of what they 
 signify, without a prayer that your lives and conversation may be 
 consistent with that meaning. If ever you are tempted to think of 
 worldly and secular things during service, let the sight of your 
 white robes remind you of Him Whose ministers you are. If you 
 carefully train yourselves to such a habit as this, you will find it a 
 real blessing. You will look back, when old age creeps on you, 
 and your last hour draws near, — you will look back then with joy 
 and gratitude on that holy vestment which kept you from evil 
 thoughts, and accustomed you betimes to making every word of 
 God's Service your own. As the child Samuel, when girded with 
 his linen ephod, was chosen by God to be His chosen prophet, so 
 may you, when hymning God's praises in His sanctuary, be richly 
 endowed with heavenly virtues and the blessed gifts of the Spirit, 
 so that when, in God's own time, you depart hence, you may find 
 yourself forming one of the white-robed choristers of heaven, happy 
 for ever in the immediate presence of Him Whose ministers of song 
 you now are. Yes, may we all meet hereafter in that blissful 
 abode, with cleansed and shining raiment and joyous voices, there 
 to sing the song of Moses and of the Lamb for ever and ever. 
 
 "i-ll 
 
CHAPTER VII 
 
 WORK AT OXFORD, HEREFORD, AND ELSEWHERE 
 
 As has been already stated, Sir F. Ouseley was 
 in 1855 appointed Professor of Music in the 
 University of Oxford. The chair, established 
 and endowed in the year 1626 by Dr. WilHam 
 Heather, was by no means an easy one to fill. 
 In the first place, the professorship being too 
 poorly paid to remunerate any work beyond the 
 occasional services of an Oxford resident, it had 
 very naturally come to be regarded as a sinecure 
 perquisite for one or other of the leading 
 musicians of the day. Thus Sir Frederick's 
 appointment as a young amateur encountered at 
 the outset a certain amount of professional dis- 
 appointment, whilst he himself, from a pecuniary 
 point of view, was rather a loser than a gainer. 
 Fortunately, he was independent of the stipend ; 
 and by his gentle, forbearing nature he managed, 
 as time went on, to appease any ill-feeling which 
 may have arisen. But he had more ^"serious 
 difficulties to contend with than anything of this 
 kind. Music in general had reached a low ebb 
 in the University, and the musical degrees had 
 become honours lightly esteemed. Sir Frederick's 
 
 138 
 
WORK AT OXFORD 
 
 position in life, coupled as it was with his really 
 unrivalled attainments, did something in itself to 
 improve this state of things. His very name 
 gave to the study of music in Oxford a prestige 
 and an interest which had not previously existed. 
 Needless to say, throughout the whole term of 
 his professorship he sought to lay deeper founda- 
 tions for future improvement than any which 
 might rest on his own personal gifts. His chief 
 object was to raise the standard of qualification 
 for musical degrees in the university, and in the 
 face of many difificulties he succeeded in his efforts. 
 In 1857-62 the Musical Faculty at Oxford was 
 entirely reorganised. The appointment to the 
 professorship, hitherto resting on the nomination 
 of the two proctors only, and renewable year 
 by year, was made a life - appointment, and the 
 election to it was vested in a representative body 
 of the university. In the same period, public 
 examinations by three examiners were constituted 
 as a necessary step to musical degrees. Candi- 
 dates had to show a critical and historical 
 knowledge of their art, besides having to submit 
 to the Professor a composition of some dimen- 
 sions and length. In 1870-71 Sir F. Ouseley 
 also managed to get the " Musical Statute " 
 passed. As this statute abolished the perform- 
 ance of exercises for the Mus. Bac. degree, its 
 critics very naturally called it the " Unmusical 
 Statute." In 1876 a further reform was intro- 
 duced. Candidates for the Oxford degrees in 
 music were now required to show proof that they 
 
 139 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 were persons of some general education. They 
 had, as a preliminary, to pass an " arts " examina- 
 tion in elementary classics and mathematics. 
 This reform was originated, in the first instance, 
 at Dublin by Sir Robert Stewart, the Professor 
 of Music there. Ultimately it was adopted at 
 Cambridge also, and thus the new rule was 
 made to apply at all three Universities. The 
 changes do not appear to have given satisfaction 
 from every point of view. Sir John Stainer 
 says: (a) — 
 
 Though these statutes raised the value of the degrees, from a 
 general point of view, I am afraid they have had an effect not at 
 at all contemplated when they were passed. It is quite unreason- 
 able to expect a professional musician, say forty or fifty years of 
 age, to go in for "smalls," or to sit at a "local examination.'' 
 Hence many experienced and able musicians are now deprived of 
 an honour which used formerly to be within their reach ; and, 
 worse still, it has encouraged the mushroom growth of all sorts of 
 diplomas and hoods, and the importation, on a large scale, of 
 degrees from Canada and the United States. 
 
 This, by the way, touches on another difficulty 
 which Sir F. Ouseley had to face from time to 
 time as Professor of Music. On one occasion a 
 man, who was nothing more nor less than an 
 impostor, but who succeeded in getting recom- 
 mendations in high quarters, tried by some clever 
 scheming to persuade the Oxford professor to 
 confer on him an Honorary Mus. Doc. degree. 
 Sir Frederick smelt the rat in time, and boldly 
 but courteously declined any further communica- 
 tion. He also took a leading part in protesting 
 
 {a) Vide Sir John Stainer's Address on The Character and Influence of 
 the late Sir Frederick Ouseley, p. 33. Cf. supra, p. 38 note. 
 
 140 
 
WORK AT OXFORD 
 
 publicly against the mischievous custom, adopted 
 by Trinity College, Toronto, of giving in absentia 
 degrees in music through an agency set up in 
 England. Any such system must, of course, not 
 merely diminish the value of genuine English 
 musical degrees, but must inevitably open the 
 way to bogus degrees of all kinds. It was there- 
 fore natural that the careless action of the 
 Toronto University should be resented, as it 
 was, by all representative English musicians. 
 
 The following fuller account of Sir Frederick 
 Ouseley's attitude towards this question of the 
 Toronto in absentia degrees has been com- 
 municated by Mr. T. L. Southgate : — 
 
 Shortly before Sir Frederick's death, complaints were arising 
 from musicians about the improper action of the authorities of 
 Trinity College, Toronto, who had opened an agency in this 
 country for bestowing, on easy terms, degrees in music. The 
 Charter of this Canadian institution confined its operations to the 
 old diocese of Toronto, but, in order to make money, it was 
 determined to enlarge its sphere, and grant degrees in absentid in 
 England. Students who had failed at our Universities, and at the 
 examinations for the diplomas of the Royal College of Organists, 
 readily obtained permission to put Mus. Bac. after their names. 
 As the source of these degrees was not indicated, professional 
 musicians who had not taken genuine degrees in music at our 
 Universities sometimes found themselves suffering in their teaching 
 by this unfair competition. The evil grew so considerably that the 
 Universities were compelled to take notice of this invasion of their 
 rights, and the threatened lowering of the general educational 
 standard ; for, in response to an inquiry from the Secretary of State 
 for the Colonies, the Vice-Chancellor of the Canadian college stated 
 that his institution claimed the power of giving degrees in all the 
 faculties, as was common at our English Universities. During the 
 time the matter was under consideration. Sir Frederick died, but 
 his successor. Sir John Stainer, took the presidency of a large and 
 influential Committee, consisting of members nominated to serve 
 on it by the Universities of Oxford, Cambridge, Dublin, London, 
 
 141 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Durham, St. Andrews, and Victoria (Manchester), together with 
 representatives of the great schools of music and other recognised 
 educational bodies, and to which some members of Parliament 
 were added. During the time that the discussion on the policy of 
 these in absentid degrees went on, one of the Colonial College 
 authorities was imprudent enough to state that the late Oxford 
 Professor welcomed the introduction of these imported degrees, 
 chiefly because candidates were not troubled with an " arts " test. 
 This broxight out the publication, in the Times and the Musical 
 Standard, of the following letter, which bears date, February 3, 
 1888. 
 
 " No one has the slightest right to quote me as looking 
 favourably on Toronto degrees as they exist, for I wholly dis- 
 approve of them. If Toronto authorities would impose a really 
 trustworthy test of literary attainment, equal to what is required by 
 English Universities, it would be quite another matter. As it is, 
 they are simply undoing, so far as they can, what we at home have 
 so laboriously and carefully striven to effect in that direction. Of 
 such doings as this I cannot in any way approve. I also should be 
 better pleased if they would confine their efforts to their own 
 country. Frederick A. G. Ouseley." 
 
 This letter had been fortunately preserved. It was written to a 
 friend who inquired whether the Oxford professor was rightly 
 quoted by Toronto papers as approving their imported degrees. 
 Considering that it was mainly owing to the insistence by Sir 
 Frederick of the necessity for an " arts " testing of the general 
 knowledge of those about to go in for degrees in music that the 
 Hebdomadal Council determined on this addition to the " Music 
 Regulations," it was, indeed, daring to pretend that the lately 
 deceased Professor held a contrary opinion. 
 
 It may be stated that, as a result of the labours of the Protesting 
 Committee, and the official action taken by them in Parliament 
 and at the Colonial Office, the Trinity College, Toronto, authorities 
 closed their agency, and undertook to issue no more in absentid 
 degrees. 
 
 Sir Frederick Ouseley, from his innate courtesy and earnest 
 desire not to give offence to anyone, was unwilling to refuse a 
 request or pain a person without due cause ; but in connection 
 with the carrying out of his professional duties at Oxford it some- 
 times happened that he had to say, No ! Not a few musicians 
 who desired to append Mus. Doc. to their names, but who shrunk 
 from the test of the examinations, asked him for degrees honoris 
 
 142 
 
WORK AT OXFORD 
 
 causd, but their requests were invariably refused. He was 
 professor from 1855 till 1889, and during this time the only 
 Honorary Degrees in Music conferred were those given to Sir 
 George Macfarren, the Cambridge professor ; Sir Herbert Oakeley, 
 the Edinburgh professor ; Sir Arthur Sullivan ; C. Villiers Stan- 
 ford, who succeeded Professor Macfarren at Cambridge, and Herr 
 Hans Richter, the well-known conductor,— musicians all worthy of 
 this high distinction. The following letter {vide Musical News, 
 January 8, 1892), written in reply to a question addressed to Sir 
 
 Frederick respecting the use of an American title by a Mr. L , 
 
 shows how firmly he could say. No ! and further serves to show 
 his opinion of American titles : — 
 
 St. Michael's College, Tenbury, 
 October 2%, 1887. 
 My dear Dr. Vincent,— I was at Hereford till to-day, and 
 consequently did not receive, and could not answer, your letter 
 
 sooner. I am astounded to see from it that Dr. L expects me to 
 
 grant him an Hon. Mus. Doc. degree at Oxford ! He asked for 
 one (for which I think he should be styled impudent), but I told 
 him plainly it was impossible at Oxford. He has once tried it on 
 at Dublin, and got a similar reply from Sir Robert Stewart. Of 
 course, the Bishop of London has no power to grant degrees — we 
 all know that — so that the whole affair must be a sham. If I were 
 you, I would not admit the degree at all. Is there a University of 
 Tennessee ? And if so, can it grant degrees in music ? I doubt the 
 fact. It might give an Hon. D.C.L., but even that is doubtful. 
 
 Has Mr. L shown you his diplomas, or whatever name the 
 
 enabling document goes by ? I have a mind to write to the Bishop 
 of London. But perhaps that would come better from you than 
 me. — Believe me yours very truly, 
 
 Frederick A. G. Ouseley. 
 
 [The italics are Sir Frederick's own.] 
 
 In justification of the opinion Sir Frederick expresses in this 
 characteristic letter, it may be mentioned that a considerable 
 correspondence took place with the Bishop of London as to this 
 
 Mr. L 's qualifications and title. The Bishop, it seems, had 
 
 merely testified as to his "respectability" to an institution bearing 
 the title of the " University of the South," which had given Mr. 
 
 L some distinction, and the bishop, in a letter dated January i, 
 
 1892 (published in the Musical News), says : — 
 
 "Degrees are worth whatever value can be given to them by the 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 authority which confers them. I certainly do not think a degree 
 given after the manner in which degrees are given at the University 
 of the South is worth much. The degrees of Universities are of 
 
 very different values ; and Dr. L has obtained a degree which 
 
 is of no value at all ! " 
 
 Mr. T. L. Southgate, the same able writer who 
 has been already frequently quoted, thus notes 
 how great a change Sir Frederick's zeal and 
 influence in the Chair of Music gradually worked, 
 not only in the matters of constitutional reform 
 above mentioned, but also to the general regard 
 in which music is now held at Oxford : (<5) — 
 
 During the thirty-four years that he held this distinguished post, 
 the knowledge and the practice of the art has advanced amazingly. 
 That advance is mainly owing to the precept and the encourage- 
 ment of the late Professor ; he laboured to raise the qualifications 
 necessary for obtaining a musical degree, and instituted an " arts '' 
 examination as a preliminary, and he contrived to revive the 
 degree honoris causd. Undoubtedly he has left music, both as to 
 its public performance and the estimation in which it is now 
 regarded, in a very different condition from that which obtained 
 when he first commenced his official work at the University. 
 
 Sir Frederick's chief duties as Professor of 
 Music consisted in lecturing once at least each 
 term, and in conducting personally at Oxford the 
 examination of those seeking any musical degree. 
 His lectures were, as a rule, practically illustrated, 
 either by himself or by one of his Oxford friends, 
 on the organ, piano, or sometimes on a spinet. 
 Occasionally the aid was chartered of a small 
 amateur string band also. One of his chief helpers 
 
 (i5) Havergal's Memorials, p. 27 ; and cf. also, for the whole subject of 
 music at Oxford, Mr. Southgate's "Brief History of Degrees in Music," 
 pp. 61 ff. of the Roll of the Union of Graduates in Music, etc., for 1895. 
 
 144 
 
WORK AT OXFORD 
 
 in preparing these illustrations for the lectures, 
 apd one to whom he was never tired of expressing 
 his obligation, was Mr. (now Sir) Walter Parratt, 
 then organist at Magdalen. When Mr. Parratt 
 left Oxford for Windsor, Dr. J. H. Mee rendered 
 much valuable help of a similar kind. Dr. Corfe, 
 the organist of Christ Church Cathedral, and 
 Choragus of the University, had been another 
 valued friend amongst Oxford musicians. Here 
 are the subjects of some of Sir F. Ouseley's 
 lectures delivered during the last twelve years or 
 so of his professorship : Pianoforte lecture, seven 
 pieces — from Handel, Clementi, Scarlatti, Dussek, 
 Mozart, Beethoven, Schumann ; Church Music, 
 Anthems — Purcell, Gibbons, Croft, Tye, Hayes, 
 etc. ; English Ballads — Lawes, Carey, Shield, 
 Dibdin; Glees, " Sumer is icumen in," Gibbons, 
 Purcell, Arne, etc. ; on History of the Organ ; 
 on Spanish Music; on German and Italian 
 Composers; on French and English Composers; 
 Dance Music, old forms. Minuet, Gavotte, Gal- 
 liard, Pavan, Corrente, Hornpipe, Chaconne, 
 Rigadoon, Passepied, Saraband ; on Melody, 
 illustrated by the Professor himself "with one 
 finger " ; on Purcell and his Contemporaries ; on 
 Construction of Fugue, "terribly technical"; on 
 History of Fugue. The Professor kept very 
 strictly to the line of his subjects, and never lost 
 sight of the fact that one of his chief duties was to 
 maintain a distinct school of English music. The 
 following are two samples of a large number of 
 letters written in connection with his lectures to 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Mr. Parratt, the accomplished friend on whom he 
 relied for constant assistance : — 
 
 St. Michael's College, Tenbury, 
 April ■i^ 1875. 
 My dear Parratt, — I have to-day got your letter, which has 
 crossed mine of yesterday to you. Your list of Anthems is quite 
 sufficient without any addition. I think Mendelssohn's " Hear my 
 Prayer " would hardly do for my purpose. It is beautiful, of course, 
 but essentially un-English in style. By the by we ought to have 
 an Anthem by Hayes. Suppose we say, " Praise the Lord, 
 O Jerusalem," or "Great is the Lord"? Do as you like about 
 that, and print the words accordingly. I am sure it is better to 
 avoid the works of living composers. I can mention this in my 
 lecture, and explain why. Once more thanking you heartily for all 
 the trouble you take for me. — Believe me yours always sincerely, 
 
 Frederick A. G. Ouseley. 
 
 St. Michael's College, Tenbury, 
 March 3, 1877. 
 My dear Parratt,— Neither " Summer is a coming in," " The 
 silver Swan," nor " Blow, gentle Gales," are glees, strictly speak- 
 ing : for the first is a canonical part-song, the second a madrigal, 
 and the third an operatic quintett. However, I had thought of 
 introducing them just to show the distinction between them and 
 regular glees. On second thoughts I have determined to omit the 
 two former, and to change the third for some more genuine glee of 
 Sir H. Bishop's. Which of his would you recommend ? You see, 
 he being a composer of real English part-music, and also my 
 immediate predecessor in the Chair of Music at Oxford, I thought 
 it would be very desirable to seize the opportunity of having some- 
 thing of his. . . . — Yours very sincerely, 
 
 Frederick A. G. Ouseley. 
 
 As is the case with most University Professors, 
 Sir F. Ouseley suffered in the numbers of his 
 audiences from the competition of other lectures. 
 It was a very natural temptation, therefore, to 
 draw the musical world of Oxford by the actual 
 
 146 
 
WORK AT OXFORD 
 
 performances with which his lectures were illus- 
 trated. He was pleased, of course, in this way to 
 make use of some of the junior virtuosos among 
 the undergraduates. But he was not so well 
 pleased when a certain ill-prepared lecture of his 
 was criticised by one of the newspapers as a nice 
 Concert, illustrated by a few remarks from the 
 Professor. The fact was, that, like many other 
 men of wide reading who have thoroughly 
 mastered their subject, he was cramped by the 
 mass of his knowledge. Perhaps he had not the 
 faculty, which belongs only to a few, of simplifying 
 his own great stores of knowledge down to the 
 level of the popular musical intelligence of the 
 age. Or, if he had the faculty, he probably had 
 not the desire to do this. His own high ideal of 
 music, his own critical and refined taste, would 
 never allow him to yield to mere fashionable 
 cravings of the day, which, in his judgment, must 
 inevitably tend to degrade the divine art. As a 
 teacher, he would never condescend to the use 
 of mere ad captandum language. Whatever he 
 said as teacher should be real instruction. Truth 
 and a high standard were his aims ; and, though 
 he was a man full of imagination, he often, it 
 would seem, at the risk of being called dull, 
 sacrificed effect to the higher interests of his 
 art. 
 
 As to the Professor's examination work, the 
 number of candidates varied considerably from 
 year to year ; but towards the end of his life the 
 standard had been so much raised that evidently 
 
 147 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 neither examiner nor candidates found their work 
 child's play. Here is an extract from a letter of 
 Sir Frederick to a friend : — 
 
 Ch. Ch., Oxford, /an. 28, 1886. 
 ... I cannot write at much length, as I am quite exhausted 
 after conducting a two days' examination of twenty men, of whom 
 only nine were passed. 
 
 This process of "plucking" was indeed the 
 part of his work which he least relished. The 
 most piteous appeals were made to him, from 
 time to time, by candidates whose prospects, or 
 perhaps even livelihood, depended on their secur- 
 ing this or that musical degree. They may have 
 been admirable executants, yet quite incapable of 
 mastering the theory of music. Many of them 
 were not resident students in Oxford ; and they 
 could not understand always that no private kind- 
 ness of heart could interfere with the strict honour 
 of an examining Professor, or with that just 
 jealousy with which he sought to preserve the 
 higher musical standard that had been fixed by 
 the authorities. One man, whose exercise Sir F. 
 Ouseley had returned as utterly hopeless, wrote 
 to him to this effect : (c) — 
 
 Sir, — Your rejection of my exercise confirms the opinion I have 
 long entertained of your utter incompetence for the office you hold. 
 
 Another man who had gained the degree of 
 Mus. Bac, but had been rejected for the Mus. 
 Doc. degree, is said to have followed the Pro- 
 fessor about Oxford, from one place to another, 
 
 (<:) Havergal's Memorials, p. II. 
 148 
 
WORK AT OXFORD 
 
 weeping copiously. Sir Frederick called in on 
 several friends, hoping thus to escape; but on 
 each occasion when he came out he found himself 
 waylaid in the doorstep At last, in desperation, 
 the poor Professor of Music ran in by the Turl 
 Street entrance to call on the Rector of Exeter, 
 who let him out by the other entrance into 
 Broad Street and liberty. Not so painful to Sir 
 Frederick's kind heart was the stern rejection, 
 now and again, of "cribbed" exercises. In such 
 cases his wide store of musical reading, coupled 
 with his wonderful memory, stood him in good 
 stead : (al) — 
 
 A certain exercise was one day brought before him, as examiner, 
 to pass. It was not bad enough to reject, and he was on the point 
 of passing it, when he recognised it as an indifferent passage in the 
 indifferent oratorio, Russell's yisiJ. 
 
 Another instance of the same kind was that of a 
 certain candidate who had sent in a very curious 
 and powerful essay. " That evening," said the 
 Professor, in afterwards telling the story, " I 
 happened to be turning over some old, out-of- 
 the-way music, and lighted on the very piece. 
 Needless to say, I spun my friend." Of another 
 extremely persistent but incapable candidate, who 
 tried hard to coax a testamur out of the pro- 
 fessor and his co-examiners, and induced them 
 somehow to give him a special and somewhat 
 irregular examination all to himself. Sir Frederick 
 wrote to a friend shortly after the inevitable 
 " plough " :— 
 
 (if) Havergal's Memorials, p. 34. 
 149 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 I never knew any one man give so much trouble to so many 
 people in so short a space of time before ; and, with Mrs. Gamp, 
 I heartily wish he was in Jonadge's belly. 
 
 As Professor of Music, Sir F. Ouseley was, of 
 course, constantly consulted on various musical 
 questions. The following letter, besides illus- 
 trating the readiness and accuracy of his know- 
 ledge, shows also how he kept his eyes open for 
 the collection of his valuable library of music : — 
 
 [Ufidaied'} 
 My Dear Parratt,— With regard to the Coronation Anthem for 
 James ii., you are quite right, Purcell's composition was performed. 
 But I possess the autograph MS. score of one by Dr. Blow, for 
 eight voices and quartet-string, which was noi allowed to be used, 
 because Blow refused to write Roman Catholic music for James ii.'s 
 private Chapel. Purcell, we know, was not so scrupulous. The 
 volume containing my MS. above-named contains also a lot of 
 excellent Madrigals {e), including Merulo's celebrated one on the 
 words — " Hie, haec, hoc, hujus, huic," etc. ; also Purcell's Sonatas 
 for strings ; and some very ancient Latin Church Music written in 
 " tablature " for the Lute. I saved it from wrapping up cheese, and 
 bought it for ninepence from a Windsor grocer in 1854. I call 
 that a good bargain. . . . — Believe me always most sincerely 
 yours, Frederick A. Gore Ouseley. 
 
 (e) Considering how much disputed a point the derivation of the word 
 "Madrigal" still is, the following note from Professor Whewell to Sir F, 
 Ouseley may be of interest : — 
 
 Trinity Lodge, Cambridge, 
 Nov. 26, 1 85 1. 
 
 My dear Sir Frederick, — With regard to the etymology of 
 "Madrigal," which we were speaking of yester-evening, on looking 
 at the books I do not think there can be any doubt that it is from Mandra 
 which in Latin means a sheepfold. From this Mandriale may very easily 
 mean a " shepherd's song " ; and is, it seems, found in old Italian. Thence 
 Madriale and Madrigale are natural changes. Madriale is a song sung in 
 or from a Shepherd's Cottage, as Barcarole is a song sung in or from a 
 Bark. The authorities in Menage are curious. The other derivation 
 seems to me worth nothing. — Believe me, dear Sir Frederick, very truly 
 yours, W. Whewell. 
 
 150 
 
WORK AT OXFORD 
 
 The editor of CrockforcCs Clerical Directory 
 used frequently to consult the Oxford Professor of 
 Music on the delicate subject of musical degrees. 
 Alike from his tact and judgment, and from 
 his experience as a Clergyman in such varied 
 capacities, Sir Frederick was a useful adviser on 
 such matters. Here is a case in point :— 
 
 Sir F. a. G. Ouseley to the Editor of "Crockford." 
 
 St. Michael's College, Tenbury, /a^. 9, 1884. 
 ... I look on the diploma of the Leipzig Conservatorium as an 
 equivalent, so to say, of the diploma which I hold as Fellow of 
 the College of Organists, though, of course, the Conservatorium is 3. 
 much greater and better institution, and involves more study and 
 more honour. It is in truth the only good thing of the kind in 
 Germany, and to hold its diploma is a very high musical distinction 
 indeed. But the Conservatorium is not a College, nor are its 
 diplomas Degrees. Therefore you should not insert them in the 
 usual place where Degrees are inserted. If your system will admit 
 of it, I should advise you to add it, parenthetically, in some other 
 part of Mr. J.'s entry, so as to do him justice without introducing 
 the very dangerous precedent of classing foreign diplomas with 
 ordinary degrees. 
 
 All the three sister universities of Cambridge, 
 Edinburgh, and Dublin conferred in turn one of 
 their honorary degrees on Sir F. Ouseley. On 
 June 13, 1883, in company with Sir John Lubbock, 
 Sir Richard Temple, Matthew Arnold, G. F. 
 Watts, and others, he was introduced as follows 
 for his LL.D. in the Senate-House at Cam- 
 bridge, by Mr, J. E. Sandys, the Public 
 Orator : — 
 
 Virum genere nobili cultuque Academico insignem, inter 
 Oxonienses suos rei musicas Professorem, eo tetius hodie salu- 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 tamus quod nuper in nostri quoque Academii studium illud cum 
 litterarum discipline conjungendum esse jussimus. Hie autem in 
 Ecclesia Anglican^ officiis sacris diu dedicatus, musics sacras 
 excolendas incubuit, et scholam pueris artibus liberalibus et scientia 
 musici erudiendis destinatam fundavit fundatamque diu liberaliter 
 sustinuit. Ilia vero volumina quae de harmonise legibus aliisque 
 rei musicae arcanis conscripsit, inter artis tarn exquisitse peritos et 
 lecta et laudata sunt. Talis viri exemplar contemplatus, nemo 
 jam mirabitur quod Elysiorum camporum in eadem regione non 
 modo " Threicius " ille " sacerdos," Orpheus, " obloquitur numeris 
 septem discrimina vocum," sed "inter odoratum lauri nemus" 
 etiam illi versantur 
 
 " Quique sacerdotes casti dum vita manebat, . . . 
 Quique sui memores alios fecere merendo." 
 
 Triplici igitur laude etiam inter vivos dignus est vir et de 
 studiis musicis et de officiis sacris et de alumnis suis optima 
 meritus, baronettus insignis, Fredericus Arthurus Gore 
 
 OUSELEY. 
 
 To render such polished Latin as that of Mr. 
 Sandys into appropriate English is a difficult, if 
 not an impossible, task. Here, however, is a 
 translation, which may be taken for what it is 
 worth by any who need it : — 
 
 A man remarkable by his noble birth and university culture, 
 Professor of the musical faculty in his own Oxford circle, we the 
 more gladly hail to-day because of late, in our own university also, 
 we have ordered that that study of music should be joined together 
 with the learning of letters. He, moreover, who stands before us, 
 having been for a long while dedicated to the office of Holy Orders 
 in the Church of England, has applied himself with zeal to the 
 cultivation of sacred music ; and, whilst he has founded a school 
 designed for the instruction of boys in the liberal arts and in 
 musical science, has also for a long time liberally maintained it. 
 Those books, indeed, which he has written on the laws of Harmony, 
 and on other secrets of the theory of music, have been both read 
 and favourably received among those who are skilled in so delicate 
 an art. Having looked on the example set by such a man, no one 
 will now wonder that, in the same tract of the Elysian fields, not 
 
WORK AT OXFORD 
 
 only does Orpheus, that priest of Thrace (/), " make music on his 
 seven-stringed lyre," but " amid a fragrant bay-tree grove " there 
 are also found walking — 
 
 "Priests who, while earthly life remained. 
 Preserved that life unsoiled, unstained — 
 
 With all who grateful memory won 
 By services to others done." 
 
 Of triple praise, then, even amidst the living is the man worthy 
 who has earned the highest meed alike concerning his musical 
 studies, and his sacred office, and his youthful scholars, a baronet 
 of mark, Frederick Arthur Gore Ouseley. 
 
 Meanwhile, amid the more serious avocations 
 of his professorship, Sir F. Ouseley found not a 
 little to interest and amuse him in the general 
 musical life of Oxford. He was one of those 
 men who, being full of humour themselves, seem 
 to breathe humour into all their surroundings, and 
 to extract humour from the most unlikely subjects. 
 At Commemoration time he enjoyed presiding 
 now and again in his official capacity at the new 
 organ, which, by his exertions, had been erected 
 in the Sheldonian Theatre. He prided himself 
 not a little on the skill with which he could keep 
 the noisy, undergraduates in a good temper by his 
 dulcet strains, or on occasion drown the uproar. 
 He was delighted, too, with the following requisi- 
 tion, which reached him after one of his organ 
 performances in the Sheldonian : — 
 
 Sir, — We blowed for you on Tuesday. Is we to be paid? 
 And is you to pay us ?— Yours, The Blowists. 
 
 Sir Frederick also found constant pleasure in the 
 
 (/) Vide Virgil, yEn. vi. 646 ff.; and cf. Conington's Translation. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 private society and musical meetings of his many 
 friends in Oxford. On one occasion, however, 
 the music appeared Hkely to be at a discount. 
 The late Rev. H. Deane (g) has thus recorded 
 the event, in which he himself was also a proud 
 partaker : — 
 
 Ouseley was stopping at the house of . thought he 
 
 ought to have some music, and asked my violoncello and myself. 
 But, unfortunately, no printed or copied piece of music was in the 
 house. Ouseley said to me in his quiet way, " Don't you think we 
 can play Beethoven Op. 17 from memory?" And we did. 
 
 Perhaps these reminiscences of the Oxford 
 Professor may fitly be concluded by the following 
 story, furnished by Mrs. Piggott, one of his many 
 friends, as to the use he once made in a country 
 parish of his gorgeous academic Mus. Doc. gown. 
 " As nearly as possible " — Mrs. Piggott says — 
 " these were his words in relating the event " : — 
 
 Yes ! there was A. B , a dear good fellow, but very strong 
 
 against the surplice. Nothing but a black gown should ever be 
 seen in Ms pulpit. I used to go and see him every year, and 
 generally I preached for him ; but he would not give way, so I 
 did as I was told — with a protest. One day at Oxford, just after 
 I was made Mus. Doc, I had a letter asking me to preach a 
 special Sermon for him, and he ended by saying, " But you know, 
 my dear Ouseley, I expect you to bring your academic gown." 
 Well, I reached his house on a Saturday evening, and after dinner 
 I said : "Ah ! perhaps, as you asked me to bring my academic 
 gown, you had better see it ! " " Oh, there is no occasion," he 
 said ; " you know, I prefer that to anything else." However, I 
 went upstairs, unpacked the brand-new red gown and hood (^), 
 and, putting them on, I reappeared and pranced round his study. 
 Need I describe the expression of his face, of speechless horror, as 
 if the " Scarlet Lady " herself were present ? At last he found 
 
 (f) Cf. p. 13 supra, note. 
 
 (fi) White silk hood lined with crimson. 
 
WORK AT HEREFORD 
 
 words : " No, no ; not that of course — I meant your academic 
 gown ! " " But this is it ; I brought it, as you desired ; you know 
 my new degree ; I cannot wear the old gown now ; as an Oxford 
 man I must wear the right thing, or none. But if you ask me as a 
 Clergyman to wear my surplice, there is always that alternative." 
 Which, of course, poor man, he had ruefully to accept. And so I 
 went up to his pulpit for the first time (but not for the last) in the 
 much-dreaded surplice. 
 
 Sir F. Ouseley's connection with Hereford 
 Cathedral began from his first entry into the 
 diocese. As has been already noticed, he was 
 admitted as Precentor of Hereford on June 5, 
 1855, within a month of his appointment as the 
 Oxford Professor of Music, and more than a year 
 before the Consecration of St. Michael's Church. 
 In an account of him, written during his lifetime, 
 it is said that the precentorship was bestowed 
 upon him by Bishop Hampden (?) — 
 
 Doubtless in appreciation not only of his acknowledged eminence 
 as a musician, but of the disinterested work and mission which he 
 was just bringing into his own diocese. . . . No more fitting 
 appointment could possibly have been made ; but whereas this 
 ofiice had, up to this time, been endowed with a sum of £soo a 
 year for the benefit of the occupants (not one of whom had dis- 
 charged one particle of its duty for at least a century, or been 
 qualified to discharge it), it was now, under the operation of the 
 Cathedral Act, to present the edifying spectacle of an entirely dis- 
 endowed ofiice, just when, for the first time, perhaps, from its 
 foundation, it was occupied by a man, not only anxious to do its 
 work efficiently, but in every way qualified for such work, — an 
 accomplished musician, a man of zeal, energy, ability, and who, by 
 his courtesy to all, no less than by his influence and example, would 
 soon have thrown new vigour and devotion into the Choir and 
 Services, and been to a Cathedral, as a Precentor should be, the 
 centre of its life and action. 
 
 Situated as he was, it was of course impossible 
 
 [}) Quoted in Havergal's Memorials, p. 23. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 for Sir F. Ouseley to have been quite as much as 
 this to Hereford Cathedral. Yet for the space of 
 thirty-four years he did faithfully serve his office 
 there to the best of his ability. As Precentor he 
 had the nominal supervision and the real final 
 authority over all matters musical in the Cathedral. 
 As a fact, his intervention was only called for from 
 time to time. Yet on occasion he could and did 
 hold his own. For instance, those who knew 
 him well can thoroughly appreciate the gentle 
 persistency, coupled with an almost boyish spirit 
 of mischief, with which he once dealt with his 
 good and honoured friend Dean Dawes. There 
 was to be some function at the Cathedral — probably 
 the reopening Services after its restoration. Sir 
 Frederick was anxious that there should be an 
 early Celebration of the Holy Communion. The 
 Dean had determined that there should only be 
 a late one. The Precentor, however, had the 
 clearest understanding of the exact amount of 
 constitutional authority which he himself pos- 
 sessed. All the musical arrangements of every 
 Service in the Cathedral lay in the hollow of his 
 hand, and his simple ultimatum was this — 
 
 Well ! Mr. Dean, if you won't have an early Celebration, you 
 shall not have one note of music. 
 
 Among the Precentor's chief duties at Hereford, 
 besides those already alluded to, were the selec- 
 tion of candidates for the various posts in the 
 choir, and a standing engagement to preach in 
 the Cathedral on Christmas Day. It was natural 
 
 156 
 
WORK AT HEREFORD 
 
 also that Sir Frederick should take the keenest 
 interest in the Cathedral organ. At the time 
 of its enlargement, in 1861-64, he not only 
 gave largely from his own purse, but enlisted 
 a good deal of further support. He also col- 
 lected then a considerable amount of interest- 
 ing information as to the various organs which 
 had been erected in the Cathedral during the 
 previous three centuries. He had intended at 
 one time to publish the results of these researches 
 but, for one reason or another, the intention was 
 never fulfilled. 
 
 So long as he was non-resident at Hereford, 
 the Precentor could, of course, take no regular part 
 in the practical superintendence of the Cathedral 
 choir. But, needless to say, whenever he was 
 present — and this was more frequent, especially 
 during the last few years of his life, after his 
 appointment to a canonry — his ears were keenly 
 attentive to every chord of music that was either 
 sung or played in his hearing. He is remembered 
 as "listening with his hand to his ear, and giving 
 a start when any wrong note was caught." Nor 
 were his eyes less observant. One of the 
 Cathedral boys did not open his mouth suffici- 
 ently for the Precentor's satisfaction. The boy 
 was stopped after the , Service, and kindly en- 
 couraged to open his mouth wide enough to 
 admit a silver half-crown vertically inserted. It 
 was by little kindnesses of this sort that Sir 
 Frederick gained a real personal influence with 
 the Cathedral boys, as he did with his own boys at 
 
 157 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 St. Michael's. Now and again he used to get the 
 Hereford choir- boys into his rooms in the Close 
 for tea, and then improve the occasion by playing 
 to them on the piano, taking for his subject his own 
 initials, F. A. G., and working out therefrom some 
 comic little fugue for their amusement. In these 
 and like ways he made himself a real power as 
 Precentor ; and though it would be unfair to others 
 to attribute to him the chief credit of the splendid 
 style and finish which now marks the Hereford 
 choir as one of the best Cathedral choirs in 
 England, yet it may truly be said that the 
 results to-day are in no small degree due to the 
 former inspiration of his name and presence. 
 
 Besides serving his office as Precentor, Sir F. 
 Ouseley also sat for over twenty years as Proctor 
 for the Hereford Chapter in the Canterbury Con- 
 vocation. He took no prominent part, indeed, in 
 the debates of the Jerusalem Chamber, though he 
 was, of course, looked up to as a valuable 
 authority on the rare occasions when musical 
 matters came into question. He was, however 
 a very regular attendant at the sessions in West- 
 minster ; and his own former fears (/), as to the 
 possibility of a revived Convocation " leading to 
 authorised heresy," were no doubt soon happily 
 dispelled in that secure home of orthodoxy. One 
 interesting piece of work in connection with Con- 
 vocation he had the honour of superintending 
 during the last year of his life. In April 1888, 
 at the suggestion of Archdeacon Hessey, a Com- 
 
 (/) Cf. p. 73 supra. 
 
WORK AT HEREFORD AND ELSEWHERE 
 
 mittee of the Lower House was appointed for the 
 purpose of publishing certain early records of Con- 
 vocation, dating from 1852 to 1857, the first five 
 years of its revival. Of this interesting period in 
 the history of Convocation there had hitherto 
 been no authorised chronicles kept, except in the 
 most meagre form. The Rev. J. Wayland Joyce, 
 however, one of the Clergy Proctors for the 
 Diocese of Hereford, foreseeing that the period 
 would be one of special interest, had from the out- 
 set preserved detailed reports of all the various 
 sessions. They were mainly culled from the news- 
 papers, at a time when newspaper reports were full 
 and Convocation was still a novelty. These records 
 the Committee was instructed to examine and pre- 
 pare for publication. Sir Frederick Ouseley — 
 chiefly, no doubt, in consequence of his close inti- 
 macy with Mr. Joyce, who had died in the previous 
 year — was appointed Chairman of this Committee ; 
 and ultimately, under the hands of Prebendary 
 Ainslie, as editor of the Chronicle of Convocation, 
 the book was duly published, under the title of 
 " Early Records" and presented to both Houses 
 of the Convocation. Apart from its own intrinsic 
 value, the volume will incidentally serve to hand 
 down Sir F. Ouseley's name in connection with 
 an institution which he himself learned to 
 venerate, not only as being the most ancient 
 constitutional body in the land, but as being also 
 — together with her sister Synod at York — the 
 true Church of England by representation. 
 
 It was in January 1886 that, on the death of 
 159 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 his old friend, Dr. John J ebb, Sir F. Ouseley was 
 appointed by Bishop Atlay to a residentiary 
 Canonry at Hereford. To the honour of the 
 Clergy of the diocese, it is said that more than one 
 of them in prominent positions declined the 
 Canonry first, saying that Ouseley was the man 
 most deserving of it. Anyhow, the appointment 
 seems to have given the greatest pleasure to its 
 receiver, chiefly, no doubt, as being a public recog- 
 nition of the work he had done for the Church at 
 large, and for the diocese of Hereford in par- 
 ticular. As for any pecuniary benefit, he could 
 have reaped little, if any, from this as from his 
 other public ofiices, much as he needed help at 
 that time for his College. He writes thus, invit- 
 ing a friend to stay with him in Hereford : — 
 
 May 19, 1886. 
 ... I shall be in lodgings only, as my own house in the Close 
 is ruinous, and I have to rebuild it, worse luck ! 
 
 For this expensive business the new Canon 
 borrowed part of the cost from Queen Anne's 
 Bounty, but the balance he provided himself. 
 
 Besides being busy at these chief centres of his 
 work, — at home, at Oxford, and in direct connec- 
 tion with Hereford Cathedral, — Sir F. Ouseley was 
 incessantly occupied with other outside engage- 
 ments, mostly, of course, of a musical character. 
 For twenty-seven years he was President of the 
 popular Herefordshire Philharmonic Society. He 
 took a leading part in the encouragement and im- 
 provement of the various country choirs in his 
 own diocese through the two Choral Unions of 
 
 160 
 
WORK AT HEREFORD AND ELSEWHERE 
 
 Herefordshire and South Shropshire (k). And, 
 beyond these limits, he was continually travelling 
 up and down England, either to preach or to 
 deliver lectures on musical subjects, or to give 
 practical and gratis advice as to organs and choirs. 
 How highly his services in this latter w^ay were 
 valued, the following extract, from one of many 
 similar letters addressed to him, will show: — 
 
 St. Neot's, Hunts, November i, 1862. 
 . . • You ask of people here. Indeed, they have not forgotten 
 you : they consider you had a large , share in helping them to 
 possess such a choir as there is here at present. 
 
 He once spent a fortnight in thoroughly 
 examining and then reporting on the old organ 
 in the Temple, preparatory to its restoration and 
 enlargement. In this case, however, so valuable 
 was his opinion considered that he was offered, 
 and accepted, a very handsome honorarium, to be 
 spent, of course, on his College. Extraordinary 
 appeals were sometimes made to his patience and 
 generosity. On one occasion he was requested to 
 set to music eighty-two lines of poetry of a very 
 second-class order indeed, commemorating the 
 fiftieth anniversary of a country clergyman's 
 incumbency. Looking to his somewhat higher 
 engagements, we find that he was one of the 
 Directors, and afterwards a Vice-President, of the 
 
 (k) To illustrate the condition, or rather the want of condition, of 
 country choirs in the neighbourhood when St, Michael's was first built, 
 it may be mentioned that in one church, only a few miles off, it used 
 then to be the custom for a barrel-organ to grind out the hymn tunes 
 for the requisite number of verses. No one sang, but the people read' the 
 words silently to themselves. 
 II 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 " Royal Academy of Music," of which institution, 
 established in 1822, his father, Sir Gore Ouseley, 
 had been one of the chief founders (/). He served 
 also on the Committee of the well-known " Musical 
 Union," founded by Professor John Ella. The 
 matindes given by this " Union " are said to have 
 been the predecessors of the modern " Monday 
 Popular Concerts " ; and Ouseley was one of the 
 only people whose advice the autocratic Professor 
 Ella would ever listen to in the matter of pro- 
 grammes and performers (m). 
 
 This general account of what may be called Sir 
 F. Ouseley's outside work may fitly conclude with 
 some more detailed notice of the various papers he 
 read from time to time on musical subjects in 
 London and at various Church Congresses. An 
 admirable digest of these papers was prepared at 
 the time of Sir Frederick's death by Mr, T. L. 
 Southgate, than whom no abler or more sym- 
 pathetic critic has done him justice. The follow- 
 ing Appendix contains Mr. Southgate's analysis 
 of four Church Congress papers read by Sir F. 
 Ouseley, between the years 1863 and 1874, and 
 also of four lectures delivered by him in London, 
 between the years 1876 and 1886, to the members 
 of the " Musical Association." 
 
 (/) Cf. p, 3 supra. {m) Cf. Havergal's Memorials, p. 52. 
 
 162 
 
APPENDIX C 
 
 APPENDIX C. 
 
 MR. SOUTHGATE'S ANALYSIS OF FOUR PAPERS 
 READ BY SIR F. OUSELEY AT VARIOUS CHURCH 
 CONGRESSES. 
 
 Sir Frederick Ouseley was pre-eminently a church musician ; 
 the cultivation of church music and improvement of our service 
 music was a subject in which he took more than a deep interest ; 
 it was the metier of his life. It was quite natural, therefore, that, 
 owing to the exalted place he held in the musical hierarchy, as 
 well as from his clerical position, he should have been frequently 
 asked to lecture on this subject at the various meetings of the 
 Church Congress. It seems to have been felt on all sides that he 
 could speak with special authority on the question of music in out 
 churches. Ouseley was not only a thorough musician, able to 
 boast of considerable experience in the practice of the art, but he 
 was also a clergyman warmly attached to the Church, impressed 
 with her beautiful liturgy, and cognisant of the great value of music 
 as an aid to devotion. He felt that ofttimes the intellect could be 
 reached, and the heart touched, by sweet and solemn music, better 
 than by other means. So the "music question" at the various 
 Congresses was one in which he took very great interest, and to 
 which he frequently contributed a paper, illustrating it with a care- 
 fully-prepared performance of church music, the cost of which, with 
 his accustomed liberality, he himself defrayed. 
 
 I. 
 
 At Manchester, in the year 1863, he read a paper of an historical 
 character : in this he traced the growth of church music from the 
 ordinary reading voice, not musical, through the employment of 
 the monotone and the choral recitative, as used in the jjreces, 
 versicles, responses, etc., to the measurable Psalm-chant, thence to 
 the service and the anthem. The programme of the illustrations 
 will best indicate the contents of the lecture itself : — 
 
 Gloria to Benedictus in G minor .... Farrant. 
 
 Gloria to Jubilate in A Croft. 
 
 " Hosanna to the Son " Gibbons. 
 
 " Thou knowest, Lord " Purcell. 
 
 " God is gone up " Croft. 
 
 Hymn 193 (H. A. & M.) to the Old 113th. 
 163 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 II. 
 
 In 1867, at Wolverhampton, Sir Frederick Ouseley read a paper 
 on the " Musical Training of the Clergy," from which a sentence or 
 two may be extracted : " I should very much like to see much 
 more encouragement given to the study and practice of music 
 among undergraduates. Unmusical authorities in the universities 
 naturally disapprove of, and therefore discourage, the cultivation 
 of music. They regard it simply as a form of idleness, and as an 
 obstacle to classical and mathematical studies. And it must be 
 admitted that it may easily become so, if abused. But, under 
 proper restrictions and regulations, the study and practice of music 
 afford advantages which more than outweigh the dangers and 
 drawbacks to which they are subject." 
 
 III. 
 
 In 1872, at Leeds, Ouseley was again the chief speaker, taking 
 for Illustration — 
 
 Some Psalms, chanted. 
 
 The Service : Gloria Patri from the Jubilate . . Croft. 
 
 The Anthem : " Call to remembrance " . . . Farrant. 
 
 ' ' Hosanna " 0. Gibbons. 
 
 " Teach me, O Lord " Rogers. 
 
 " O God, Thou art my God " Purcell. 
 
 " Wherewithal shall a young man " . . . . Boyce. 
 
 " Praise the Lord " Coss. 
 
 In a short section on " Hymns " he instanced as inappropriate 
 La Suissesse au bord du lac, sung to an English hymn in 
 a crowded church in London, asking, " How can such tunes, — in 
 6-8 time, in tripping measure, in secular style, with associations of 
 secular and even amorous and questionable words, — how can such 
 tunes conduce to devotion ? How can they enhance the perfection 
 of sacred art ? How can they fail to degrade that which they seek 
 to exalt ? How can they result in aught but the disgust and dis- 
 couragement of all musical churchmen, the misleading of the 
 unlearned, the abasement of sacred song, the falsification of public 
 taste, and (last, but not least) the dishonour of God and His wor- 
 ship?" In referring to the great improvement that has taken 
 place in rural choirs, he said : " I think it may be asserted, 
 without fear of contradiction, that the zeal and energy of the clergy 
 in promoting the development of choral resources in their churches 
 is, after all, the mainspring of all the great musical church revival 
 to which I refer." 
 
 164 
 
Appendix c 
 
 IV. 
 
 At the Brighton meeting, in October 1874, Sir Frederick Ouseley 
 read a paper on " The Management and Training of Parochial 
 Choirs, and the Organisation of Diocesan Choral Festivals." In 
 this he remarked : " It is difficult in these days to realise fully the 
 ordinary state of our country choirs a century ago. And yet, unless 
 we do so, we shall be unable duly to appreciate the vast improve- 
 ment which has taken place in them in our own days. Forty years 
 ago this process was already going on, and people then drew very 
 favourable comparisons between the church music of that date and 
 the church music of half a century sooner. By recalling our early 
 recollections, then, and regarding them as an advance upon the ruder 
 and more imperfect attempts in our grandfathers' days, we shall 
 be able, perhaps, to conjure up a tone-picture of the fearful chaos 
 of hideous sounds which was accepted in those days as sufficiently 
 tuneful for the service of the sanctuary." He then drew a picture 
 of the improved state of things, with the larger use of organs or 
 harmoniums, the institution of the chancel choir, as against that of 
 the west gallery, and the formation of diocesan choral festivals, as 
 to which he recommends a different arrangement in successive 
 years. One year, small country gatherings ; the next year, district 
 choral meetings ; and the third year, one large central festival in 
 the cathedral church. 
 
 This was the last occasion on which Ouseley spoke in a Church 
 Congress on the interesting subject of church music, and its action 
 on the rehgious life and thought. He always regarded music as 
 a most valuable element of the religious culture of the day, and was 
 ever an advocate of its extensive employment in our services ; he 
 was constantly urging improvement of the practice and systems of 
 the present, encouraging effisrts thereto, and pointing towards an 
 advance in the future. There can be no doubt that the earnestness 
 and skill with which Sir Frederick Ouseley dealt with this subject 
 met with the appreciation of thoughtful audiences gathered together 
 from all parts of England ; and it is equally certain that the good 
 seed he sowed, and the practical advice he gave,'must have met with 
 its due reward. Many clergymen must have carried away from 
 these meetings suggestions and hints of how to employ music in 
 our services that have borne good fruit in many a town and quiet 
 country church in our land. 
 
 165 
 
tiFE OF SIR F. A. G. OUSELEY 
 
 MR. SOUTHGATE'S ANALYSIS OF FOUR PAPERS READ 
 BY SIR F. OUSELEY BEFORE THE MEMBERS OF 
 "THE MUSICAL ASSOCIATION." 
 
 In 1874 was founded in London "The Musical Association," a 
 society having for its aim the investigation and discussion of 
 subjects connected with the art, science, and history of music. 
 The members consist of practical and theoretical musicians, as 
 well as those whose researches have been directed to the science 
 of acoustics, the history of the art, the construction of instruments, 
 or other kindred subjects. Meetings are held monthly, at which 
 papers are read, with any necessary performances or illustrative 
 experiments, and a discussion follows. Most of our representative 
 musicians and acousticians belong to the association, and the 
 annual volume of Proceedings that are published show how valu- 
 able and useful is the work done by the society. Its founders 
 felt that it was necessary to have as President some prominent 
 man who represented all branches of the art, whose sympathies 
 were wide, whose knowledge was exact, and whose general culture 
 and qualifications undoubtedly fitted him to preside over the 
 meetings of a learned society of this nature. Sir Frederick 
 Ouseley was unanimously elected to the post of President, and 
 right well he performed his duties. Distance from London pre- 
 vented him from attending all the meetings of the association, but 
 when he was in town he was usually to be found there, and he did 
 good service in occasionally reading papers. These were replete 
 with original research, information, thought, and practical sugges- 
 tions of much value ; the intimation that the President was going 
 to speak always drew together a large assembly of the members 
 and their friends. Of the papers he furnished, the following were 
 the most important :^ 
 
 "Considerations on the History of Ecclesiastical Music of 
 Western Europe," read January 3, 1876. 
 
 "On the early Italian and Spanish Treatises on Counterpoint 
 and Harmony," read March 3, 1879. 
 
 "On some Italian and Spanish Treatises on Music of the 
 Seventeenth Century," read February 6, 1882. 
 
 "On the position of Organs in Churches," read February i, 
 1 886. 
 
 I.— January 3, 1876. 
 
 In the first of these papers Ouseley traced the connection 
 between Christian Church music and that of the ancients, pagan, 
 
 166 
 
APPENDIX C 
 
 and Israelite. He examined the theory of Padre Martini, the 
 illustrious author of the great Italian History of Music, and 
 showed that his contention as to the Ambrosian chants being 
 traditionally derived from the very notes composed and sung to the 
 Psalms by David and others was impossible. Sir Frederick main- 
 tained that the ancient Hebrew music must have been essentially 
 Oriental in its character, and that Eastern music, like the customs 
 of these people, is not likely to have altered. The scale system — 
 i.e. the division of the octave into particular notes — of both the 
 brothers Isaac and Ishmael must have been identical. Now, the 
 Arab and Egyptian music is altogether different in its melodic 
 intervals to that of our modern Western music : our untrained 
 ears cannot appreciate their thirds and quarter tones, any more 
 than these Eastern people can understand our music. The 
 melodies, therefore, sung by the Jews of old could not have borne 
 the slightest resemblance to the intervals of the chants sung by 
 the ancient Western Church, founded as these were on the Greek 
 system of tones and semitones. Sir Frederick showed that the 
 Ambrosian and Gregorian melodies were distinctly pagan in their 
 origin, and could lay no claim to divine inspiration, as is often 
 claimed for them. Incidentally he uttered a warning against the 
 exclusive use of so-called " Gregorian music," pointing out what a 
 retrograde course this was, and remarked how difficult it was, on 
 account of the uncertainty in deciphering the early music notation, 
 to determine just what the old "tones" were. Dealing with the 
 obscure question as to the rise of harmony, and the way in which 
 it was engrafted on the traditional plain song of the Church, Sir 
 Frederick quoted extensively from writers on this subject, and 
 inclined to the belief that harmony was invented by nations of 
 Northern Europe, the English taking the lead in this respect. In 
 a masterly way he traced the history of the old art of descant, 
 showing how it became modified, improved, and ultimately 
 developed into independent part writing, until florid counter- 
 point and the polyphonic style of modern music was reached. A 
 brief sketch of the features of the various great schools of ecclesi- 
 astical music followed, and he warned the young composers present 
 against the modem tendency to secularise church music, and 
 advised a deeper study of counterpoint ; as he truly said : " No 
 one would compose worse secular music for having undergone 
 this training, while all who wished to write music for divine service 
 would unquestionably feel the benefit of such a course." The 
 lecturer next dealt with the use of various musical instruments in 
 church. He expressed himself in favour of the employment of 
 
 167 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 instruments, in addition to the service of the organ, proving his 
 position by an exhaustive examination of instances related in the 
 Old and New Testaments. Sir Frederick showed that the use of 
 the organ exclusively was comparatively modern, that village 
 orchestras lingered in many country places until our generation. 
 He concluded by expressing the hope that orchestras would be 
 again employed in assisting in frequent performances of oratorios 
 in churches, and be available for the more complete accompani- 
 ment of the canticles and great hymns of the Church. The paper 
 was followed by an animated discussion, in which Sir John Stainer, 
 J. Hullah, W. Chappell, C. E. Stephens, W. H. Cummings, W. 
 Parratt, and Rev. C. Mackeson, took part. 
 
 U.— March 3, 1879. 
 
 In introducing the second paper cited, Ouseley said : " The 
 object of the paper I am about to read is to introduce to your 
 notice some of the principal Italian and Spanish Treatises on 
 Music of the fifteenth and sixteenth centuries. It is a subject 
 which has never been much attended to in this country, probably 
 on account of the excessive rarity of the works in question ; but 
 which possesses a great deal of interest, when viewed in connec- 
 tion with the history of musical art." In order to illustrate the 
 subject. Sir Frederick had upon the table several of these rare 
 ancient treatises, thoughtfully brought from his splendid library, 
 and these were examined by the members present with much 
 interest. Before noticing the early Italian and Spanish treatises, 
 Sir Frederick gave a rapid sketch of the progress of musical art 
 from the time of Boethius (06. 526), whose great work was the 
 chief text-book on music for some 800 years, and only became 
 superseded by the writings of Guido, Franco, John Cotton, and 
 Tinctoris. Dealing with the invention of measured music, and the 
 discovery of harmony, Sir Frederick was not content with merely 
 citing the names of the early writers, most of whose manuscripts 
 have been printed by the Abbe Gerbertus and De Coussemaker, 
 but he showed how ample was his knowledge of these works, and 
 how completely he had grasped the main facts of musical history, 
 by tracing the gradual emergence of the art from a melodic 
 simplicity and mediaeval confusion into a state of intelligible and 
 scientific order. The first book he dwelt upon was that by the 
 celebrated Franchinus Gafiurius (born 1451), an Italian priest who 
 seems to have been a genius, so varied were his powers and wide- 
 ranging his writings. Sir Frederick described his several books 
 
 168 
 
APPENDIX C 
 
 on music, his lengthy controversy with Aron, Spataro, and Vulso 
 (chiefly on trivial questions of intervals and ratios), and explained 
 his contrapuntal rules. Next was noticed Ramis de Pareja, a 
 Spanish theorist (1440), the first to advocate something very like 
 equal temperament. Then came Stefano Vanneus, an Augustinian 
 monk, born at Ancona in 1493 '< his treatise on counterpoint 
 explains the principle and practice of plain -song, solmization, 
 mensurable music, and notation. Vanneus was the first who 
 advocated the sharpening of the leading note of the scale, and in 
 this valuable treatise are to be found the germs of our modern 
 tonality. Passing rapidly in review the writings of some sixteenth- 
 century Italian and Spanish theorists. Sir Frederick gave a succinct 
 account of the important works by Zarlino, the Maestro di Cappella 
 at St. Mark's, Venice, in 1 565 ; he was a man of great ability, and 
 enjoyed considerable fame as a composer, in addition to his 
 theoretical writings. Sir Frederick then noticed the rare works by 
 the learned Spanish Abbott Sahnas, and by Cerone, an Italian 
 priest, both of whom flourished in the middle of the sixteenth 
 century. A brief account of the admirable book, Practica di 
 Musica, by Zacconi, published in 1 592, was the last of the works 
 brought under review : the lecturer concluded with an eloquent 
 peroration, expressing admiration for the splendid music that was 
 produced in the days of Palestrina, and by the worthies of our 
 Elizabethan school, when the art was fenced about with the rigid 
 and cramping rules laid down by the theorists up to the close of 
 the sixteenth century. He showed how paralysing the supremacy 
 of the ecclesiastical plain-song must have been to the originators 
 of new melodies and harmonies, and how wonderful it was that 
 such beautiful and imposing music could have been produced by 
 the men who lived in such times. A long and most interesting 
 discussion ensued. Sir John Stainer (the chairman), Mr. W. 
 Chappell, Rev. T. Helmore, Dr. J. F. Bridge, Mr. W. H. Cummings, 
 Mr. G. A. Osborne, Dr. W. Pole, Mr. C. E. Stephens, and Mr. A. 
 D. Coleridge, taking part in it. Ample testimony was borne to 
 the great value of the paper as an historical rdsumi of the specula- 
 tive theories and formulation of the rules which had governed the 
 art from its dawn in Europe down to the sixteenth century. The 
 research displayed in this learned paper well exhibited the singular 
 linguistic powers Sir Frederick possessed. He had mastered all 
 the Latin, Italian, Spanish, and French works that had been cited. 
 
 169 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 in.— February 6, 1882. 
 
 Sir Frederick Ouseley read a paper "On some Italian and 
 Spanish Treatises on Music of the Seventeenth Century," a com- 
 plement of the preceding discourse. He introduced the subject 
 proper by a brief sketch of the progress of harmony from the time 
 of Palestrina, when discords of suspension and passing notes were 
 alone permitted, fundamental discords being as yet unrecognised. 
 Modulation from key to key, as we now understand it, did not 
 exist, and there was no tonality beyond that of the old ecclesias- 
 tical scales. To Monteverde is ascribed the origin of modern 
 tonality, the employment of dissonant chords without preparation, 
 and from that came the free use of chromatic harmonies. The 
 history of the gradual transformation of music, from its severe 
 scholastic form to the comparative freedom which obtained at the 
 end of the seventeenth century, was told by Sir Frederick in his 
 clear and felicitous style, the salient features being tersely pointed 
 out. The first books he dealt with were the works of Giovanno 
 Maria Artusi, besides his writings on the art of counterpoint ; this 
 Bologna Canon fiercely attacked Monteverde and other innovators, 
 characterising unprepared dominant sevenths and ninths as un- 
 warrantable infringements of the ancient rules. Then came the 
 curious treatise by Giovanni d'Avella, a Franciscan monk, who 
 mixed up harmony with the music of the spheres and judicial 
 astrology. The works of Doni, the inventor of the " Lyra 
 Barberini," next passed under review, and Sir Frederick pointed 
 out how useless was the vast amount of erudition he exhibited in 
 an attempt to prove that the ancient Greek music was far superior 
 to that of our own time, considering that no one could tell 
 accurately what the Greek music was like, and so no comparison 
 can be instituted. Passing over the mathematical Sistema Musico 
 of Rossi, the productions of Angelo Beradi were next noticed. 
 This writer was one of the first to treat on double counterpoint, 
 the art of conducting a fugue by means of a tonal answer to the 
 subject, an invention which substituted free fugues for canonical 
 ones. Turning to the Spanish authors, Sir Frederick cited El 
 Porque della Miisica (1672), by Lorente, the Commissary to the 
 Inquisition at Toledo ; and Pablo Nassarre's famous work on 
 music, Escuela Miisica sequn la Practica Moderna (Zaragosa, 1723) ; 
 this work, by the organist of the great Franciscan monastery at 
 Saragossa, is an admirable and well -arranged compendium on 
 music, accounting for every practical rule on philosophical prin- 
 ciples, and dealing with all the cardinal features of the art. The 
 
 170 
 
APPENDIX C 
 
 book, on account of some of the speculations indulged in, came 
 under the condemnation of the Inquisition, and it is very rare. 
 Copies of all the books alluded to were placed upon the lecture- 
 table for the examination of the members present, and much 
 gratification was expressed at the opportunity Sir Frederick had 
 afforded of looking at these treasures he had brought up from 
 Tenbury. In the discussion that followed. Sir George Macfarren, 
 the Music Professor at Cambridge, and Principal of the Royal 
 Academy of Music, made a lengthy speech, in which, inter alia, he 
 stated that the chord of the dominant seventh ascribed to Monte- 
 verde was to be found in a composition by a native of Lorraine, 
 Jean Mouton, who lived about a hundred years before Monteverde. 
 Other speakers were Sir John Stainer, Dr. J. C. Bridge, Dr. W. 
 Pole, Mr. C. E. Stephens, and Mr. W. Chappell. Mr. Cummings, 
 the chairman, concluded by expressing the thanks of the meeting 
 to Sir Frederick for the splendid paper he had read, and for the 
 pleasure he had afforded the book -lovers by the production of 
 these valuable old Spanish and Italian works on harmony, etc. 
 Sir Frederick Ousele/s thoroughness and vast learning may be 
 gauged from the reply he gave to Sir John Stainer, that he had 
 read through every one of the books he had laid upon the table. 
 
 W.— February i, 1886. 
 
 Sir Frederick read a valuable paper " On the Position of Organs 
 in Churches " ; Sir John Stainer being in the chair. The question 
 is one of exceptional interest to all who have to do with church 
 architecture, or church music ; on account of the many extraneous 
 considerations which must necessarily enter into the subject, the 
 problem is not an easy one to solve. It is evident that no one 
 great general law can be laid down which shall apply equally to 
 every case. The paper was an especially good one, and it well 
 illustrated Ouseley's accumulated experience and thought in dealing 
 with so complicated a matter as the proper place for an organ in 
 a church. He treated his subject (i) historically ; (2) from a con- 
 sideration of continental practice ; and (3) with special reference 
 to English places of worship at the present time. In the first 
 division. Sir Frederick quoted from Dr. Rimbault's books, the 
 Syntagma of Prstorius, the Harmonicorum Liber of Messennus, 
 the organ treatise of Dom Bfedos, Dugdale, and the splendid work 
 on old organ cases lately published by Mr. A. G. Hill. He showed 
 how the ancient portative organ, which was small and could readily 
 be moved to any position, gradually grew into the large and com- 
 
 171 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 plete organ of later times, for which a distinct and fixed position 
 had to be found. This position followed no set rule, but varied in 
 the different cathedrals, particulars of which, gathered from old 
 records, books, and drawings, were described. Owing to the 
 sacrilegious violence of Cromwell's soldiery, almost every old organ 
 was destroyed, Chester being the only cathedral where the small 
 primitive organ escaped ; here it stood on the left (north) side of 
 the choir. The lecturer said that prior to the Reformation there 
 is no authenticated instance of an organ either on the rood loft or 
 at the west end of a church. Sir Frederick related his experience 
 of the effects produced by different organs in notable churches 
 abroad, detailing what a variety of positions wei-e adopted, and 
 pointing out that in some cases, two, three, and even four separate 
 organs were employed for worship purposes, whereas one suffices 
 for our English service music. In approaching the consideration 
 of our own modern requirements he remarked : " It is evident 
 that there are several, various, and often conflicting interests to be 
 consulted in the selection of a proper site for a church organ. 
 There are first the interests of the clergy, who regard the matter, 
 perhaps, from an ecclesiological point of view. Then there are 
 the interests of the singers in the choir, who will view the question 
 on its vocal side. Next we have the interest of the organist, who 
 regards the position of the organ from a comparatively instru- 
 mental aspect. After him comes the architect, who chiefly looks 
 at the appearance of the case, and too frequently hates the organ 
 altogether, and would fain conceal as much of it as possible. 
 Lastly, there is the organ builder, who knows how much better his 
 instrument will sound with free space around it than when boxed 
 up in a small chamber, and who feels that his reputation is more 
 or less dependent on the decision as to locality to which those who 
 have the management of the affair shall finally come. Here is, 
 then, a fruitful source of quarrels and differences, of contentions 
 and recriminations, of jealousies and revilings, of grumbling and 
 discontent." Sir Frederick protested that he must not be expected 
 to lay down some general or universally applicable rule for finding 
 the best place for an organ. As he truly said, what was suitable 
 for a large cathedral would be unsuitable for a small country 
 church. In cathedrals he inclined to think that the best place 
 musically was over the choir screen, though architecturally that 
 position rendered it impossible to gain an uninterrupted view of 
 the interior of the cathedral from west to east. He continued : 
 " Speaking as a musician, and a lover of cathedral services, I am 
 inclined to advocate in all such cases the retention of the organ on 
 
 172 
 
APPENDIX C 
 
 the rood screen ; the bad effect to the eye can often be mitigated 
 by dividing the organ, so as to keep all the middle part at a low 
 elevation, putting the tall pipes and all that tends to obstruct the 
 view on either side, as has been done at Westminster Abbey and 
 Rochester Cathedral." The other alternative was to place it over 
 the choir stalls on one side, but this has its disadvantages, so far 
 as antiphonal singing is concerned. As the lecturer said, a better 
 plan is to divide the organ into two portions ; thanks to the 
 excellent mechanical actions of to-day, such an instrument can 
 be readily brought under control. Sir Frederick concluded by 
 advocating a small but good and well-planned organ placed in the 
 choir of small churches for choir accompaniment only ; but, " in a 
 large church where there was no choir, but the whole congrega- 
 tion were in the habit of singing hymns at the top of their voices, 
 what would be imperatively needed would be a large and powerful 
 organ in a west-end gallery to dominate and lead the singers, and 
 to drown their shouts if the cacophony became intolerable." The 
 paper provoked a long and interesting discussion, in which the 
 chairman, Mr. J. Higgs, Dr. Pole, Mr. T. L. Southgate, Professor 
 W. H. Monk, and Mr. Herbert took part. 
 
 173 
 
CHAPTER VIII 
 
 SIR F. OUSELEY's personal APPEARANCE — SOME 
 CHARACTERISTICS, ANECDOTES, VIEWS, ETC. 
 
 At the time of Sir F. Ouseley's death one of the 
 newspapers (a) described him as " pompous in 
 appearance." Such an epithet was almost the 
 very last he deserved. What chiefly impressed 
 most people in his appearance, speech, and 
 manners was the mixture in them of great 
 refinement and courtesy with the most perfect 
 simplicity. A peculiar dignity seemed to be com- 
 bined in his person with an utter absence of all 
 pretentiousness. In a like way his occasional 
 shabbiness of dress, his old coat, frayed shirt- 
 cuffs, and the well-worn soft hat, often more green 
 than black, sitting, as it usually did, on the back of 
 his neck, contrasted curiously with a magnificent 
 sapphire ring, an heirloom of his family, which he 
 was accustomed to wear. Another newspaper (d), 
 at the time of his death, criticised the supposed 
 luxurious entourage of St. Michael's College. The 
 fact was that no establishment of its size could 
 well have been managed more economically. The 
 " liveried footmen " referred to were general ser- 
 
 (a) The Hawk, April 9, 1889. {b) Truth. 
 
SIR FREDERICK OUSELEY 
 
 AT THE AGE OF ABOUT 6o. 
 I'hotmjrophed hij T.Jones, Ludlow, 
 
PERSONAL APPEARANCE 
 
 vants in a school of some twenty-five boys, with two 
 or three resident masters, besides continued relays 
 of musical visitors. Sir Frederick never cared to 
 spend on himself. From the day when St. 
 Michael's was first founded, his one object always 
 seemed to be to enrich the college and church at 
 his own expense. He indulged in neither horse, 
 carriage, nor coachman, his usual equipage being 
 nothing more ambitious than a farmer's gig, hired 
 in his own parish. Indeed, he has been known, 
 on occasion, to travel from his College to Woofifer- 
 ton Station, a distance of four miles or more, in a 
 donkey -cart, driven by a young boy. 
 
 As to his own personal appearance, he was of 
 medium height, and inclining to stoutness as he 
 grew older. His head was of an extremely 
 beautiful shape, though curiously flat at the top, 
 and could not be overlooked as " a clever head." 
 His hands, too, were beautifully formed, strong, 
 and very sensitive. His hair, brown in youth, 
 darker as he grew to manhood, and then in his 
 later years gradually whitening and thinning to 
 baldness, grew in those crisp, small curls which 
 are generally supposed to betoken great energy 
 of mind. As some one (c) has quaintly con- 
 jectured, the strength which a vigorous man's hair 
 imbibes from him makes it necessary to do some- 
 thing, and "curling is all that hair can do." His 
 forehead, high and fully - developed, had that 
 appearance, which some foreheads do have, of 
 being packed with brains. His eyes were brown, 
 
 (c) F. R. Stockton, A BorrowB Month, p. 24. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 large, and prominent, the iris prominent in par- 
 ticular — a sign, this is said to be, of capacity for 
 language. In middle life he had very thick and 
 strongly-marked eyebrows. His ears were small 
 and flat to the head. He had a peculiarly flexible 
 mouth, the expressions of which served as a con- 
 stant tell-tale of his feelings. The face, taken as a 
 whole, might have been that of a Spaniard. It 
 was not English at all. And whilst the features 
 could certainly never have been called handsome, 
 some people might have deemed them actually 
 ugly. But it was with his face as with the faces 
 of most other clever men, — when he spoke, or 
 when his feelings were moved, it lighted up at 
 once with the greatest animation. This, indeed, 
 was his normal expression ; for, though some- 
 times suffering from low spirits, one of his chief 
 characteristics seemed to be an abounding happy 
 life and energy. Wherever he went he seemed 
 to carry sunshine with him, and to fill his sur- 
 roundings with vitality. 
 
 Four portraits, at least, are known to have been 
 painted, representing Sir F. Ouseley at different 
 periods of his life. One hangs in the private 
 dining-room of the Warden's house at St. Michael's. 
 It represents Frederick Ouseley as a child of seven 
 or eight years old. No artist's name is decipher- 
 able, but the picture is a charming one. Another 
 portrait was the work of Mr. James Joyce (d), a 
 notable antiquary, but no mean draftsman either, 
 who was afterwards Vicar of Strathfieldsaye. 
 
 {d) Cousin to the Vicar of Dorking of the same name. Cf. p. 26 supra. 
 
 176 
 
PERSONAL APPEARANCE 
 
 This picture was painted at Dorking early in 
 1 84 1, when Frederick Ouseley was between fifteen 
 and sixteen years old. Unfortunately, its present 
 whereabouts does not seem to be known. An- 
 other portrait of Sir Frederick, at the age of 
 thirty-one, hangs now in the hall of St. Michael's 
 College. It is a full-length picture, and shows him 
 in his Mus. Doc. robes, as the newly-appointed 
 Oxford professor. It was presented by the War- 
 den and Fellows of Radley College early in 1857. 
 The artist was Mr. W. H. Florio Hutchinson, 
 once a pupil of Fuseli in London, then a resident 
 in India, afterwards drawing - master at Radley 
 College. The picture is not a happy one. It not 
 only lacks animation, but gives a melancholy look 
 to its subject, which he certainly did not wear in 
 his later life. The fourth portrait was painted, after 
 Sir F. Ouseley's death, by Mr. Arthur Foster (e), 
 partly from memory and partly from a good 
 photograph. Considering the disadvantages under 
 which he laboured, this young artist has produced 
 a work of considerable merit. His picture also 
 represents the Professor in Mus. Doc. robes, but 
 at the age of about sixty. It was the gift of a 
 small Committee of Sir Frederick's personal friends 
 in Oxford to the collection of musicians' portraits 
 at that University (/). There also exists a life- 
 
 (e) Son of the Mr. John Foster mentioned above. Cf. p. 77 supra. 
 
 (/) This fine collection was originally hung in the old "Schola 
 MusicEe " (now thrown into the Bodleian Library), but has since been trans- 
 ferred to a room in the New Examination Schools. The collection is a 
 fairly complete one of musicians famous in the old days at Oxford, but it 
 lacks any good portraits of Dr. Crotch and Sir Henry Bishop. 
 12 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 sized bust of Sir Frederick, modelled in clay by 
 one of his Herefordshire friends, Mr. H. J. Bailey, 
 of Rowden Abbey, near Bromyard. The bust has 
 never yet been cut in marble ; but it is a pleasing 
 likeness, and a good reproduction of it might well 
 grace some day the hall or the library of St. 
 Michael's College. 
 
 Like many of the world's best benefactors, Sir 
 Frederick Ouseley was full of humour. Nothing 
 pleased him more than a good story, whether he 
 was the teller or only the hearer. A capital 
 raconteur himself, he always wanted to hear " the 
 last " from his friends. He delighted to exchange 
 commodities ; and a large collection still exists, 
 contained in two or three good-sized volumes, of 
 odd letters, queer stories, malaprops, and funny 
 translations, which he had gathered from various 
 sources. Many of these are, of course, musical 
 oddities ; but the collection is by no means con- 
 fined to music. A friend recalls how very inti- 
 mate his knowledge was of Pickwick. He could 
 repeat whole pages of that immortal work by heart. 
 He himself used to say, with regard to his lack of 
 poetical taste : "I never care for poetry, unless 
 there's a story in it ; and then I think it's better 
 told in prose." Certainly the following poem, the 
 only one extant of Sir Frederick's composition, 
 has a story in it, and might not have lost much if 
 it had been thrown into prose instead of into 
 poetical form. Evidently the rhyming exigencies 
 at the end of the fourth stanza were of a severe 
 order. The poem is dated January 17, 1840, and 
 
 178 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 must then have been written when he was more 
 than fourteen years old : — 
 
 FABLE OF THE THREE DOGS— WITH A MORAL 
 APPLICATION. 
 
 By F. a. G. Ouseley. 
 
 As I was sitting once alone, 
 
 Where I am wont to sit, 
 I saw a dog which gnawed a bone. 
 
 And ate it, bit by bit. 
 
 But soon I saw another dog. 
 
 With countenance and gait 
 So sour, that it my blood did clog. 
 
 And turned my trembling pate. 
 
 The surly to the good dog came. 
 
 And took away his meat : 
 They both did fight till both were lame, 
 
 And each forsook his seat. 
 
 At last a third to them did come, 
 
 And with an effort small 
 Did take away their every crumb 
 
 (And he was very tall). 
 
 Thus oft with us men it doth be. 
 
 Says I, as I did go : 
 In waging useless wars, you see, 
 
 We know not what we do. 
 
 For while we, for ambition's sake, 
 
 Have more than we can keep. 
 Another takes what we would take, 
 
 And thus we lose a heap. 
 
 Although never anything of a sportsman, Sir 
 Frederick was exceedingly fond of games, en- 
 gaging in them with all the eagerness of a child. 
 
 179 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Croquet and bowls were his favourite pastimes out 
 of doors. He was an extremely fine and rapid 
 player at backgammon, and was fond of cribbage. 
 His whist was not so good. At card tricks, 
 puzzles, and various feats of sleight-of-hand he 
 was a thorough adept. To several of his corre- 
 spondents he used to write in ciphers, one of these 
 being his own invention {g). 
 
 To entertain boys, he would take infinite pains to construct a 
 Hampton Court maze, a most laborious pen and ink proceeding, 
 where he delighted in throwing every difficulty in the way of your 
 finding your way in with a pin. 
 
 At one time, also, he is said to have been no 
 mean performer with the billiard cue, though that 
 game was a luxury in which he seldom indulged 
 in his maturer years. He was not a smoker. 
 Indeed, throughout his life he seems always to 
 have had a strong antipathy to tobacco. Although 
 a spare consumer of wine, as well as a most tem- 
 perate eater, he was too old-fashioned in his views 
 to sympathise much with the Total Abstinence 
 movement. When invited by a friend to take 
 part in some " Rechabite " demonstration, he en- 
 quired whether it would be necessary for the 
 participators to "dwell in tents"} 
 
 As he entered into all games with a child's 
 eagerness to win, so he was not infrequently 
 seized with a child's impatience when he was kept 
 waiting, or when things went wrong. It is said 
 that once at croquet, after making an unsuccessful 
 
 {g) From a correspondent to the Globe newspaper, quoted in Havergal's 
 Memorials, p. 38. 
 
 180 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 stroke, he was obliged to ring the door bell, and 
 ask the servant to fetch his mallet, which had 
 "gone over the wall." There is a tradition that, 
 on another occasion, the Warden of St. Michael's, 
 finding himself in some way fastened into his 
 study by the catching of the door-latch, could not 
 wait one moment until the door might be opened 
 from the outside, but, rushing at it full tilt, kicked 
 a panel right through, and so escaped. It would 
 give an absolutely false impression of him to 
 suggest by these reminiscences that he was ever 
 violent or ill-tempered. But little details like the 
 above will illustrate, better than any description 
 in words could do, the childlike impetuosity of his 
 character. His faults were those of a child, as 
 were all the many graces with which he was 
 endowed — the quick recovery, the loving heart, 
 the simple, guileless spirit. One who knew him 
 well (^), and is himself a shrewd observer of men 
 and things, has noted the following points with 
 regard to his friend's personality and character- 
 istics : — 
 
 Though his ear was so remarkable, his eyes seemed to lack the 
 power of appreciating artistic or other beauty to any great extent. 
 Did you ever notice this ? Beyond scenery and buildings, I hardly 
 ever heard him remark upon the beauty of anything as presented to 
 the eye. What admirably formed hands he had ! — you must often 
 have noticed them. And how supple they were ! He could work 
 all the joints of his fingers at will, and I believe those of his toes too ! 
 With regard to the excellence of his handwriting, he took rather 
 a pride in it ; he always made his own pens, and never much liked 
 
 {A) The Rev. Marmaduke C. F. Morris, formerly Headmaster of St. 
 Michael's, and now (1895) Rector of Nunburnholme, York, (See Haver- 
 gal's Memorials, p. 60.) 
 
 181 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 other people using them, and if by any chance they did so without 
 wiping the pen, he was always "down upon them" for it. His 
 numerous correspondents could not but notice his uniformly ex- 
 quisite writing. The original copy which I have of a song he wrote 
 for me some years ago, " O where," is quite a model of penman- 
 ship. Sir Frederick's love of indoor games was another of his 
 characteristics ; even those of the simplest kind he entered into 
 with all the zest and freshness of a boy, and he never seemed to 
 grow weary of them. If, however, he was defeated through what 
 he thought was his own stupidity, he would sometimes fly into a sort 
 of passion, which, I need hardly add, like a passing cloud, was over 
 directly, and his wonted sunshine appeared again. 
 
 The impatience (t) already alluded to was a 
 characteristic which ran through all parts of Sir F. 
 Ouseley's life. He was, for instance, the most 
 polite of men, but no code of manners was strong 
 enough to make him sit still for long together, if, 
 as was usually the case with him, he wished to be 
 on the move. Mr. H, J. Bailey records his own 
 painful experiences in the process of modelling this 
 restless musician's head. To begin with, a quarter 
 of an hour at the most — and this only twice or 
 thrice — was all the time which could be spared. 
 And then, in Mr. Bailey's own words, this was 
 what the modeller had to put up with : — 
 
 I looked across the room to get the exact curve of his lips — he 
 was yawning, with his mouth wide open. Soon after I looked up 
 to catch the expression of his eyes — all I could see was the back of 
 his head ; he had jumped up, turned right round, and was gazing 
 at the books in his shelves. 
 
 Again, no one could have had a more hospitable 
 heart than the first Warden of St. Michael's. He 
 thoroughly enjoyed bidding his guests welcome. 
 
 (?) Cf. p. 31 supra, note. 
 182 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 He took almost a childlike pleasure in showing 
 off his College and its treasures. Most neat and 
 methodical in all his ways, he cherished the typical 
 bachelor care of his drawing-room and best bed- 
 room. But when it came to the final ordeal of 
 pairing off his guests in due order at a dinner- 
 party, his patience invariably gave way, and it 
 became a proverbial word of command on the part 
 of the host at St. Michael's, as he himself marched 
 off with the prima donna of the evening, " Now, 
 ladies and gentlemen, sort yourselves." But his 
 patience was still more sorely tried, and with 
 better reason, when a certain visitor stayed on 
 and on at St. Michael's, until he seemed likely to 
 become " chronic." Poor Sir Frederick, being the 
 soul of hospitality, was at his wits' end to know 
 what to do. At last the happy idea struck him 
 that, being himself Founder as well as Warden of 
 a collegiate institution, he might venture to add to 
 its rules. So he gravely informed his guest that it 
 was one of their regulations that all visitors, after 
 a certain time, should pay so much per diem for 
 board and lodging. This notification soon had its 
 desired effect. 
 
 Sir Frederick's impatience made him a bad 
 ruler when difficulties arose. To begin with, he 
 was a poor judge of men. Or rather, he was too 
 easily pleased with the first looks and words of 
 those he had to do with. Then, when his eyes were 
 opened, he had not the strength and the steadi- 
 ness of will, or perhaps it may have been only 
 that he had not the hardness of heart, to face the 
 
 183 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 consequences of his mistake, and to make the best 
 of it. With him men were too often either gold 
 or dross. He could not deal with alloy. But this 
 must only be taken as applying to cases in which 
 he had to act as ruler and disciplinarian. So far 
 as his own personal relations to men were con- 
 cerned, in matters independent of discipline, few 
 have ever possessed a larger share than he did of 
 the spirit of charity and forgiveness. As one of 
 his friends said, at the time of Sir Frederick's 
 death : {/ ) — 
 
 It seemed an instinct in him to discern what was good in others 
 rather than their defects, to rejoice in their well-being, to be ready 
 to make allowance for their faults, and to be kind in his correction of 
 them ; and, not only to promote peace amongst others, but to follow 
 out the precept of being " at peace •with all men'' I myself knew 
 an instance in which, through years of ill-will and misconstrued 
 motives on the part of another, he had won his way, by sheer force 
 of desire to do kind acts in requital for unkindness, until the per- 
 son who had thought hardly of him became his warm friend. 
 There were times in his life when — as happens to any -man who 
 has to deal with many person, or who is raised above the ordinary 
 level — ^his character and aims were misunderstood and misrepre- 
 sented ; and he was harshly judged and hardly dealt with. And, 
 although his sensitive, gentle, spirit suffered acutely from such treat- 
 ment, he never nursed sentiments of malice or revenge, but set to 
 work with Christian purpose to forgive, and,'as far as possible, to 
 forget, and to take every opportunity of showing that he did so. 
 
 Indeed, this spirit of forgiveness was one of Sir 
 Frederick's strongest and happiest characteristics. 
 It enabled him in an extraordinary way to re- 
 concile to himself men who had formerly been 
 violently opposed to him. Quite one of the most 
 
 (y) Sermon preached by Rev. Preb. T. A. Ayscough, late Vicar of 
 Tenbury, April 14, 1889. (Quoted in Havergal's Memorials, p. 49.) 
 
 184 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 feeling references to his worth and friendship, 
 published at the time of Sir Frederick's death, 
 was written by a musician with whom he had once 
 had very disagreeable dealings, but whose good- 
 will, nevertheless, and whose admiration he had 
 succeeded in retaining. It would be hard to say 
 on which of the two men the published eulogy 
 reflected the most credit, whether on him who had 
 died or on him who survived. 
 
 If any illustration were wanting of Sir Frederick's 
 munificence, beyond the very existence of St. 
 Michael's itself, it might be furnished by the 
 following event. The late Bishop Gray of Cape 
 Town, in the midst of the Colenso troubles, came 
 to England to plead for the church in South 
 Africa. He stayed for a night at St. Michael's, 
 His host told him with the deepest sympathy 
 that his own liabilities in connection with the 
 College left him powerless to help with money. 
 Next morning, as the bishop was going, he said, 
 " I cannot refuse you a trifle. If you like to sell 
 that stone for your Mission, do so." It was in a 
 jewel box, and the Bishop did not open it till he 
 got to London. A well-known jeweller, to whom 
 he then took it, said, " I suppose you really are 
 a Bishop: why, this is a Persian stone of the 
 rarest value, the whereabouts of which no one has 
 known for years." The stone, of course, had 
 belonged to Sir Frederick's father; and when 
 Bishop Gray had given satisfaction of his own 
 personal identity, he was astounded by the sum 
 of money which the jewel realised. 
 
 185 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Here is another instance of Sir Frederick's 
 kindness of heart, related by one who feels no 
 longer bound by a promise not to mention the 
 tale. A little concert was given in a village to 
 raise funds for the Church organ. There took 
 part in it some of the village musicians, the 
 governess at the house of the squire playing the 
 accompaniments, while the Vicar arranged the 
 entertainment. Unfortunately, a popular song was 
 sung, the pi^operty of one of the sharks who made 
 it a practice to pounce down upon those who had 
 unwittingly performed the piece, and, under 
 threats of legal proceedings, compel them to pay 
 penalties. The shark heard of the performance. 
 Forthwith the Vicar, singer, accompanist, and every 
 one who took any part in the concert — fpr such was 
 the law at that time — were served with notices to 
 pay full penalties, under threat of legal proceed- 
 ings. The accumulated amount came to upwards 
 of ;^30, a sum impossible for those poor people to 
 pay. The Vicar had known the Professor when 
 he was at Oxford, and wrote asking whether this 
 preposterous demand was legal ? Unhappily it 
 was, and there was nothing to do but to pay it, 
 or endeavour to get the gross amount reduced. 
 Much correspondence ensued, and in the result 
 Sir Frederick paid the money, and rescued the 
 unfortunate and poor people from their trouble. 
 In connection with this, he never ceased to 
 advocate an alteration in the law over the per- 
 formance of copyright music. 
 
 Sir Frederick's hospitality was proverbial, not 
 1 86 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 merely in the way of being, as he was, a genial 
 host at his own table, but as being delighted to 
 show his Church and College to visitors of all 
 kinds. Whether they were members of some 
 club or association, or only one or two private 
 individuals, he was always ready, when he had 
 the time to spare, to show them round the build- 
 ings. He would sit down at the organ and play, 
 in his clear, vigorous style, one of Handel's songs 
 or choruses ("Fixt in His Everlasting Seat" 
 and "Arm, arm, ye brave!" were two of his 
 favourites), or one of his own extempore fugues. 
 
 Besides this kindness of heart, a genuine 
 modesty was a leading feature in Sir F. Ouseley's 
 character. Herein, without doubt, lay one chief 
 secret of that intense personal affection with 
 which he was regarded by the wide circle of his 
 friends. He never seemed to consider any 
 person, or any subject, to be beneath his notice. 
 He had a way of talking with ordinary people 
 as if they were all on the same level of intellect 
 and learning with himself. However it may 
 have been in his writings, he certainly never in 
 ordinary society (/^) "posed as the learned Dr. 
 Ouseley." A girl was once singing, or going to 
 sing, at a country house where Sir Frederick was 
 a guest. Someone suggested that she would be 
 shy of performing before the Oxford Professor 
 of Music. He sprang up at once, with real 
 concern in his face : " Oh ! no one could be 
 afraid of me : but, look, I will hide behind this 
 
 (/i) See Mr. W. A, Barrett's criticism. Cf. p. 197 infra. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 pillar." The story is exactly typical of all his 
 dealings with feeble or incompetent musicians, 
 many of whom, no doubt, tried him sorely at 
 times. Now and again he may have mimicked 
 a few pretentious performers in the privacy of 
 his own sanctum, especially if their vainglory 
 consisted in singing flat or playing wrong notes. 
 But to the ordinary amateur he was never any- 
 thing but kindness and sympathy personified. 
 To young musicians especially, who were seeking 
 to make a start in the profession, he was the 
 most generous and helpful of friends. In all such 
 cases he was ever ready to do what he could, by 
 advice, by recommendations, not seldom by sub- 
 stantial assistance. A large part of his life, indeed, 
 seemed to be spent in promoting the advance- 
 ment of others at the expense of his own. 
 
 He was quick also to discern early promise of 
 genius. Sir John Stainer gives the following 
 happy description of their first meetings : (/) — 
 
 It was soon after Ouseleys appointment as Professor that he 
 came to examine the chorister boys of St. Paul's, of whom I was 
 one. I shall never forget the nervousness with which I approached 
 this musical and clerical dignitary when summoned to meet him 
 in the drawing-room of our master, the Rev. J. H. Coward. But I 
 played a prelude and fugue by Bach, from the "forty-eight," by 
 memory, and, at its conclusion, Sir Frederick gave me a few words 
 of good advice and much kind encouragement. How little could 
 he have dreamt that he was patting his successor on the head ! 
 
 The next interview I had with him was full of moment to me : 
 it constituted a turning-point in my life. I was then between 
 sixteen and seventeen years of age, and was playing the afternoon 
 
 (/) The Character and Influence of the late Sir Frederick Ouseley, an 
 Address delivered on December 2, 1889, before the " Musical Association," 
 and published by Novello, Ewer, & Co. Cf. p. 38 sup-a, 
 
 188 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 Service at St. Paul's, both Goss and Cooper being absent for a few 
 days. During the Service Ouseley came quickly into the organ 
 loft, and, after greeting me, watched me closely as I accompanied 
 the music from the old " scores." On the same evening I had a 
 letter from him to say that the object of his visit to St. Paul's had 
 been to find an organist for St. Michael's College, and he offered 
 me the post. I must apologise for thus introducing myself into 
 this paper, but it explains why and how I came to know so much 
 about the character and abilities of my patron and friend. 
 
 Twenty years ago the number of photographs 
 a man possessed was no bad test of the number 
 of his friends. There still remains at St. Michael's 
 College an old writing-cabinet of Sir Frederick's. 
 Its drawers are crammed with an enormous collec- 
 tion of photographs of friends in all stations of 
 life. The number of weddings, too, at which he 
 officiated was very large, as was the number of 
 his god-children, in whose welfare, nevertheless, 
 through life he seldom failed to take an individual 
 interest. 
 
 It should be mentioned also that Sir Frederick 
 was always most good-natured about playing at 
 private houses ; although once his indignation 
 almost got the better of his amusement when a 
 lady in London society asked him to one of her 
 "At Homes," telling him it would be so nice 
 if he would play to them, as it would "set all 
 the people off talking." (Why, by the way, should 
 musicians be the only artists to whom this familiar 
 insult has been so often addressed ?) "I came to 
 enjoy your society," he answered very brusquely ; 
 " not to play upon your piano." On another occa- 
 sion he was good-naturedly playing his best on 
 an extremely bad pianoforte in a country house. 
 
 189 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Someone began to chatter : he jumped from the 
 music-stool like a flash of lightning, saying, "And 
 I forget the rest ! " 
 
 Sir Frederick, however, was well able to take 
 care of himself in matters of this kind. If he 
 would never consider any person beneath his 
 notice, on the other hand he was in no awe of 
 any human being, and he was not afraid to speak 
 his mind to those who considered him beneath 
 their notice. A certain peer, who had been one 
 of his chums at Oxford, was vulgar enough once, in 
 after years, when he happened to be in the company 
 of some grand people, to ignore Sir F. Ouseley, 
 Then, on a later occasion, meeting Ouseley at a 
 railway station, he came up and began to patronise 
 him. All the answer he got for his trouble was 
 this : " My lord, if it was not convenient to you 
 to notice an old friend when you were with highly 
 superior persons, I find it distasteful to be accosted 
 by you now." Sir Frederick then bowed and 
 walked away. 
 
 How he valued his true friends, and sought to 
 "grapple them to his soul with hooks of steel," 
 is well shown in the following letter : — 
 
 St. Michael's College, Nov. ii, 1884. 
 
 My dear Parratt, — How are you and all yours ? Since you 
 left Oxford we seem to have " lost touch " of one another somehow. 
 I mean, that we meet seldom, and correspond but little. And I 
 don't like it to be so ; for I am a staunch friend, and never like to 
 lose sight of those whose friendship I value, as I do yours. It is 
 going on for two years since you were here. Can't you come and 
 see me? And if so, when?— Believe me always sincerely yours, 
 
 Frederick A. G. Ouseley. 
 190 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 To pass once again to some of Sir Frederick's 
 more special musical faculties, instances have 
 already been given of his wonderful acuteness of 
 ear. His musical memory was little less marvel- 
 lous. The present Warden of St. Michael's, the 
 Rev. J. Hampton, contributed the following 
 reminiscences, illustrative of each of these gifts, 
 to Mr. Havergal's Memorials (p. ii) : — 
 
 At Cambridge, in the year 1861, 1 heard Beethoven's Septett for 
 the first time, and on my return mentioned the fact to Sir Frederick, 
 who immediately went to the piano and commenced the work, 
 pointing out each instrument that had any prominent part. He 
 played on for twenty minutes, and then only stopped from fatigue ijii). 
 I told him that I wondered that I had never heard him play it 
 before. He said that he had never done so — had not seen it in 
 print, and only heard it once in his life, ten years before, at Rome. 
 
 When living in London it was his delight to visit the organ lofts 
 of St. Paul's and Westminster Abbey. After an absence of several 
 months in Spain, Italy, Germany, Switzerland, and Paris, where 
 he tried every organ of any size, he returned to England, and soon 
 visited his friend. Sir J. Goss, at St. Paul's. Sir John asked him to 
 sound C, which he did ; then Sir John put down B, which was in per- 
 fect tune ; whereupon Sir Frederick immediately smiled and said, 
 " You have had all the pipes cut down since I was last here.'' Sir John 
 assured me that the pitch of the organ had been raised a semitone. 
 
 Another instance of Sir Frederick's wonderful 
 musical memory has been recorded by Mr. T. L. 
 Southgate : {n) — 
 
 We were discussing the question of dancing as a part of Church 
 public worship, and I read him a letter received from a friend in 
 
 (ot) In the Life of Sir George J. £lvej/the writer, speaking of those who 
 used to meet sometimes in his drawing-room at Windsor, says : "Sir 
 Frederick Ouseley used to rest in that room after playing extempore 
 fugues on the chapel organ, or Handel's chorus, ' Fixt in His Everlasting 
 Seat,' over which he would get so excited that he has been known to 
 break off before the end from sheer exhaustion and inability to execute 
 the music at the pace he had worked up to." 
 
 («) Musical Standard, December 28, 1889. 
 
 191 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Abyssinia, who told me that there they still " danced before the 
 Lord," as it is recorded David did. "Oh !" said Ouseley, with a 
 smile, "I have seen that much nearer home. In 185 1 I went to 
 Spain for a tour, and on a special high day I saw a solemn 
 fandango danced in front of the high altar at Seville ; and this 
 was the music it was danced to." He then went to the piano and 
 played the movement, a dehcate little piece, quite Spanish in tone, 
 with the exception of a peculiar use of the chord of the Italian 
 sixth. I asked him whether that was correct, and expressed 
 astonishment that he should have remembered this piece, heard 
 but once some thirty-six years ago. " Quite right," he replied ; " I 
 thought that chord would startle you." And then he continued : 
 "If I thoroughly give my mind to receive a piece of music, I 
 generally succeed in mastering, and never afterwards forget it." 
 
 The Archdeacon of Ludlow, the Ven. H. F. 
 
 Bather, gives the following record of a similar 
 
 kind : — 
 
 In the year. 1 886, or thereabouts, when Sir Frederick Ouseley 
 was spending a day with me at Meole Brace, the conversation 
 turned on the subject of musical memory. I said : " You have 
 a good musical memory. Sir Frederick, have you not ? " " Yes," he 
 said, " I have ; and I will give you an amusing instance of it. I was 
 staying once at a.pension in Switzerland, with a German lady, among 
 others, in the house, who was a good pianist. She had with her in 
 MS. an unpublished pianoforte piece by Schubert, of some length, 
 which she played to me once or twice. When about to leave, 
 I asked her if I might copy it ; but she replied that she was under 
 a promise not to part with it to anyone. Well ! I said, at least you 
 will give me the pleasure of hearing it once again. So she played 
 it. Now, I said, taking her place at the piano, have the kindness 
 to tell me if this is correct — and, to her surprise, and not a little to 
 her discomfiture, I played it through ! The feat is the more 
 remarkable inasmuch as Schubert's pianoforte music is exception- 
 ally difficult to remember." 
 
 This story recalls another which has nothing, 
 indeed, to do with musical memory, but which, in 
 common with other instances already recorded, 
 illustrates well the mischievous politeness with 
 which Sir Frederick loved sometimes to " score 
 
 192 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 off" his opponents. He was travelling one day 
 by rail. In the railway carriage were two English 
 ladies (?) who, presuming that their ability to 
 speak German was a very rare accomplishment, 
 kept up a running fire of criticism in the German 
 tongue upon the personal appearance of their 
 fellow - traveller. Among other derogatory epi- 
 thets. Sir Frederick's quick ear caught that of 
 Frosch (frog). Anyone who remembers his wide, 
 open eyes, and his springy postures, can quite 
 appreciate the ladies' meaning, if not their good 
 taste. But the tables were turned with a 
 vengeance when the ladies got out a few 
 stations on, and Sir Frederick asked, in his 
 choicest German, if he could do anything to 
 assist them with their luggage. 
 
 One more instance may be given of his musical 
 memory. Sir Frederick once took Mr. South- 
 gate up to the organ-loft in Hereford Cathedral, 
 and said : " Now, what shall I play you } see if 
 I can remember anything you would like ? " On 
 that, a number of pieces were asked for ; excerpts 
 from the oratorios, the works of Bach, Handel, 
 Haydn, Mozart, Beethoven, Mendelssohn, Schu- 
 mann, and other writers, — music of the most varied 
 kind, and very very rarely was he at fault in any 
 piece that he had heard. If memory failed for 
 a moment, Ouseley's fingers never did ; he went 
 on so closely imitating the style of the piece he 
 was playing, that only those who knew the music 
 could detect where the master left off and the 
 player supplied the gap. 
 13 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Mr. Southgate relates also that on one occasion 
 he was playing, as a pianoforte duet with Sir 
 Frederick, Spohr's quartet in G minor. Sir 
 Frederick taking ih^primo. It was an old copy, 
 and the last leaf of the finale on the treble side 
 was missing. It made no difference to him, — he 
 went on to the end, duly playing his part, and 
 then remarked : — 
 
 Dear me ! I haven't seen that quartet for twenty years. I al- 
 most think I had better get a new and perfect copy. 
 
 His associate thought that after this extraordinary 
 effort of memory there was little need of this. 
 
 Another of Sir Frederick's notable character- 
 istics was his extraordinary power of abstraction 
 from the things of sense when absorbed in 
 musical thought {p). He seemed sometimes to 
 imagine that he was actually producing musical 
 sounds, when in reality he was only thinking in 
 music. Once, for instance, in the course of some 
 orchestral practice, he was called to order by the 
 conductor for not playing his part on the violon- 
 cello. " Oh ! yes," he said ; " I am playing " ; 
 whereas someone sitting close to him noticed that 
 he was only moving his bow backwards and 
 forwards, without making any sound at all, being 
 
 («) It is said that the poet Wordsworth used sometimes to fall into 
 a kind of rapt mood, in which he seemed to he scarcely conscious of 
 what was going on around him. He himself speaks somewhere in this 
 connection of "these vanishings and fallings away." At such times he 
 has been known to go up to a five-barred gate and shake it with both 
 hands, to make sure that he was in a material world of things sensible. 
 Evidently, in other things besides music and poetry, there would seem to 
 be some close relation between genius and this power of mental abstrac- 
 tion. 
 
 194 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 rapt in thought over some abstract harmonies 
 far away from his own instrument. He never 
 became a very proficient player on the 'cello. 
 Nevertheless, he thoroughly enjoyed performing 
 on it; and once, when the most excruciating 
 sounds were proceeding from a certain amateur 
 stringed quartet, or trio, in which he was not the 
 least offender, he was heard to reply to the protest 
 of some bystander, " I don't care : I know how it 
 ought to sound." It should be added that this 
 took place at a private gathering in a private 
 house. Otherwise it would be difficult to recon- 
 cile the " don't care " with a rule once laid down 
 by Sir Frederick Ouseley himself : " I look upon 
 a wrong note in any public performance as a 
 positive crime" Another instance of this power 
 of musical abstraction is recorded by the Bishop 
 of Wakefield : — 
 
 I stayed twice with Sir Frederick at St. Michael's, and have 
 listened to his improvising on the piano in his study. He had a 
 set of pedals attached to his piano, the incessant rattle of which 
 destroyed all my enjoyment of the music, though I imagine it was 
 unheard by the player. 
 
 Perhaps this may be the best place for inserting 
 the following notice (J>) of Sir Frederick, written 
 at the time of his death by his valued friend, the 
 late W. A. Barrett of St. Paul's Cathedral. It is 
 quite one of the truest and happiest appreciations 
 that have been written of the subject of this 
 memoir. It has also the recommendation that it 
 came from the pen of a critic as clever and 
 
 (/) See Havergal's Memorials, pp. 63, 64. 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 experienced as he was in full sympathy with his 
 friend : — 
 
 The majority of musicians who only knew Sir Frederick Ouseley 
 through the medium of his compositions had no means of forming 
 a true estimate of his genius. His versatility was extraordinary, 
 and his modesty was only equalled by the extent of his powers. 
 He could perform well on many instruments, and knew the 
 pecuUarity of those he played upon so as to get unusual and even 
 humorous effects from them. Often when he has concluded a 
 difficult solo, or at the end of a graceful trio or a classical sonata, 
 the buoyancy of his spirits was elevated to such a degree that 
 they could only be reduced to their level by a little exhibition of 
 pleasantry. Thus, keeping the violoncello in hand when he had 
 finished his part and the music was ended, he would startle his 
 hearers with the performance of an eccentric fantasia, such as 
 " The pigs' march," accompanied by extraordinary grimaces, pro- 
 bably wrung from his musical sensibility by the hideous sequence 
 of sounds such as the animals might be supposed to utter under the 
 influence of compulsory rhythmical progress. 
 
 He would sing Spanish songs in various. Castilian dialects, after 
 the manner of the native singers, in a more or less tuneless style. 
 He would sometimes accompany himself in one key and sing in an- 
 other. This was for him not a difficult feat, so much as one of great 
 self-denial. His ear was so sensitive and acute that it was a great 
 trial to him to have to endure anything sung or played out of tune. 
 Many other like things he would do in music, thus showing that 
 the most highly cultivated minds are as keenly appreciative of the 
 ludicrous as well as of the serious side of art. He could tell stories 
 with the greatest relish and graphic power, and, unlike most story- 
 tellers, he was not impatient of rivalry. He loved to hear his own 
 anecdotes " capped," as he loved to " cap " other people's stories. 
 He collected droll and amusing replies to musical questions, which 
 had occurred within his own experience or those of his friends, and 
 these sort of commonplace books he delighted to exhibit to all who 
 could relish and enjoy their peculiarities. 
 
 As a musician he shone best in private life and among sympathetic 
 friends. It is a singular fact that when he took pen in hand to 
 write, he was a totally different being to what he was seated at his 
 own pianoforte pouring out his mind. No one than he was better 
 acquainted with the intricacies of musical composition. He knew 
 every knot and subtlety of contrapuntal art, and could deal with 
 them in a more ready way than any of his contemporaries. He 
 
 196 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 was pedantic often in his writings, but he was not so in himself. 
 He possessed great facihty in composition, and, having the power 
 of deahng with its intricacies, sometimes thought that the proper 
 and direct way of acquiring ease in writing was gained through 
 self-restrictions. Thus he was wont to affirm that all composers 
 ought to write one or more canons in various styles before break- 
 fast, because this form of artifice gave him no trouble. It would 
 seem as though, when he prepared himself to write his thoughts, he 
 posed as "the learned Doctor Ouseley." Consequently, those who 
 knew his great musical powers did not find them always represented 
 in his compositions. His great imagination, represented in his 
 earliest years by the composition, among other things, of a cantata 
 descriptive of his sufferings during the progress of a fever, is only 
 to be traced in his later instrumental works, rarely in his vocal 
 compositions. It found full expression, however, in his extempore 
 playing. In this, competent judges have expressed their opinion 
 that he was unrivalled by any musician of the present century. 
 None like him were able to treat a theme with all the resources of 
 the art of form, or to invest it with an interest such as is found 
 chiefly in the master works of the acknowledged best composers. 
 Unlike many extempore players, who have a convenient stock 
 of passages which they employ to disentangle themselves from 
 occasional embarrassments, his ideas were always fresh, appro- 
 priate, and so well ordered that he seemed to be playing an already 
 written piece from memory, rather than an impromptu effusion 
 growing under his hand. Had the instrument for registering 
 performances been perfected, and a record kept of Sir Frederick 
 Ouseleys extempore effusions, sonatas, airs with variations, fugues, 
 and fancies of all sorts, those of his fellow musicians who knew him 
 only by his name, and his printed compositions, would have been 
 enabled to form as high an estimate of his musical genius as that 
 which is held as a cherished memory by his personal friends, and 
 by none more earnestly than by 
 
 Wm. Alex. Barrett, M.D. 
 Nov. 5, 1889. 
 
 It is easy to understand how many laughable 
 stories, chiefly of a musical caste, a man of Sir F. 
 Ouseley's sense of humour would be likely to 
 gather round him. As has been said already, he 
 himself took the keenest delight in either telling 
 or hearing such things. Nor was he the least 
 
 197 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 ashamed, as some tellers of good stories are, of re- 
 petition. Here are a few examples which will no 
 doubt be familiar to some of his surviving friends. 
 
 Once a week there used to be instrumental 
 practices in which most of the staff at St. Michael's 
 were expected to take part. These practices 
 were prolonged to a somewhat late hour, and the 
 double-bass player, preferring his own fireside, 
 became rather remiss in his attendance. Accord- 
 ingly, he was asked one day why he had not been 
 at a certain practice. His answer was : " Please, 
 Sir Frederick, I am very sorry, but I have mislaid 
 my double-bass." This same musician, like many 
 other men besides musicians, never would admit 
 himself to be in the wrong. He was found fault 
 with after a Choral Service for singing out of 
 tune. His reply came promptly : " No ! it was 
 the organ. Sir Frederick, that played out of tune." 
 But the stories which used to tickle Sir Frederick 
 most of all were those connected with the grand- 
 iloquent language of this same worthy official, who 
 would never use a short word where he could find 
 a long one. Most of these once oft-quoted ex- 
 pressions are now, it is feared, lost to fame, but 
 here is one which may be preserved for posterity. 
 There was to be a burial in the churchyard, 
 and some discussion arose as to what depth the 
 grave was to be dug. The matter was summed 
 up by the announcement : " The parties desire 
 profundity." 
 
 As has been already shown. Sir Frederick 
 Ouseley, when he first came into the neighbour- 
 
 198 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 hood of Tenbury, was received with a certain 
 amount of suspicion, on account of his real, or sup- 
 posed, views. One lady in the neighbourhood 
 had made it her business to warn his future 
 parishioners against the dangerous tendencies of 
 his teaching. Walking one day in St. Michael's 
 parish soon after Sir Frederick came there, this 
 lady met a little girl, and accosted her as follows : 
 " Oh ! my poor, pretty child ! they will be sure 
 to make a nun of you." When, as he so fre- 
 quently managed to do. Sir Frederick had made 
 a friend of his enemy, he took her to task for 
 what she had said. But she stoutly maintained 
 her position, resting her theological opinions on 
 this statement : "I must know, for I am great- 
 niece to Hervey's Meditations!" 
 
 The same lady, on another occasion, had the 
 pleasure of hearing Sir Frederick play the over- 
 ture to Esther on the organ, and thanked him for 
 " that beautiful chorus of Handel's." " Well ! it 
 is an overture," said Sir Frederick ; "not exactly 
 a chorus." " Indeed, I think I ought to know," 
 was the answer, " considering my great-aunt once 
 heard Handel play on the organ ! " 
 
 This lady's husband was as fond of music as 
 she was. Being himself remarkable for his stout- 
 ness and weight, he appears to have had a pre- 
 ference for music of the light and airy order. 
 He had once heard Sir Frederick performing 
 some piece of this kind which had touched his 
 fancy, and which he wished to hear again. The 
 only clue he could supply was that the words 
 
 199 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 went something like this, "Whisky, whisky, 
 whisky, whisky." It turned out to be Lord 
 Mornington's glee — 
 
 Here in cool grot and mossy cell 
 We rural fays and fairies dwell . . . 
 We frisk it, frisk it, frisk it, frisk it. 
 
 Many of Sir Frederick's musical experiences in 
 country houses afforded him intense amusement, 
 mingled at times, it would seem, with not a little . 
 pain. At one house, where he was visiting, he was 
 entertained after dinner with a performance of the 
 " Hallelujah Chorus," played on three flutes. 
 Another musical performance, in the neighbour- 
 hood of St. Michael's (which, if Sir Frederick did 
 not witness himself, he could scarcely have failed 
 to hear of), was that of a certain unaccompanied 
 vocal trio, which was started in the following 
 manner. Three ladies, who for purposes of 
 description may be called A, B, and C, stood by 
 the piano. Whilst B and C closed their ears, A 
 sounded her note on the instrument, and then, 
 softly humming it, and closing her ears, went and 
 sat down at the farther end of the room. B and 
 C, each in turn, and taking the same precautions, 
 followed suit. Then, at a given signal, all three 
 voices sounded forth their notes alone, and, the 
 fingers being now removed, the trio was safely 
 launched on its way. But perhaps the most 
 unique of all Sir F. Ouseley's visiting experiences 
 was one which he often delighted to relate to his 
 friends. A certain eccentric clergyman, who had 
 a great passion for musical boxes, and possessed 
 
 200 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 a large assortment of them, invited Sir Frederick 
 to give a lecture on music in the schoolroom of 
 his parish. On the arrival of the Oxford pro- 
 fessor at the vicarage, five or six of these instru- 
 ments, all playing different tunes, were set going, 
 as a kind of musical salvo. Several of the boxes 
 were large ; one was very powerful. The lecture 
 could scarcely be called a success, being very 
 learned, not to say dry, and the audience consist- 
 ing of a few pious old women, who came in and 
 knelt down in prayer, but could not understand a 
 single word of the lecture. At the qnd of the 
 proceedings another surprise was in store for the 
 distinguished visitor. In the words of the local 
 press, "the Rev. Baronet was greeted with a 
 musical ovation." The shutters of the schoolroom 
 all closed simultaneously; and on the opposite 
 wall at the end of the room a chromotrope cast 
 its reflections with marvellous gyrations and ever- 
 changing colours, a fresh musical box meanwhile 
 playing loudly the " Hallelujah Chorus." But 
 this was not all. On the lecturer's return to the 
 vicarage, the musical-box reception was resumed. 
 One box was playing in the hall as they entered ; 
 one played throughout dinner in the dining- 
 room ; one played after dinner in the drawing-room. 
 At last came bedtime. The unhappy Professor 
 longed for peace. But lo ! another box was 
 awaiting him at his bedside. On and on it 
 played. At last, in a kind of awful nightmare, 
 the listener, half-awake and half-asleep, heard the 
 tune run down with a feeble gasp at an unresolved 
 
 20I 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 discord. When the maid came in in the morning 
 she wound up the box, by her master's orders, and 
 Sir Frederick awoke to the resolution of the 
 chord. After breakfast the visitor, needless to 
 say, was eager to catch his train. But a further 
 ordeal had to be faced. Time was arranged for 
 a visit to the church, where the organ, containing 
 three barrels of twelve tunes each, proceeded to 
 wind out its whole series of thirty-six. The rail- 
 way station was only just reached in time, and 
 the host's last words to his departing guest, as 
 the train moved off, were these : — 
 
 Thank you, indeed, Sir Frederick, and the next time you come 
 to us we must manage to give you an even better reception. 
 
 Now and again Sir Frederick also suffered 
 considerably from amateur essays in composition, 
 and from the early efforts of juvenile extempore 
 players. But he was always kindly and good- 
 humoured about these trials. Here is an extract 
 from one of his letters to a sympathetic friend : — 
 
 A chant sent to me yesterday by a "musical" lady — 
 
 ffi S? r-5? n-« rS? S? rffl ffi r^= n 
 
 /b",. 1 J- 
 
 -^^ 
 
 ^ 
 
 
 JLL ,± 
 
 jf ij^l 
 
 ir 
 
 -1 1— 
 
 
 ^ 
 
 
 ^ 
 
 
 \V i 1 
 
 =g=n-T^ r 
 
 5L| — ^-^« 
 
 g — r^ 
 
 -^ 
 
 L-s— 
 
 =11 
 
 '^bh 
 
 b=d 
 
 
 
 
 4H3 \ 
 
 — J-J- 
 
 -s 
 
 
 =y 
 
 Sweet? — she says she got it done in her parish Church last 
 Sunday ! ! ! 
 
 202 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 And here is another extract from a letter, in 
 which the sufferer describes himself as left to the 
 tender mercies of a youthful organist — 
 
 not altogether the best performer in Europe. But he does his 
 best, and we get along somehow. He is given to play extempore 
 preludes to anthems, in which occur such pleasant things as that 
 which he gave us last Sunday — 
 
 atque alia similia. Imagine my feelings, and pity me ! 
 
 As may be surmised from all that has gone 
 before. Sir F. Ouseley was intensely conservative 
 in his musical views. This may account for the 
 peculiar antipathy he cherished towards hymns, 
 or perhaps it would be fairer to say, towards the 
 modern taste in hymns {q). His friend, Mr. 
 A. H. G. Morris, sends the following reminiscence 
 on this subject : — 
 
 He used to affect that he never cared about hymn-tunes ; but I 
 could hardly believe that in his innermost soul he did not 
 appreciate them. I have frequently heard him say in old days 
 that he almost disliked them. However, he rather contradicted 
 himself at times by saying that he admired the breadth there was 
 in the old-fashioned tunes. And if he admired one of that class 
 more than another, it was the old 113th — " From highest heaven 
 the Eternal Son " — I mean the music set to those words ; because 
 he selected the hymns to be used, and we so frequently had that 
 particular one on Sunday evenings. 
 
 (q) His real views on this subject may be found briefly formulated in 
 Mr. Southgate's analysis of a paper read by Sir F. Ouseley at the Leeds 
 Church Congress in 1872. Cf. p. 164 supra; and of. also p. w^sufra, 
 on Hymns Ancient and Modern. 
 
 203 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 If Sir Frederick held strong views on popular 
 hymnody, he held views not less strong on the 
 use of Gregorian chants. Personally he disliked 
 them intensely, though it is more than probable 
 that on a question of this kind, which seems to 
 draw such an exact line of cleavage between one 
 half of church musicians and the other, he would 
 find it hard to make good his absolute condem- 
 nation of their use. One of his objections to 
 " Gregorians " was that he considered them " un- 
 suitable to the English language " ; and he held 
 strongly that, if sung at all, they should be sung 
 only by men's voices. 
 
 It may be worth while to add here a few more 
 of Sir Frederick's obiter dicta. They are thrown 
 together at random, and must be taken for what 
 they are worth. They may serve at least to bring 
 back something of the speaker's voice, expression, 
 and views to some of his surviving friends. He 
 frequently prophesied that the use of instruments 
 would come into vogue again in village Churches. 
 For the last ten years or so of his life he always 
 had a small string band to assist in the accompani- 
 ment of his own Michaelmas Services. With 
 regard to the vexed question of the position of 
 the organ in Churches he used to say : " Whatever 
 you do, don't have it pent up in a chamber." 
 When he heard two bells ringing at a village 
 Church, he said : — 
 
 Ah ! your bells are not quite half a note apart ; but that is 
 better than our two at St. Michael's, which are not quite three- 
 quarters of a tone. Bells, when there are only two of them, should 
 be a whole tone apart. 
 
 204 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 A friend once asked him what note a railway 
 engine, with steam blowing off through the safety- 
 valve, was sounding. "All sorts of notes," he 
 said, "but chiefly B and D." He used to 
 notice that, whether by rule or only by coin- 
 cidence in his own experience, "gardeners have 
 high voices." Though he never followed up any 
 other branch of art than his own, he quite 
 appreciated the breadth of the term "art," and 
 was quick to discern the connecting links between 
 its various branches. " Drawing and music go 
 together," was another of his sayings. Of a 
 certain organist whom he had been hearing he 
 once said : "His accompaniment is as good as 
 a commentary on the Psalms." Speaking at 
 one of his annual Michaelmas gatherings, and 
 returning thanks, no doubt, to the toast of " The 
 College," Sir Frederick, expressing his difficulties 
 as chief engine-driver, said : "A college is like a 
 machine, worked in various wheels and pinions." 
 As to new Oxford, Sir Frederick did not alto- 
 gether appreciate it. "In my young days," he 
 would say, "the High Street exhibited little more 
 than dons and undergraduates ; now it swarms 
 with nursemaids and perambulators." He used 
 also sometimes laughingly to say, when asked 
 why he did not marry : " I prefer my piano to 
 any other wife, because I can always, when 
 desirable, shut her up." 
 
 In politics, as in music, he was a rigid, not to 
 say a bigoted. Conservative. He would entertain 
 no compromise with " Liberal " opinions. He 
 
 205 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 joined the Primrose League when it was first 
 started, and went so far on one occasion as to 
 preside at one of its meetings in his own parish. 
 He used to relate with " gusto " how he once had 
 the happiness of telHng Mr. Gladstone of his 
 faults. Mr. Gladstone was in Oxford, and paid 
 him a canvassing call. The Professor of Music, 
 who had the clearest conception of his own views, 
 alike in matters of Church and State, was at no 
 loss of what to say ; and he said it. To him, as 
 to many Oxford men of his day, the development 
 of Mr. Gladstone's views seemed little short of 
 disloyalty to the Church, on the part of Alma 
 Mater's most gifted son. Such a volte-face Sir 
 Frederick could not forgive. It roused in him 
 feelings of the deepest and most real grief, 
 mingled with no little anger. With Dissenters, 
 however, of the religious kind, he always en- 
 deavoured to be on peaceful and friendly terms ; 
 and staunch as he was to his own faith, he quite 
 admitted that their opposition might in some 
 ways be helpful to the Church. An argument 
 was one day going on in his presence on this 
 question. One of the company was contending 
 that Dissent in a parish might sometimes have a 
 healthy influence. There was some laughing on 
 the part of the others present. Sir Frederick's 
 face grew grave ; then he looked up and said 
 quietly, " He is quite right." 
 
 His Arms were " Arg: a chevron sa. between 
 3 holly leaves pr : a chief of the 2nd with the 
 insignia of Baronetage thereon, as usual." He 
 
 206 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 was fond of telling the legend of his family 
 crest, a wolfs head, with a bloody human 
 hand in its mouth, the motto being Mors lupi 
 agnis vita. The legend was something of this 
 kind, according to an ancient tradition in the 
 Ouseley family : (r) — 
 
 A gallant warrior of that name had married a most beautiful 
 young lady named Agnes, about the period that King Edward i., 
 after his return from the Holy Land, marched through Shropshire 
 to attack the Prince of Wales. Ouseley, being a man of some rank 
 in that country, considered it his duty to go a day's journey to meet 
 the King and invite him to his house, although he left his bride, 
 even for a short time, with reluctance. Agnes on the following 
 day proceeded a short distance to meet the King and her husband ; 
 but just as, accompanied by her maidens, she approached the 
 royal party, a huge black wolf rushed out of a holly thicket and bit 
 off her hand. So intent -tvas the ferocious beast upon his prey that 
 the enraged husband was enabled to seize him, to strangle him in 
 the presence of the King, and to tear his head from his body. 
 Before this adventure, the Arms of the family of Ouseley were 
 " Or, a chevron in chief, sable." But upon this occasion the King 
 granted the augmentation "of three holly leaves, vert.," and added 
 the crest of a black wolfs head erased, with a right hand in its 
 mouth, couped at the wrist, grules, on a ducal coronet with the 
 motto, Mors lupi, agnis vita ; and it is said that there existed in 
 a Church in Shropshire a monument containing the figures of this 
 warrior and his lady, in which the latter was represented without 
 the right hand. 
 
 The College crest {s), like the small statue 
 over the front door of the Warden's house, 
 represents the contest of St. Michael and the 
 dragon. 
 
 Here, for want of any better place for their 
 insertion, may be mentioned (if they are rightly 
 remembered) two samples of Sir Frederick's 
 
 (r) Reynolds's Memoir of Sir Gore Oitseley, pp. vi. and vii. 
 (s) This crest also may be seen on the cover of this book. 
 207 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 conversational recipes. One was the distinction 
 once given by a promising candidate in a musical 
 examination : " Melody is playing in one key ; 
 harmony is playing in all the keys together." 
 The other was the famous peroration of a certain 
 speech said to have been delivered by an Oxford 
 alderman : — 
 
 And, in conclusion, when I see before me the spontaneous 
 dome of the RadclifTe Library, the basiUsk of Blenheim, and the 
 merryanderings of the river Cherwell, I feel gratified, nay ! more, 
 1 feel proud, to think that I have discharged my civic duties with- 
 out partiality, on the one hand, and without impartiality, on the 
 other. 
 
 This chapter has been mainly filled with 
 illustrations of the secular, and more especially 
 the humorous side, of Sir F. Ouseley's life. But 
 it would be an utterly mistaken view to give of 
 him that such was the only, or even the chief, side 
 of his character. From the crown of his head to 
 the soles of his feet he was a thoroughly religious 
 man ; and though, like many of the best English- 
 men, he was reserved, and did not wear his heart 
 on his sleeve, yet without any doubt religion was 
 to him the mainspring of his work, as it was the 
 one grand object worth living for. Thus although, 
 as has been shown, he was fully alive at times to 
 mundane interests and pleasures, one often felt on 
 meeting him that his usual thoughts must have 
 been of unseen things, that they were continually 
 ranging above the ordinary round of life. Always 
 in walking he looked up, not down, as so many 
 thinkers do. The fact was that, more than most 
 men, he had a vivid realisation of the presence 
 
 208 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 around us of unseen beings ; and what some 
 people call superstition was in him a very real 
 belief in the agency and ministrations of powers 
 beyond our ken. It was one of the sayings of his 
 friend Liddon : 
 
 I do not, of course, hold it as a matter of faith on the same 
 level with the Articles of the Apostles' Creed — but yet I do hold 
 it as a certain truth in my own mind — that about us and around us 
 the air is full of angels, though we see them not. 
 
 A large part of Sir Frederick Ouseley's life- 
 work undoubtedly rested on that belief And it 
 seems only in accordance with this that his Church 
 and College should have been dedicated, as they 
 were, to St. Michael and All Angels. Certainly, 
 one effect of the dedication itself must always 
 be to draw the thoughts of others also to the 
 invisible. 
 
 One other subject may be mentioned here, akin 
 to the one just noticed : and yet care should be 
 taken that the two subjects are not confused. 
 Sir Frederick was what is popularly called a 
 "believer in ghosts." He did not, of course, 
 regard the question of spiritual apparitions as 
 either of equal certainty or as of equal importance 
 with that of angelic ministrations. But he did 
 undoubtedly always refuse to regard the question 
 of ghostly appearances from the merely sceptical 
 point of view. He was once asked, when telling 
 some ghost stories, if he felt any fear at the sight 
 of a ghost. His answer was : 
 
 I know that spirits are always near me ; and why should I be 
 afraid if I were allowed to see one ? 
 14 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Indeed, he claimed for' his family that one or 
 other of them was warned by a "rorast" (if this 
 be the correct Scotch term) when any member of 
 the family was about to die. He used to tell a 
 tale of how a cousin of his saw her sister one 
 night appear to her with all her hair cut off. The 
 sister was on her way to India, and by the 
 next mail news came that she had died of fever 
 on the very night of the appearance, and that her 
 hair had been cut off previously by the doctor's 
 orders. Mr. T. L. Southgate recalls the fact 
 that Sir Frederick never affected to explain these 
 phenomena, but in conversation on the subject 
 would remind his hearers of the witch of Endor 
 episode, and other supernatural appearances in the 
 Bible. These, he would point out, could not be 
 explained by the logic of natural laws. Dean 
 Kitchin, whilst evidently no believer himself in 
 ghosts, bears witness no less strongly to the views 
 of his old friend on the subject : — 
 
 Ouseley was a man -jvho could not help coming in contact with 
 ghosts ! His very eyes told you so. 
 
 The following is one of the Ouseley ghost 
 stories. Its veracity cannot be vouched for in 
 every particular ; for, like many similar tales, it has 
 grown larger in the telling. At a certain house, 
 with which Sir F. Ouseley was once connected, 
 an apparition was often seen. All kinds of weird 
 things were also continually happening there at 
 night. Bells rang ; windows and doors, which 
 had been duly shut and locked at evening, were 
 
 2IO 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 found open on the following morning. In the 
 vulgar version of the story, the ghost took the 
 form of an old man with a brown coat ; and, so 
 strong was the local belief in the ghostly character 
 of the apparition, that at last no one would live in 
 the house, and eventually it was pulled down. 
 But before this happened, Sir Frederick's experi- 
 ences were as follow. Having retired one night 
 as usual, he remembered that he had left a book 
 he wanted in the drawing - room. With the 
 intention of fetching it, he opened the door of his 
 bedroom, which led into a long old - fashioned 
 corridor. There, at the end of the passage, he 
 saw to his astonishment a bright unearthly light ; 
 and in the middle of the light he saw distinctly 
 the figure of a man, clothed in a dressing-gown, 
 with a flowing "wateau" back, such as was 
 commonly worn a century before. The expression 
 of the man's face was fearful, — suggestive of all 
 manner of sin and wickedness ; and, feeling 
 instinctively convinced that what he saw was an 
 evil spirit, Sir Frederick made the sign of the 
 cross, and by the name of the Blessed Trinity 
 adjured the spectre to depart. On coming down 
 to breakfast the next morning. Sir Frederick said 
 nothing of what he had seen. Determined, how- 
 ever, to find out if there were any story connected 
 with the house which might account for the vision, 
 he went to the village close by and applied to the 
 old clerk, in the hope of obtaining some informa- 
 tion. From him he learned that, a hundred years 
 before, the house had been occupied by a certain 
 
 211 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 bad squire, who murdered his wife and afterwards 
 put an end to himself. This story was corro- 
 borated on examining the parish registers ; for 
 these contained the statement that the Lord of 
 the Manor, of that date, having murdered his 
 wife, and having then committed suicide, his body 
 was refused Christian burial, and was buried at the 
 cross roads. Sir Frederick still mentioned nothing 
 of this to any of the inmates of the house. Exactly 
 a year afterwards, however, an Oxford friend of 
 his, of a somewhat reckless and rowdy character, 
 was invited to stay in the same hou^e for a week 
 or two. He came and was quartered in a bed- 
 room near the end of the house, to enter which 
 you had to go down three steps at the end of the 
 corridor already mentioned. On the morning 
 following his arrival the visitor came downstairs 
 looking wretchedly ill and haggard. H e announced 
 that he had received bad news, which necessi- 
 tated his immediate return to London. Indeed, 
 he had ordered a fly to catch the first train. The 
 news was such that he begged his hosts to ask 
 him no further questions about it. A few weeks 
 later Sir Frederick happened to meet his friend in 
 the street in London, and the friend then said : — 
 
 I can tell you now what I could not tell you before about the 
 
 reason of my departure the other day from . In the middle 
 
 of the night I was awakened by the sound of a terrible struggle in 
 the passage outside my room. I sat up in bed and listened. 
 There were the most frightful mutterings and fearful oaths, inter- 
 spersed with the words—" Too late ! Too late ! " All the while I 
 felt certain that the utterances were those of a lost soul. Presently 
 the noise of the struggling ceased, and was followed by the sound 
 of steps labouring along towards my door, evidently the steps of 
 
 212 
 
CHARACTERISTICS, ANECDOTES, ETC. 
 
 someone dragging a heavy weight along the floor. A moment 
 more, and my door was burst open with a tremendous crash, and 
 the footsteps came down into my room, followed by the heavy 
 weight, bump, bump, bump ! down the three steps outside. I saw 
 nothing, but was in a state of helpless terror all the rest of the 
 night. 
 
 Whatever may be thought of the credibility of 
 this story, so wholesome and permanent an effect 
 had the event upon Sir Frederick's friend, that, 
 from having been a thoroughly fast and careless 
 man, he became, it is said, from that time forward 
 completely changed, and was afterwards known 
 as one of the most earnest and hard working of 
 London clergy. The strangest part of the story 
 (if it be true) remains still to be told. It is said 
 that the occupier of the house, in consequence of 
 these ghostly apparitions, determined to leave it 
 altogether. For this purpose he went, in company 
 with Sir Frederick Ouseley, to the owner's house 
 in London. As the owner happened to be engaged 
 at the moment of their arrival, they were shown 
 into the dining-room. Immediately on entering 
 the room. Sir Frederick, pointing to an old por- 
 trait which hung over the mantelpiece, exclaimed : 
 
 " There, , that's the very man I saw ! " The 
 
 picture was that of a man with an evil counten- 
 ance, and wearing the style of dress such as was 
 worn a hundred years before. When the landlord 
 came in, his visitors took the opportunity of ques- 
 tioning him about the portrait. He was very 
 unwilling to tell them much, as the portrait 
 represented a very disreputable ancestor of his, 
 from whom he had inherited the property. This 
 
 213 
 
Life of sin F. A. G. ouseley 
 
 ancestor had committed suicide, if not murder 
 also, a century before. They could not ascertain 
 many particulars, but all that the landlord said 
 coincided exactly with what Sir Frederick had 
 before discovered in connection with the old 
 "Manor House." 
 
 214 
 
CHAPTER IX 
 
 LAST YEARS AND DEATH 
 
 Two things seem to have troubled Sir F. Ouseley, 
 and to have caused him a great deal of real un- 
 happiness, during the closing years of his life. 
 One was his anxiety as to the financial future of 
 his College ; the other was his own position in the 
 musical world. 
 
 To a large extent the maintenance of St. 
 Michael's depended on rents from land ; and when 
 the agricultural depression began, Sir Frederick 
 found himself no exception to the rule of hard-hit 
 landlords. As has been implied already, he never 
 succeeded in making his school self-supporting ; 
 and, indeed, in this respect its peculiar constitu- 
 tion, and its distance from any large centres of 
 population, would have handicapped many a 
 better manager than he himself was. Moreover, 
 he would never do anything, if it could be avoided, 
 which might tend to lower the standard of that 
 splendid musical Service which was the chief 
 result, as it had been the chief object, of his 
 foundation. Thus the reduction in his income 
 in the last few years of his life became a serious 
 trouble to him ; and when he began to feel that 
 
 215 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 his own tenure of life was uncertain, this anxiety 
 was, of course, intensified. More than once he 
 received timely and generous assistance from his 
 good friend and neighbour, the Hon. Miss 
 Rushout of Burford, who had always taken the 
 deepest interest in the Church and College, 
 Eventually, but after Sir Frederick's death, this 
 lady, in 1890, left a large legacy for the benefit 
 of St. Michael's, supplementary to the Founder's 
 own benefactions ; and thus the future mainten- 
 ance of the College on its original lines has been 
 assured. 
 
 The other trouble of his closing years evidently 
 touched Sir Frederick's heart even more deeply 
 than any pecuniary anxieties. This was the 
 neglect with which he felt himself to be treated 
 by the musical world generally. Rightly or 
 wrongly, he believed that in certain influential 
 quarters there was some professional jealousy at 
 work against him. His own rank, private fortune, 
 and position had of course rendered him independ- 
 ent of music as a profession ; and his feeling was 
 that on this account he had not been given fair 
 play in the musical world. If he was wrong in 
 his surmise, as it is quite possible he may have 
 been, it must be remembered, on his behalf, that 
 he was in one sense a lonely man, and therefore 
 peculiarly at the mercy of any such morbid im- 
 pression. He was a bachelor, and in his later 
 years had no near relatives living. Moreover, 
 although he had hosts of friends, yet it would be 
 only to a very few, if any, of them that he would 
 
 216 
 
LAST YEARS AND DEATH 
 
 care to pour out his whole heart on a delicate 
 subject of this kind. Thus what seemed to him 
 a neglect of set purpose may have been nothing 
 more than that dropping out of particular notice 
 which comes to many men as they advance in 
 years, and as the best work of their life is becom- 
 ing a thing of the past. He may have exaggerated 
 little things into great, and brooded over them 
 unnecessarily. On the other hand, it is quite 
 certain that any such spirit of brooding over 
 grievances was no ordinary feature in his char- 
 acter. Naturally he was not in the least either a 
 jealous or a grasping man. He was modest, 
 generous, and open-handed to a fault. He would 
 do anything, and did do much, to help on young 
 beginners in the musical profession, more especially 
 those of them who might be endowed with only 
 small means. It was said of him after his death 
 that he had been (a) 
 
 The personal friend of every minor canon, lay clerk, and chorister 
 in England, and certainly those of their connection never had such 
 a friend as they possessed in Sir Frederick Ouseley. 
 
 And this, indeed, seems to have been one of the 
 sorest points with him in the matter alluded to. 
 He was always proud to identify himself with the 
 musical profession. " Music to the glory of God " 
 had been, as it were, the very motto of his life. 
 And therefore, when he felt that he was not being 
 allowed his fair place in the particular profession 
 he had adopted, and for which he had don,e so 
 much, he felt hurt, — as if his own brothers had 
 
 (a) Ilavergal's Memorials, p. 44. 
 217 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 turned their backs on him. It was certainly not 
 a case of mere disappointment at ill-success, either 
 in the matter of fame or from a pecuniary point of 
 view, ready as he always was to make a few 
 pounds by his pen for his beloved St. Michael's. 
 That it was really a case of deep personal feeling, 
 the following letter will show, written to one of 
 his most valued friends, and one who now holds 
 a distinguished place in the musical world : — 
 
 St. Michael's College, Tenbury, 
 July 25, 1883. 
 
 My dear . — I am very glad you like the Sonata in its 
 
 printed form, and that you will play it. You are, I fear, the only 
 man who ever plays my compositions for the Organ. I look 
 through the list of things played at various recitals, and recorded 
 in the Musical Standard, and elsewhere, and hardly once a year 
 do I see anything of mine recorded. This is very discouraging 
 
 to me, and I feel it much. bought the copyright of this last 
 
 Sonata of me for three guineas only, and made a favour of that ! 
 I cannot but fear there is some professional jealousy at work 
 against me. Perhaps after I am dead it will be different. I don't 
 think I shall compose any more organ-music ever again. Excuse 
 my grumbling ! You must admit I have some cause. ... I am 
 suffering from whooping-cough, not a pleasant thing at my time of 
 life ! . . . — Yours >ery sincerely, 
 
 Frederick A. G. Ouseley. 
 
 Nevertheless, there were proofs given before 
 Sir F. Ouseley 's death, as well as after, that his 
 musical abilities as a composer, as well as other- 
 wise, were appreciated at no mean order in 
 musical circles generally. Here is an instance, 
 recorded by the then secretary of the Bach 
 Choir : — 
 
 In the year 1882 the committee of the Bach Choir, under the 
 advice of the musical director, Mr. Otto Goldschmidt, decided to 
 
 218 
 
LAST YEARS AND DEATH 
 
 include in one of that season's concerts at St. James's Hall three 
 representative English anthems by composers of the 17th, i8th, and 
 19th centuries. The anthems selected were, "Sing joyfully" (W. 
 Byrd) ; " I will sing of Thy power " (Dr. Greene) ; and " Great is 
 the Lord " (Sir F. Ouseley). As the secretary of the Bach Choir, 
 I had the pleasure of communicating this decision to my friend Sir 
 Frederick, and of receiving from him a reply, couched in terms which 
 showed how highly he appreciated this recognition of his position 
 as a composer for the Church. A. H. D. Prendergast. 
 
 This, too, may be the best place for noticing 
 how generous a response was made at the time of 
 Sir Frederick Ouseley's death to the appeal for 
 an endowment fund for his College, as being the 
 best memorial to his honour. Some ;^3000 was 
 raised, largely in the musical world, — upwards of 
 ;^500 being subscribed by his friends in Oxford, 
 
 It has been assumed in the previous pages that 
 Sir F. Ouseley was an unambitious man ; and 
 in the ordinary meaning of the term it would not 
 be hard to prove that he was such. Yet he would 
 seem to have had one ambition, or rather, it may 
 only have been, one ideal of ambition, in the 
 thought of the Deanery of Westminster. It is 
 not likely that he ever seriously anticipated such 
 a preferment for himself, although it is said that 
 a Westminster Canonry had at one time been 
 promised to him by Mr. Disraeli. But Sir 
 Frederick certainly regarded the Deanery of 
 Westminster as one of the most enviable posts 
 which a man of his own calling and attainments 
 could have reached. In truth, he was a man who 
 would have lent a charm and an interest to any 
 position, however high, that he might have been 
 called to fill ; and he was one out of whom a great 
 
 219 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 position might have drawn a good deal which his 
 natural modesty kept in the background. Larger 
 congregations, closer contact with the keen in- 
 tellect of London life, and the historic enthusiasm 
 derivable from the Abbey itself, would no doubt 
 have developed in him much of tha,t power in 
 preaching, and otherwise, which in his humble 
 sphere of life never reached its full force. That 
 he was not, however, in any general sense of the 
 term an ambitious, much less a disappointed, man, 
 was proved by the genuine, almost childlike, 
 pleasure with which he regarded his appointment 
 to the Hereford Canonry three years before his 
 death. To most of his friends that honour 
 seemed to be a very modest recognition of his 
 powers a,nd of his work for the Church. But to 
 him it was an honour to be proud of, and it 
 certainly added no little happiness to his last 
 years. 
 
 An event of wider interest to the Church at 
 large than any promotion falling to his own lot 
 also gave him intense pleasure towards the close 
 of his life. In x88.7 Truro Cathedral, so far as it 
 was then finished, was consecrated by Archbishop 
 Benson. The foundation-stones had been laid in 
 1877, with grand masonic honours, by the Prince 
 of Wales, as Duke of Cornwall. Ten years later, 
 on November 3, 1887, the Prince was present 
 also at the consecration ; and Sir Frederick 
 Ouseley, who, by the way, was himself a Free- 
 mason of considerable standing, attended the 
 ceremony. He was invited as one of the chief 
 
 220 
 
LAST YEARS AND DEATH 
 
 guests on the occasion, and his own anthem, 
 "Great is the Lord," was performed in the after- 
 noon. A few days afterwards he was graphically 
 describing to a sick friend in his own neighbour- 
 hood the splendid function ; he was saying that 
 the processional Psalm, " Lift up your heads, O 
 ye gates," was one of the most impressive things 
 he had ever witnessed ; and he was expressing 
 his great thankfulness that such a thing was 
 possible in our days. Then all at once his 
 feelings overpowered his self-control, and, in 
 a way very uncommon with him, he sank his 
 head in his hands and burst into tears. The 
 incident betokens how intense were his love and 
 loyalty for God's glory in the Church of Christ. 
 To that end he had used his " one talent " for 
 upwards of thirty years; and the consecration 
 of a new Cathedral for a new (or rather, for a 
 revived) Diocese appealed to his heart in a way 
 few men could have felt as he did. 
 
 It is a matter of regret that so few letters of 
 any general interest are forthcoming as having 
 been written by Sir Frederick in the latter years 
 of his life. Here, however, are three extracts 
 out of a small bundle which has come to hand. 
 They are samples of the short notes he was 
 accustomed to write to numbers of his friends. 
 Moreover, as the receiver {b) of these particular 
 notes says of them, "they have a touch of the 
 true nature of the writer about them." There 
 
 (b) The Rev. V. K. Cooper, Precentor of Durham, and formerly Head- 
 master of St. Michael's College. 
 
 221 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 are the happy little jokes of which he was so 
 fond, and there is the sad touch in the last letter 
 as to " setting his house in order " — a presenti- 
 ment, it would seem, of the end : — 
 
 May 1886. 
 . . . Did I tell you of the splendid version, given at the 
 Newnham College for Ladies, of KosTiSs tx^i to yiyovog — "The baby 
 is doing well." Coming, as it did, from ladies, it is, methinks, a 
 perfect specimen. 
 
 9 Castle Street, Hereford, 
 August 10, 1886. 
 I MEANT to have written to you before this to thank you for 
 your most amusing letter. I only wish I had anything half so good 
 to give you in return. " Venium erat ad limen " (Virgil), " The 
 wind was at the door " ; and " Nulla dies adeo est Australibus 
 humida nimbis," etc. (Ovid), " Not a day passes in Australia, but 
 what there is a shower," are not bad. I am very glad you 
 enjoyed your visit here. / did ! I expect S. and some other 
 friends here to dine on the 12th, which is my birthday. Think of 
 me then, fast developing into the " lean and slippered pantaloon," 
 and wish me well through it ! 
 
 St. Michael's College, Tenbury. 
 December 18, 1888. 
 ... I have not been at all well since May. My heart is all 
 wrong, and I cannot walk without horrid agony there very often. 
 I fear this is incurable, as it is hereditary. It is a warning to " put 
 my house in order." 
 
 There are other evidences besides the one just 
 quoted which show that Sir Frederick, for some 
 months before his death, quite understood that 
 his end was likely to come suddenly. He had 
 reached the critical age of sixty - three ; and the 
 
 222 
 
LAST YEARS AND DEATH 
 
 doctors had warned him that, with his hereditary 
 weakness of heart, he must beware of any excite- 
 ment or violent exertion. All his life hitherto he 
 had been a good walker. But now he would 
 frequently have to apologise to one or another of 
 his friends when asking them to stop till he 
 should recover breath. " I suppose I must have 
 a weak heart," he said to one of them, after 
 halting a good many times on the hill which goes 
 up from Tenbury to St. Michael's ; and then he 
 added with a smile, "but I trust it is not a bad 
 one." During the last year or so of his life he 
 would talk not infrequently on the subject of 
 sudden death. He once asked a friend if he 
 thought it was wrong to wish to die suddenly. 
 The friend reminded him that Bishop Samuel 
 Wilberforce had desired to die such a death, and 
 that the Bishop used to point out in this connec- 
 tion that the petition in the Litany : " From 
 sudden death, good Lord, deliver us," really 
 meant nothing more than " from unprepared 
 death." Very naturally also Sir Frederick, like 
 most other hard-working men, had a strong desire, 
 if so God might will it for him, to " die in har- 
 ness." A prolonged old age would, indeed, have 
 been likely to prove no happy experience for him. 
 He was unmarried ; all his near relatives, and 
 many of his oldest and most valued friends, were 
 now dead (c). And, although his College was still 
 
 (c) His two sisters had died in 1861 and 1862. " Tlie death of Wayland 
 Joyce [1887] certainly left the blank in Sir Frederick's life which Ais death 
 has in my life — and in the life of how many more ! " N. M. L. in Haver- 
 gal's Memorials, p. 44. 
 
 223 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 the first thought in his life, yet he felt keenly 
 enough some of his losses in the ranks of those 
 who had been as brothers to himself. 
 
 His last sermon at St. Michael's was preached 
 on the second Sunday in Lent, March 17, 1889, 
 on 2 Sam. xii. 7, " Thou art the man." Soon 
 after he went to Hereford, and stayed at his 
 residence in the Cathedral Close. Apparently 
 he was just then in better health and spirits, and 
 was looking forward to spending Easter at home. 
 Only three days before his death he wrote the 
 following interesting letter to Mr. Ebenezer Prout, 
 author of the well-known work on " Harmony," 
 who had been staying with him at St. Michael's 
 for a week during the preceding Christmas : — 
 
 The Close, Hereford, April 3, 1889. 
 
 My dear Sir, — In the first place, I must apologise to you for 
 the delay which has occurred in my reply to yours of March 13th. 
 The fact is, I have been very busy, and much " worritted," as folks 
 say, by some bothers connected with . . . , involving a large 
 amount of correspondence, and I have also been far from well, and 
 utterly unable to fix my attention on matters of musical theory, etc. 
 Now I am better and stronger, and I therefore take up my pen 
 once more to make an attempt to reply to what you say as to the 
 results of your study of Helmholtz. No doubt he is right, and you 
 are right, in saying that we cannot regard such remote harmonies 
 as the 17th and 19th quite as we do the 3rd, sth, and 7th. But 
 still, for all that, they exist. Although we may be unable to detect 
 them by our unaided ears, when sounding as part of a complete 
 compound sound or tone, yet they do sound, and do exercise their 
 respective influences upon the quality of the tone. We are there- 
 fore quite justified in taking them as the explanation furnished by 
 nature of those chords which we use in our musical compositions. 
 Moreover, I am not sure, after all, that they are altogether in- 
 audible. I fancy I have detected them in the sound of a ■^i-fooi 
 reed pipe : but in this I may be mistaken too. 
 
 In any case, however, we select for use any overtones we need ; 
 
 224 
 
LAST YEARS AND DEATH 
 
 and these two (the 17th and 19th) we need very much. The minor 
 3rd and major 3rd, of course, must collide harshly when both heard 
 at once. But when we silence one of them we can use the other. 
 For that reason I always advocate the plan of making all Tierces 
 in organ specifications to draw separately, and not be included in 
 the ranks of the mixture stops. They can thus be shut off when 
 playing in the minor key. And yet, when properly voiced and 
 duly subordinated, they do not practically sound so badly as one 
 might expect, except in the extreme bass. That is my experience as 
 an organ-fancier. 
 
 There is a wonderful faculty in the human ear of, as it were, 
 regarding an approximately correct interval as though it were 
 absolutely correct. Were it not for that faculty, we could not 
 tolerate equal temperament. Now, it seems to me that the small 
 comma 96 :9s, by which the true minor third 19 : 16 differs from 
 the minor third which exists between a major 3rd and a perfect 
 Sth, viz. 6 : s, is ignored by the ear, and that thus the true minor 3rd 
 appears as concordant as though its ratio were simpler. 
 
 With regard to the minor ninth, no such explanation is needed, 
 as it is heard to be a discord, and about as discordant as its high 
 numbers would warrant us in expecting it to be, but not more so. 
 
 The major ninth is a square, 3x3, and being the fifth of the fifth, 
 the dominant of the dominant, does not sound by any means so 
 discordant as the true harmonic 7th. The ear in the case of the 
 latter has to accommodate itself to the comma 64 : 63, which is a 
 much larger interval than the 96 : 95 of the minor third. And that 
 power of accommodation is the only sesthetic consideration for 
 which I see any need in this matter of harmony. 
 
 On looking over what I have written, I fear you will think it 
 beside the question, or little better than twaddle. But I have a 
 great difficulty in expressing myself clearly ; and I know that, 
 whatever my words may seem, my meaning is not altogether 
 twaddle. I shall be glad to hear from you on the subject. I 
 remain here for a week more, and then go back to Tenbury. You 
 may be interested to hear that last night I composed a strict 
 canon, 12 in 6, before going to bed. I have not been doing any- 
 thing in the composing way of late, and I wanted to get my hand 
 in, a bit ! I do not want to lose the power yet. Believe me very 
 sincerely yours, Frederick A. G. Ouseley. 
 
 On Saturday, April 6, Sir Frederick attended 
 the Cathedral Service in Hereford, at lo a.m,, and 
 15 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 read the Lessons. He seems to have spent the 
 rest of the morning at home. At this time he 
 had been a good deal worried about certain 
 arrangements at St. Michael's. After luncheon 
 he called out to his housekeeper : 
 
 I am just going to write a letter to Mr. Hampton, who is coming 
 over on Monday : see that it is posted. Then I shall go over to 
 the club or library, and come back in time for service. 
 
 As he went out of the Close into Broad Street 
 one of the choir-boys was running in, and took off 
 his cap to the Precentor. Sir Frederick's greeting 
 in return was characteristic of all his dealings with 
 choristers and choirmen. Always ready with a 
 kind word for them, he never forgot, and would 
 never let them forget, the object of their pro- 
 fession. To him the daily offering of worship in 
 the Church was a real sacrifice to the glory of God. 
 "Well, little man," he said, "and what is to be 
 the Anthem this evening ? " Before that Anthem 
 was sung God had called His servant away. 
 The Precentor's seat that evening was vacant. 
 When Evensong was ended there followed the 
 usual Saturday choir practice in the Cathedral. 
 In the middle of this practice a note was handed 
 to the Sub -Chanter, the Rev. J. R. G. Taylor, 
 who, having opened and hastily read it, said to 
 those present, "Sir Frederick is dead!" Then he 
 added solemnly, " And may the Lord have mercy 
 on his soul ! " There was a hushed " Amen " 
 uttered by several voices. With such awful 
 suddenness had the news come upon them that 
 
 226 
 
LAST YEARS AND DEATH 
 
 several of the men as well as most of the boys 
 quite broke down. Instinctively the Hereford 
 choir felt that in the death of their Precentor the 
 whole Church of England had lost a leader who 
 had been more to choirs, and had done more for 
 them, than any other musician or clergyman of 
 his generation. 
 
 From the accounts subsequently published in 
 the newspapers it appeared that, on passing out of 
 the Close, and after looking in for a moment at 
 the City and County Club, Sir Frederick had met 
 Prebendary E. B. Hawkshaw in Broad Street. 
 Whilst the two friends were talking together the 
 former was suddenly seized with a severe spasm 
 of the heart. They were standing close to the 
 Birmingham, Dudley, and District Bank; and 
 with the aid of Mr. Kenrick, the bank manager, 
 who happened to be standing in the street, Sir 
 Frederick was taken at once into a private 
 room belonging to the bank. There his medical 
 adviser, Mr. Turner, was quickly with him, and 
 restoratives were given in the form of ether and 
 brandy. His servant also was fetched from the 
 Close, and Sir Frederick said to him, " I am so 
 glad you have come to take me home." It is 
 clear from what followed that, directly his pain 
 was relieved, the sufferer thought the crisis was 
 passed. He must have known that he had been 
 near death. Indeed, he said as much to those 
 who stood round him. But he does not seem to 
 have realised that even then he had but a few 
 short moments to live. He went on to speak 
 
 227 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 quite naturally about his immediate engagements 
 for the rest of the day {d) — 
 
 He began to chat in his usual affable manner. He said several 
 times, " I thought I was going to die." He talked for about ten 
 minutes after the restoratives had been administered, and the 
 doctor said, " You are better now," and he replied, " Yes ! I am 
 very much better; I shall be all right in a few minutes." He 
 mentioned that he was to have dined at the Deanery that evening, 
 but Doctor Turner said that it would not be possible for him to do 
 so. He was immediately seized with an epileptic fit, and Mr. 
 Turner promptly shook him, cut open his collar and shirt band, and 
 asked Mr. Kenrick to turn him over on his face. Mr. Kenrick had 
 him in his arms, and had half turned him over when he suddenly 
 ceased to breathe. Mr. Turner states that Sir Frederick had 
 suffered from a weak heart for a long time, and recently he had 
 been subject to spasms of the heart. The attack on Saturday 
 afternoon was undoubtedly the severest he had had, but the im- 
 mediate cause of death was the epileptic fit. 
 
 When the tidings of their Founder's sudden call 
 reached the College and parish of St. Michael's on 
 that Saturday evening, the news at first could 
 scarcely be believed. The St. Michael's boys 
 were away for the holidays, but were due back for 
 Easter. Probably never, until the news of Sir 
 Frederick's death reached them, had any of his 
 fellow-workers, scholars, or parishioners, realised 
 how closely his life and work and personality had 
 become entwined in their own affections. 
 
 Until the following Wednesday his body lay at 
 his residence in the Close. On that day, after a 
 short, impressive Service in the Cathedral, it was 
 taken by train to Tenbury, and thence conveyed 
 to St. Michael's, lying for one night in the College 
 library, covered with wreaths and crosses ol 
 
 id) Tenbury Advertiser, April i6, 1889. 
 228 
 
LAST YEARS AND DEATH 
 
 flowers. On the following afternoon, at three 
 o'clock, — Thursday, April ii, 1889, — all that was 
 mortal of Frederick Ouseley was laid to rest in 
 the acre which he himself had once given to God 
 — the Founder's grave lying most fittingly beneath 
 the east window of the chancel. Needless to say, 
 everything was done which love, care, and rever- 
 ence could do to make his burial worthy of the 
 man. Moss, violets, and primroses, gathered by 
 the children of the parish school, lined his grave. 
 Numbers of friends from all parts of England had 
 come to pay their last tribute. Even with the 
 short notice that was only possible, no fewer than 
 twenty-one of those who in former days had been 
 scholars under Sir Frederick's care had gathered 
 round his grave. The choir was one befitting the 
 occasion. Besides the St. Michael's staff there 
 were present all the clerical and lay members of 
 the Hereford Cathedral choir, the Precentor and 
 four choristers from Worcester Cathedral, and 
 many other musicians and clergy. Still more 
 significant was the large attendance of his own 
 poorer parishioners, showing by their hushed de- 
 meanour how truly they had loved their gentle 
 pastor. Bishop Atlay read the opening sentences 
 of the Burial Office, and the Lessons ; the Rev. 
 J. Hampton conducting all the musical parts 
 of the Service. Psalm xxxix. was chanted to 
 Purcell's chant in G minor ; and, after the Lesson, 
 was sung "Jerusalem on high," the beautiful 
 chorale at the beginning of Sir Frederick Ouse- 
 ley 's Hagar. At the grave the Bishop said the 
 
 229 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 words of committal with the concluding prayers. 
 Then was sung, unaccompanied, as perhaps it 
 had never been sung before, the hymn, "They 
 come, God's messengers of love," to the very 
 tune Sir Frederick had composed for the dedica- 
 tion festival of St. Michael's more than thirty 
 years before. 
 
 On the two Sundays following Sir Frederick 
 Ouseley's death there were, as might have been 
 expected, numerous sermon references to his 
 memory. Not only in Hereford, and in the 
 neighbourhood of St. Michael's, but in Oxford 
 and in London, and, indeed, throughout the whole 
 country, his name was mentioned with loving 
 words in many a Church and Cathedral. Canon 
 Ince, the Oxford Regius Professor of Divinity, 
 preaching in Christ Church Cathedral, on the 
 Palm Sunday morning (April 14), drew a touch- 
 ing comparison between the names of Keble 
 and Ouseley, the Church poet and the Church 
 musician, — each a son of Oxford, each in his own 
 generation one of her Professors -.{e) — 
 
 I am unwilling to leave the pulpit this morning without some 
 words of reference to a loss just sustained, which must awaken 
 peculiar memories and profound regrets in Oxford, and more 
 especially in Christ Church. Death, startling in its suddenness, 
 has removed from earth Sir Frederick Ouseley, our eminent and 
 highly-valued Professor of Music. A bom musician, if any man 
 ever was, ... he has devoted the whole of his life to the cultiva- 
 tion of his noble gift, especially in the service of religion. . . . 
 
 By a singular coincidence the poem for Palm Sunday in the 
 Christian Year has a stanza which, containing a confession of the 
 poet's own incapacity for music, points to the fitting attitude of 
 
 {e) Canon Ince's sermon, quoted in Havergal's Memorials, pp. 48, 49. 
 
 230 
 
LAST YEARS AND DEATH 
 
 those who, whilst they admire, cannot yet appreciate fully the 
 services of music as the handmaid of religion — 
 
 "Lord, by every minstrel tongue 
 Be Thy praise so duly sung, 
 That Thine angels' harps may ne'er 
 Fail to find fit echoing here : 
 We the while, of meaner birth, 
 
 Who in that divinest spell 
 Dare not hope to join on earth. 
 Give us grace to listen well " (/). 
 
 Some of us, who are neither musicians like Ouseley nor poets like 
 Keble, while we lay our tribute of feeble words on the fresh grave 
 of the great master of music whose loss we deplore, may perhaps 
 be allowed to adopt for ourselves words of the same master of 
 song, occurring in yet another of his poems : — 
 
 " In vain, with dull and tuneless ear, 
 I linger by soft Music's cell. 
 And in my heart of heart's would hear 
 What to her own she deigns to tell. 
 
 But patience ! there may come a time 
 When these dull ears shall scan aright 
 
 Strains, that outring Earth's drowsy chime, 
 As Heaven outshines the taper's light " (^). 
 
 Though our "psalms and hymns and spiritual songs" may be as 
 inartistic as were the Hosannas which, as on this day, the children 
 raised in the Temple of Jerusalem to the King of Israel on the 
 eve of His Passion, we may comfort ourselves with the poet's 
 thought — 
 
 " Childlike though the voices be, 
 
 And untunable the parts. 
 
 Thou wilt own the minstrelsy. 
 
 If it flow from childlike hearts " {h). 
 
 But, indeed, "childlike minstrelsy" is a phrase 
 which might be taken as no unfitting description of 
 
 (/) Christian Year, fourth stanza for Palm Sunday. 
 (g) Christian Year, for fourth Sunday in Advent. 
 {,h) Christian Year, last stanza for Palm Sunday. 
 231 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Sir Frederick Ouseley's whole life and character, 
 viewed apart from his own special musical gifts. 
 There was in him a strain of music capable of 
 touching men's hearts with a finer tone than that 
 of either human voice or instruments of wind and 
 string. All his life long he gave forth the music 
 of a childlike heart ; and it drew to him not 
 friends only, but foes as well sometimes, with a 
 wonderful power. Every good man's life must 
 have its own secret. Sir Frederick Ouseley's 
 chief influence lay in the simple, guileless, affec- 
 tionateness of his nature. And what was once 
 said of James Fraser, the second Bishop of Man- 
 chester, may be said with equal truth of this other 
 workman fur the Church of Christ — " He kept his 
 child's heart to the end." 
 
 232 
 
On Sir Frederick Ouseley's grave is a Memorial 
 recumbent Cross, subscribed for by fifty of his 
 friends. It was designed by Mr, Aston Webb, 
 and consists of a block of polished red granite, on 
 which lies a cross of white marble supported at 
 the ends by four small pillars cut out of the 
 granite. The inscription runs as follows : — 
 
 IN LOVING MEMORY OF THE 
 
 REV. SIR FREDERICK ARTHUR GORE OUSELEY, 
 Baronet : 
 
 Bofyi the 12th day 0/ August 1825 ; died the 6th day of April 1889: 
 
 Vicar of this Parish : 
 Founder of the Church and College of St. Michael and All Angels : 
 
 This stone is laid on his grave by a number of his friends. 
 
 On the upper ledge on either side of the stone 
 are inscribed the following verses from Holy 
 Scripture: — "He shall give His Angels charge 
 over thee, to keep thee in all thy ways" and " The 
 redeemed of the Lord shall return, and come with 
 singing unto Zion" 
 
 Close to Sir Frederick's accustomed stall in St. 
 Michael's Church has been placed a brass Cross, 
 with this inscription : — 
 
 IN GRATEFUL AND PERPETUAL REMEMBRANCE OF 
 
 FREDERICK ARTHUR GORE OUSELEY, Baronet, 
 
 First Vicar of this Parish : 
 
 Born August \ith, 1825 ; died April 6th, 1889 : 
 
 From his Parishioners. 
 
 233 
 
The following two Chapters contain Mr. 
 G. R. Sinclair's appreciation of Sir 
 Frederick Ouseley as a Musician. 
 
 234 
 
CHAPTER X 
 
 AN ATTEMPT TO ESTIMATE SIR F, OUSELEy's MUSICAL 
 
 WORK AND POSITION DIFFICULTIES UNDER 
 
 WHICH HE HAD TO CONTEND — HIS INNATE 
 APTITUDE FOR MUSIC — TWO EXAMPLES OF HIS 
 YOUTHFUL COMPOSITIONS — THE INFANT PRO- 
 DIGY UNTRAINED 
 
 It is no doubt a difficult matter for those who 
 have shared the rich inheritance of modern English 
 music to realise the full value of the work achieved 
 by Sir Frederick Ouseley. He was essentially a 
 great Church musician ; and in the music of the 
 Church SO great a change has come over our 
 Cathedrals and parish Churches within the present 
 century that, to fully estimate the services which 
 this noble and resolute man rendered to English 
 Church music, it is very necessary to have a clear 
 idea of its state at the time when he first devoted 
 himself to raising its condition. The very success 
 of his labours tends to obscure them ; for the more 
 earnest and the more devotional the Church music 
 of to-day is, the more difficult it becomes to under- 
 stand the barrenness and poverty which marked it 
 only half a century ago. Sir Frederick Ouseley's 
 greatness lies in part in the noble unselfishness 
 with which he devoted himself to a great purpose. 
 In the early part of the century, though there 
 were many composers who showed that English 
 instinct was still alive, — men, indeed, who in many 
 forms of music had earned for themselves a just 
 
 235 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 reputation, — there was, nevertheless, no great cause 
 for national pride in the aspect of English Church 
 music. It had lost much of its earlier strictness, 
 and had become loose and irregular. With the 
 earlier writers, there was always a sense of that 
 due discipline which permitted as much freedom 
 as possible without infringement of any necessary 
 laws of art. But at this time there was no clear 
 government, and Church music, following the 
 caprice of the composer, had become erratic. 
 The tendencies of the age, which were entirely 
 romantic, no doubt led writers to indulge in 
 personal emotion and wayward flights . which 
 represented the fitful moods which might pass 
 over them. Music thus had less relation to its 
 due province than to the disorderly emotions of 
 the writer. The older music created by the 
 English mind at its sanest moment was purely 
 ideal. There was real relationship between the 
 earnestness of belief and the simplicity of its 
 expression, or again, between the architecture of 
 the Cathedral and the dignity and purity of its 
 music. The art was passing, as were literature 
 and thought, through a transition period in the 
 earlier part of the present century, and licence 
 prevailed instead of law, just as, in the absence of 
 authority, individual impulse improvised its rules. 
 The result was that Church Services were lacking 
 in purpose, in austerity, and even in devotion. 
 But there was another evil no less grave. Musical 
 education was inefficient and little cared for. 
 Music had fallen almost into disrepute as a study 
 
 236 
 
DIFFICULTIES IN HIS WAY 
 
 in our seats of learning. The conservatism of 
 the Universities regarded it as frivolous, as a thing 
 quite aside from culture. And thus, instead of 
 there being a tendency to develop the musical 
 talent of the day, and to make it effective, there 
 was a force quite in the other direction. Those 
 who had the musical instinct had few means of 
 competent instruction, and were left to their own 
 resources, as if pursuing a harmless, unimportant 
 fad. No general culture was expected of those 
 who were bold enough to seek a Degree. And 
 thus, just at the time when English music was most 
 in need of organised and scientific direction, it 
 had to stumble along as best it might, with little 
 academic training of any value, and without the 
 stimulus of an honourable recognition. 
 
 It is necessary to bear these two facts in mind 
 in estimating the value of Sir Frederick Ouseley's 
 services to English music. There was at once 
 general weakness and inaptitude in Services of 
 the Church, coupled with very poor manner of 
 rendering them, and there was no sound School of 
 musical training. Music was poor, the choirs were 
 untrained, and the Universities were indifferent. 
 It was the task of many men to produce a revolu- 
 tion in these vital defects. But Sir Frederick 
 Ouseley, it may justly be claimed, was in the fore- 
 front of the fight, and devoted himself with as 
 much resolution as those around him, and with 
 much more fixed purpose than most of them. His 
 position, added to his abilities, fitted him well for 
 the task, and he may be taken as a worthy repre- 
 
 237 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 sentative of the great movement that sprang up 
 in his time and established afresh the ancient tra- 
 ditions of choral music in the Church of England. 
 Sir Frederick, of course, had the incomparable 
 advantage of natural genius. The interesting 
 and somewhat pathetic account of his eldest 
 sister proves, if proof were needed, his extra- 
 ordinary aptitude for music. The sense of pitch 
 seemed to be almost innate. There is no need to 
 dwell overlong on the effect of a certain piece of 
 music on his infant ears, for it becomes the critic 
 to look with suspicion upon the recollections of 
 over-anxious relatives, but there is no question 
 that at a very early age he had a distinct notion of 
 harmony, and even composed a little piece at about 
 three years of age. He was constantly surprising 
 those around him with his quick ear, and his 
 readiness to name notes struck casually upon the 
 piano. These accomplishments may not, it is 
 true, be so rare now as they seemed to be in 
 those days, but they are important to notice as 
 being the evidences of a mind naturally apt, 
 though untrained, and as giving proof of an 
 acute ear at an extraordinarily early age. The 
 mathematical sense thus early made itself felt. It 
 was a sense that grew with years, and may be said 
 to have predominated the genius of the musician. 
 It is, in fact, the keynote of Sir Frederick 
 Ouseley's success as a theorist, just as it marks 
 his limitations as an original writer. For it is 
 noticeable that, during all these early days of 
 boyhood, the stories that are told bear witness 
 
 238 
 
YOUTHFUL COMPOSITIONS 
 
 to the acuteness of his faculties rather than to the 
 sensitiveness of his imagination. The first point 
 of definite interest in his youthful days is an effort 
 at composition made when he was a little over 
 six and a half years of age. The small work 
 which is here reproduced is descriptive of his 
 sensations on recovery from an illness at that 
 time, and is certainly remarkable for its ideas and 
 for sense of humour and of contrast. 
 
 March z2, 1832. 
 
 Andante exfressivt. 
 
 Example I. 
 
 Aged six years and seven months. 
 
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LIFE OF SIR F. A. G. OUSELEY 
 
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 240 
 
YOUTHFUL COMPOSITIONS 
 
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LIFE OF SIR F. A. G. OUSELEY 
 
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 In even his earliest compositions he began 
 to show the influence of Mozart in a remarkable 
 manner, and this influence, indeed, may be traced 
 in almost all his instrumental works to the end of 
 his life. 
 
 Example II. 
 
 November 18, 1828. 
 
 ^ 
 
 Three years and three months old. 
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 ^ 
 
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 iE^EJ 
 
 g5 
 
 
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 ^gf f -- gg^^-^|fgg 
 
 From this time he seems to have been fairly pro- 
 lific in similar efforts, and to have given pleasure 
 to many distinguished musicians. The Duchess 
 of Hamilton (at that time well known for her skill 
 
 242 
 
UNTRAINED GENIUS 
 
 in music) describes herself as affected to tears by 
 a little collection of his pianoforte pieces. But 
 whilst his biographers have contented themselves 
 with repeating innumerable stories, all bearing 
 upon the boy's special aptitude and gift for music, 
 the most surprising fact of all lies really in the 
 absence of any attempt to train the faculty. It 
 was easy for the youth to delight a drawing-room, 
 and to bring tears to the eyes of a duchess, but it 
 did not seem easy to give him such training as 
 might make a great musician of him. He was 
 always the infant prodigy. No one thought 
 seriously of the art as such, or considered the 
 responsibility which devolved upon them to train 
 so promising a mind to the full fruition of its 
 talents. The young composer had to struggle 
 along as best he might. The chances are that it 
 never entered the minds of any one that the 
 godson of the Duke of York and the Duke of 
 Wellington, the heir of a Baronet and the holder 
 of an honoured name, should devote himself to 
 a profession which at that time was not in the 
 highest repute. It is difficult, indeed, to con- 
 jecture what Ouseley might have been had he 
 only received a thorough and adequate early 
 training and been encouraged to develop his art. 
 To-day these early years present the spectacle 
 of a youth wasting his hours in using as an 
 amusement what should have been reverenced 
 as a gift. There is no question that this want 
 of thought upon the part of those responsible 
 had a considerable and most unfortunate effect 
 
 243 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 upon his artistic career. It was impossible for 
 him to be at this period much more than an 
 enthusiastic amateur. Not accustoming himself 
 to the regular and serious expression of his 
 thought, he did not acquire, as it were, a suffici- 
 ently early mastery over the vocabulary of his 
 art. True, he always was a master of form, deeply 
 learned in all the various modes adopted by the 
 great composers, and an adept in all the machinery 
 of correct writing. But for original work of a 
 high character there is needed more than this. 
 There is needed a form native to the genius of 
 the individual, which can only be secured by a 
 constant habit of shaping the ideas which occur 
 into their true and most expressive form. If this 
 be neglected, a scientific knowledge of an art 
 invariably tends to prevent originality, by em- 
 phasising unduly methods which can only truly 
 live when animated by the force and power of 
 those who used them first. There seems little 
 doubt that Sir Frederick Ouseley had an original 
 genius of a much more romantic order than most 
 of his works might lead one to suppose. But it 
 cannot be said that his early training was such as 
 to give him full command of it. Indeed, early 
 and late he seems to have been left very much 
 to his own resources. 
 
 244 
 
CHAPTER XI 
 
 SIR F. OUSELEY, DEVOTING HIS MUSICAL TALENT TO 
 THE SERVICE OF GOD, FOUNDS ST. MICHAEL's, 
 AND PUBLISHES SACRED COMPOSITIONS — HIS 
 WONDERFUL GIFT OF EXTEMPORISATION 
 
 So it remained, as far as there is evidence to 
 show, until he moved to Oxford to go through 
 the usual course of a University education. 
 Here he seems to have worked with more or less 
 system in his musical studies, and it was at this 
 time that he came so strongly under the influence 
 of the older writers of English Church Music. 
 Some early Church works, written probably about 
 this time, show very clearly the style which he 
 had adopted, and which in later years he brought 
 to a great state of perfection. But as yet he was 
 giving no serious thought to Music ; he did not 
 yet see, or at anyrate did not appear to realise, 
 that here lay his particular talent, that to Music 
 should be dedicated all the energy of his life. 
 As an undergraduate he was very popular, and 
 his powers of improvisation were even then well 
 known. Many anecdotes which have been 
 recorded in earlier chapters give us considerable 
 insight into his life at this period. After leaving 
 
 245 
 
LIFE OF SIR i?. A. G. OUSELEY 
 
 Oxford, his next thought was to prepare for Holy 
 Orders, and in 1849 he was ordained Deacon, 
 beginning his ministry in troublous times. It 
 was only during his stay abroad (during a holiday 
 rendered absolutely necessary after his hard work 
 at St. Barnabas, Pimlico) that he realised strongly 
 the duty of devoting so great a gift to the service 
 of God. And as the idea of the foundation of 
 a school began to shape itself, his course became 
 more and more clear. He was to give all his 
 energy and ability to raising the Choral Service 
 of the Church of England to its former dignity, 
 thus rendering it a fit and worthy offering. And 
 to this aim he devoted himself with single-hearted 
 purpose during the remainder of his life. His 
 whole plan of carrying out such an idea was 
 indeed characteristic of his gentle earnestness. 
 In the endowment of St. Michael's College, Ten- 
 bury, — that group of buildings rising at the end 
 of the Old Wood Common, accessible at the 
 time it was built only by a drive of thirty miles 
 across country from Worcester, — one can see how 
 quietly and unobtrusively he began the great 
 task he had set himself The very atmosphere, 
 of St. Michael's breathes the modesty and un- 
 selfishness of its Founder. To carry out his 
 purpose, he began to devote himself seriously to 
 the composition of Church Music, upon the lines 
 he had already adopted in his earlier writing. 
 From this time he began to pour forth a perffect 
 stream of Anthems and Services, and it is upon 
 these that his great reputation as a composer 
 
 246 
 
HIS IDEAL OF CHtJRCH MtfSiC 
 
 chiefly rests. Many are of a most elaborate 
 nature, containing magnificent instances of contra- 
 puntal writing which are only to be compared 
 with the finest examples of the Madrigalian 
 Period. As an example out of many, one might 
 instance his Service in F for eight -part chorus, 
 solo voices and accompaniments for Orchestra 
 and Organ, a work which, while it has all the 
 austerity and dignity which characterise the writ- 
 ings of the Tallis School, has all the melodiousness 
 of the somewhat later School to which Blow, 
 Purcell, and others may be said to belong. The 
 Te Deum and Benedictus of this Service were 
 performed at the opening Service of the Worcester 
 Festival of 1887 with grand effect. It has been 
 said that Ouseley erred in looking too constantly 
 to the past for his models in composition ; and 
 while one may admit the truth of this statement 
 so far as his instrumental works are concerned, 
 it is certainly doubtful whether he was not in the 
 right in basing his style in Church Music upon the 
 splendid models of the earlier writers. No man 
 had a higher ideal in Music for the Church than 
 he had, and where it is so obviously a question 
 of the particular standpoint that is taken, it must 
 ever be impossible to say a decisive word. He 
 was always a hater of sentimentalism in Music, 
 and sought for a style which should at once be 
 lofty, devotional, passionless, and ethereal. In 
 his view, Music, when designed for the Church, 
 was to some extent fettered. In the Church 
 Music was but the handmaid of religion, and no 
 
 247 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 longer an art which soared free, breathing alike 
 the joys and sorrows of men, but an art which 
 sought to shadow forth that heavenly calm which 
 exists beyond the fever and fret of human life. 
 It has been sought to show that Ouseley's attitude 
 towards Church Music is almost wholly traceable 
 to the influence of Dr. Crotch's Oxford Lectures, 
 and to the very conservative views put forward 
 in them, and it is no doubt true that Ouseley was 
 to some extent influenced by him in many forms 
 of composition. But this theory is unsatisfactory 
 when it is brought to bear upon Ouseley's views 
 of Church Music. Sir Frederick's ideas were too 
 deeply rooted, and his views too characteristic 
 of the unostentatious piety of the man, to be the 
 mere outcome of the passing influence of a few 
 Oxford Lectures. It is a style which was almost, 
 one might say, a part of his creed ; it is a style 
 which alike pervades the simplicity of " How 
 goodly are Thy Tents" and the grandeur of 
 "Great is the Lord" — two thoroughly represen- 
 tative Anthems (a). He had a great power of 
 writing music suited to large masses of voices, 
 and knew well how to obtain fine, broad, choral 
 effects. Indeed, some of his Anthems were 
 especially written for Diocesan Festivals, and 
 other occasional Festivals, and are splendidly laid 
 out for such purposes. A fine example of such 
 
 (a) In connection with " How goodly are Thy Tents," it may be men- 
 tioned in passing that this exquisite little Anthem, which Goss considered 
 one of the gems of English music, was composed whilst Sir Frederick was 
 in Italy. He conceived the idea of it on first seeing Milan Cathedral in 
 moonlight. Vide Note in Mr. Bumpus's bibliography, p. 258 in/ra. 
 
 248 
 
SOME OF HIS COMPOSITIONS 
 
 an Anthem is his "It came even to pass," written 
 for the reopening of Lichfield Cathedral ; and no 
 one who has heard this Anthem adequately per- 
 formed by a large body of voices could ever 
 forget its magnificent effect. When one compares 
 such music with much of the flimsy Church writing 
 of to-day, one cannot help thinking of a similar 
 comparison which might be drawn between the 
 dignity and nobility of the older Hymns (of which 
 "O God, our help in ages past," is a striking 
 example) and the feebleness and mawkishness 
 which characterise many of our modern Hymns. 
 Indeed, the spirit of the old Chorak is thoroughly 
 present in the Hymn tunes he has left us, — in the 
 beautiful tunes to " They come, God's messengers 
 of love," and "The radiant morn hath passed 
 away." It is no exaggeration to say of these 
 tunes that they are amongst the finest in Hymns 
 Ancient and Modern. 
 
 It is of interest to refer to his Hymn tunes, for 
 they afford another example of the beautiful way 
 in which he handled anything in the nature of 
 Church Music. From the most elaborate Anthem 
 to the simplest Hymn tune there was always the 
 same reverential touch ; indeed, there was nothing 
 for the service of the Church which was too slight 
 to demand his utmost care. Another striking 
 feature in his choral writing, and one which is 
 unhappily almost entirely lost sight of by Church 
 writers nowadays, is the great beauty of his 
 inner part writing. No doubt this is due in 
 great part to his unusual facility in contrapuntal 
 
 249 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 methods, but over and above this he had undoubt- 
 edly a great feeling for true melody in all his 
 parts. Though all his works afford countless 
 examples which would thoroughly establish the 
 truth of this statement, one cannot help citing, 
 as an illustration of peculiar beauty, his Anthem 
 for six voices, "They that wait upon the Lord." 
 No one can fail to see the purity of his writing 
 in this, which may certainly take rank amongst 
 the finest examples of part writing that we have. 
 He could seldom allow himself to depart from the 
 strict style in Church compositions ; and though he 
 wrote Anthems in the somewhat freer vein of S. S. 
 Wesley or Goss, it was many years before he 
 would allow them to be published. It was only 
 after considerable pressure from his friend Mr. 
 Hampton, and other enthusiastic admirers, that 
 he consented to include "And there was a pure 
 River " in the second volume of his " Collections 
 of Anthems for Certain Seeisons and Festivals." 
 Those who know very little of Sir Frederick's 
 works are apt to dwell too strongly upon the 
 scholarly side of his writing, but to those who 
 knew the man and his works, what great possi- 
 bilities of style are suggested by this Anthem- 
 had he cared to deviate from the particular ideas 
 of Church Music which he had formed ! 
 
 He wrote two Oratorios, The Martyrdom of 
 Saint Polycarp (an exercise for his Doctor's 
 Degree) and Hagar, produced at the Hereford 
 Festival of 1873. That these works are not 
 popular is probably due to the fact that they 
 
 250 
 
SOME OF HIS COMPOSITIONS 
 
 are not modern in their tendencies. Both 
 contain too frequent instances of fine fugal 
 writing to be ever popular with Choral Societies ; 
 nevertheless, they are excellent examples of 
 good, sound music of a thoroughly English 
 character. 
 
 In his organ works, as in other music written 
 for the Church, his influence was strongly for 
 good. At a time when the works of Wdly, 
 Batiste, and other French writers had gained 
 undue hold upon English organists, he was 
 bringing out his many Preludes and Fugues 
 for the organ, — works which are not only of 
 the greatest utility as Church Voluntaries, but 
 are also of the greatest possible value to 
 every organist who has any love for the truest 
 forms of organ music. In his Sonatas for 
 the same instrument, one notices very strongly 
 that flavour of Mozart which runs through so 
 many of his instrumental works in a greater 
 or less degree. They have lately found a 
 place in most programmes of good organ music, 
 as, indeed, have many of his Preludes and 
 Fugues. 
 
 In many other ways he rendered the Church 
 vast services, in editing the " Collection of 
 Cathedral Services by English Masters of the 
 Seventeenth and Eighteenth Centuries," few of 
 which had been printed before, and by his 
 edition of the Sacred Compositions of Orlando 
 Gibbons, a task which was not accomplished 
 without extraordinary difficulties. 
 
 251 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Ouseley had a marvellous gift for extempore 
 playing, and when in the vein would produce 
 examples of every known art-form, from the 
 Sonata to the Fugue. Indeed, when seated at 
 the piano or organ he was at his best. Nothing 
 was wanting to him, and he may truly be 
 described as one of the finest extempore players 
 who ever lived. At such times he showed a 
 perfect wealth of ideas, through which his indi- 
 viduality was very clearly discernible. The form 
 he was then using, though easily traceable, was 
 never stiff and rigid. It seemed always to adapt 
 itself readily to the general drift of his thought. 
 There was a complete absence of that formality 
 which characterises his written instrumental works, 
 though in his later years — no doubt owing to his 
 secluded life and long absence from the great world 
 of musical thought — his playing was not always 
 free from a certain conventionality in phrases, 
 though this was more noticeable, perhaps, in his 
 codas. As an extempore player, Ouseley was 
 chiefly known by his improvisation of Fugues, but, 
 as it has already been pointed out, he showed a 
 full and complete mastery over almost every other 
 form. On one occasion, when Sir Robert Stewart 
 was staying at St, Michael's College, Sir Frederick 
 was asked to extemporise a Sonata. He quickly 
 consented, but asked for a subject. This Sir 
 Robert Stewart gave him, and after a few 
 minutes' thought he began his first movement. 
 It was noticeable that in this and the succeeding 
 movements there was very little, if any, allusion 
 
 252 
 
HIS EXTEMPORE PLAYING" 
 
 made to the subject itself. Nor did it appear 
 until the last movement, when, however, he gave 
 it out as a subject from which was developed a 
 most elaborate Fugue, whose counter-subject had 
 already appeared in the first movement in a more 
 or less emphasised form. The whole Sonata was 
 considered by Sir Robert Stewart and the present 
 Warden, Mr. Hampton, — men of exceptional 
 musical judgment, — most masterly, and worthy 
 even of Beethoven. The incident is remarkable, 
 as proving his wonderful quickness in seeing 
 almost at a glance how far it was possible to 
 develop any subject that was given him. He 
 was frequently called upon to extemporise, and in 
 the case of Fugues generally preferred, where it 
 was possible, to have a subject proposed to him. 
 If thoroughly suited to good contrapuntal treat- 
 ment, he would start at once upon the theme, 
 developing it to its utmost limit by every known 
 device. The man who proposed a subject to 
 Ouseley might well marvel at the profusion of 
 ideas called forth by his theme ; and to him it was 
 often a striking instance of the glorious power of 
 art, to weave, from material not always of the 
 best, a rare fabric of marvellously complicated 
 texture. But it frequently happened that the 
 subjects suggested to him were not entirely 
 suited, and he was quick to point out how, by 
 the modification of perhaps one note, the theme 
 could be made fit for his purpose. It is clear 
 from this that he was able to anticipate almost 
 entirely the treatment most suitable to his sub- 
 
 253 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 ject, and this fact very strongly emphasises the 
 mathematical side of his genius to which I have 
 already alluded. In his extempore playing, as 
 in his written works, he leaned to the style of 
 Mozart, though in this form of composition, as 
 was natural, his ideas received very much freer 
 treatment. Still, the Mozart influence even here 
 was very strongly evident. In the Sonata form, 
 too, he was never known to avail himself of the 
 Scherzo form, preferring the Old World Minuet, 
 which he treated in a particularly graceful manner. 
 Indeed, he loved all the old forms, and used all 
 alike with the most perfect freedom. He was 
 very fond of extemporising upon his own organ 
 at St. Michael's College, or again at Hereford 
 Cathedral, and frequently recalled the practice of 
 Bach, in treating a subject in several forms previous 
 to its final elaboration as a fugue in which the 
 deepest science and the most vivid imagination 
 alike played a part. In these days fugal extem- 
 porisation bids fair to become an extinct art, and 
 it is doubtful if we shall ever come upon his equal 
 again. 
 
 In this rapid and necessarily unsatisfactory 
 survey of the musical side of Sir Frederick 
 Ouseley's life-work and influence, I have endeav- 
 oured to point out how that he was first and 
 foremost a great Church Musician, how that in 
 almost all his works, in his Services, in his 
 Anthems, in his Organ Works, and even in his 
 Hymn Tunes, he had but one object — to render 
 beautiful and noble the service of that Church 
 
 254 
 
HIS EXTEMPORE PLAYING 
 
 which he so dearly loved. And truly, looking 
 back upon the many years during which it was 
 my great privilege to know him, from my early 
 school days to his death, I cannot help tracing 
 this object in all he did that was best, in all 
 those works which are, and will ever remain, 
 the memorial of a life lovingly and faithfully 
 devoted — 
 
 Ad Majorem Dei Gloriam. 
 
 G. R. S. 
 
 255 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 APPENDIX D. 
 
 CATALOGUE OF THE COMPOSITIONS OF THE REV. 
 SIR F. A. G. OUSELEY, BART., Mus.D.OxoN., COM- 
 PILED BY MR. JOHN S. BUMPUS IN 1892, AND 
 REVISED IN 1896. 
 
 N.B. — In his original prefatory note Mr. Bumpus says : — 
 " I have used my best endeavours to make the list as complete 
 as possible up to the time of going to press ; but there are, doubt- 
 less, very many compositions existing only in manuscript in various 
 private hands, besides those I have mentioned. For Sir Frederick 
 Ouseley had such facility in writing, that anybody who asked him 
 for a particular composition was sure to receive it, and scarcely 
 ever was a copy of it made. The first copy in his own handwrit- 
 ing — and a beautiful handwriting it was — was always fair, and 
 ready for the printer. 
 
 " I beg to acknowledge, with feelings of the deepest gratitude, 
 the very courteous and ready assistance of the Rev. John Hampton 
 (Sir F. Ousele/s successor in the wardenship of St. Michael's 
 College, Tenbury) in response to several of my inquiries." 
 
 I. 
 
 SACRED. 
 
 N.B. — Compositions under this section are all published by 
 Novello & Co., and in folio size, unless otherwise stated. 
 
 Services. 
 
 *In A (k 4 v) Te Deum, Jubilate, Kyrie, Credo,. Sanctus, Gloria 
 in Excelsis, Cantate, and Deus Misereatur — dedicated to the Dean 
 and Canons of Christ Church, Oxford (a). 
 
 *N.B. — Services and Anthems marked ' were published by Rev. Sir F. 
 Ouseley in the collected edition of his Cathedral Music (folio, Novello, 
 1853). All others have been printed since, and, with the exceptions 
 named, by Novello, Ewer, & Co. Anthems designated f were published 
 by Sir F. Ouseley in his Collection of Anthems for Certain Seasons and 
 Festivals, Vol. I., folio (Cocks & Co.), 1861 : Vol. II. (Novello), 1866. 
 
 (a) This beautiful and effective Service in A, together with that in G, 
 was included, some time before its publication, in Ouseley's volume of 1853, 
 
 256 
 
APPENDIX D 
 
 In B flat (k 4 v) Magnificat and Nunc Dimittis. 
 
 *In B minor (k v 4) Te Deum, Benedictus, Kyrie, Credo, 
 Sanctus, Gloria in Excelsis, Magnificat, and Nunc Dimittis. 
 
 In C (for double choir) Venite, Te Deum, Benedictus, Benedi- 
 cite, Jubilate ; Kyrie, Credo, Sanctus, Gloria ; Magnificat and 
 Nunc Dimittis, Cantate and Deus Misereatur — composed for the 
 reopening of Hereford Cathedral after restoration, June 30, 1863 
 {unpublished) {&). 
 
 In C (k 4 v) Office of the Holy Communion — Kyrie, Credo, 
 Sanctus, and Gloria in Excelsis (8vo). 
 
 In D (k 4 v) Chant Service for the Te Deum (8vo). 
 
 In D (k 4 v) Gloria in Excelsis (to match and complete Dr. 
 Rogers' Service in D) (8vo and folio). 
 
 *In E (k 4 v) Te Deum, Jubilate, Kyrie, Credo, Sanctus, Gloria 
 in Excelsis, Magnificat, and Nunc Dimittis. 
 
 *In E flat (k 4 v) Te Deum, Jubilate, Kyrie, Credo, Sanctus, 
 Gloria in Excelsis (this movement is for men's voices). Magnificat, 
 and Nunc Dimittis. 
 
 In E flat (for men's voices) Magnificat and Nunc Dimittis 
 —lithographed only. Sung at St. Paul's Cathedral. 
 
 In F (k 8 v, with orchestra) Te Deum, Benedictus, Kyrie, Credo, 
 Sanctus, Gloria in Excelsis, Magnificat, and Nunc Dimittis. 
 
 In F (k 4 v) Te Deum — composed for the Ely Diocesan Church 
 Music Society (8vo). 
 
 *In G (k 4 v) Te Deum, Jubilate, Sanctus (c), Kyrie, Credo, 
 Magnificat, and Nunc Dimittis. 
 
 Anthems in the Short Full Style. 
 
 Blessed be the Lord God of Israel (k 4 v)— for Epiphany (8vo). 
 Except the Lord build the house (k 4 v) — ^for a wedding. 
 +From the rising of the sun (k 4 v) — for Epiphany (8vo and 
 folio). 
 
 Happy is the man (k 8 v). 
 
 Hear my cry, O God (k 4 v) — dedicated to Dr. C. IV. Corfe. 
 
 I will love Thee, O Lord (k 4 v). 
 
 in a collection of Cathedral Services appearing in periodical numbers 
 under the editorship of Dr. William Marshall, who was organist of Christ 
 Church Cathedral, Oxford, from 1826 to 1S46. Dr. Rimbault was engaged 
 upon a similar task about the same period. 
 
 (b) The Cantate and Deus have been lithographed for the special use of 
 the choir of King's College, Cambridge. 
 
 (f) This Sanctus was intended for use as an Introit, It has the words 
 "of the Majesty" interpolated, 
 17 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 tis it nothing to you ? (&. 4 v) — for Good Friday. 
 
 Judge me, O God (h. 4 v) — for Passion Sunday (8vo). 
 
 Lord, be merciful to us sinners (k 4 v)— published by Morley 
 & Co., 269 Regent Street (8vo). 
 
 Lord, I call upon Thee (k 4 v) (8vo and folio). 
 
 Love not the world (k 4 v) — inscribed to the Rev. T. C. Heartley, 
 M.A. 
 
 tMy song shall be alway (k 4 v). 
 
 O Lord, Thou art my God (k 4 v) (8vo and folio). 
 
 O Saviour of the world (double choir)— for Good Friday. 
 
 Rend your hearts (k 4 v) 
 
 Righteous art Thou, O Lord (k 4 v). 
 
 *Haste Thee, O God (k 4 v). 
 
 *How goodly are Thy tents (k 4 v) (8vo and 
 folio) {d) 
 
 *I will give thanks (double choir) 
 
 *0 God, wherefore art Thou absent (double 
 choir) 
 
 *0 praise the Lord all ye heathen (k 6 v) 
 
 *How long wilt Thou forget me (k 4 v) 
 
 *I know that the Lord is great (k 4 v) (8vo 
 and folio) 
 
 *0 Almighty and Most Merciful God (a 4 v) 
 
 *0 how plentiful (k 4 v) 
 
 *0 love the Lord (k 4 v) 
 
 *Thy mercy, O Lord (k 4 v) 
 
 *Blessed is the man (k 4 v) 
 
 *Be merciful unto me (k 4 v) 
 
 *0 Lord, we beseech Thee (k 4 v) 
 
 *Save me, O God (k 4 v) 
 
 *To the Lord our God (k 4 v) 
 
 *Unto thee, O Lord (k 4 v) 
 
 Dedicated to the 
 Rev. Hy. Fyffe, 
 M.A. 
 
 Dedicated to A. T. 
 Crispin, Esq. 
 
 Composed at Rome 
 in 1 85 1, and in- 
 scribed to E. J. 
 Ottley, Esq. 
 
 (rf) The circumstances attending the composition of the anthem, " How 
 goodly are Thy tents," are exceedingly interesting. A considerable portion 
 of the year 1851 was spent by Sir Frederick Ouseley in continental travel, 
 one of the many places he visited being Milan. In the course of a solitary 
 midnight walk through that city he came suddenly upon the huge marble 
 cathedral, bathed in moonlight. The sight produced a profound im- 
 pression on Sir Frederick, as, indeed, such an one always must on any 
 thoughtful mind. The words instantly occurred to him, and he there and 
 then conceived the idea of setting them to music. It is hardly necessary 
 to observe that the anthem is one of the most expressive and beautiful of 
 Ouseley's shorter compositions. 
 
 258 
 
APPENDIX D 
 
 All the kings of the earth {h. 4 v) 
 Behold, how good and joyful (k 4 v) 
 Blessed is he whose unrighteousness (k 4 v) 
 In God's word will I rejoice (k 4 v) 
 Like as the hart (k 6 v) 
 O praise our God, ye people Ql 5 v) 
 The salvation of the righteous (k 4 v) 
 Whom have I in heaven but Thee ? (k 4 v) ^ 
 
 Dedicated to the 
 Rev. Thomas 
 Helmore, M.A. 
 
 Longer Anthems. 
 
 tAnd there was a pure river of Water of Life — composed for the 
 baptism of the daughter of the Rev. Hy. Fyffe (verse k 5 v). 
 
 And there was war in. Heaven (for the Feast of St. Michael and 
 All Angels) (full k 4 v) — pubUshed in Fowle's Short Anthems for 
 the Church Seasons (4to, 1873). (Printed for the editor.) 
 
 Ascribe ye gfreatness (Festival Anthem). 
 
 tAwake, thou that sleepest (double choir) — for Easter. 
 
 Behold now, praise the Lord (double choir) — composed for the 
 great Choral Festival in Peterborough Cathedral, fune 1863 ; 
 dedicated to the Rev. Chas. DaymoTid, Minor Canon of the 
 Cathedral, and the Rev. E. B. Why ley, Headmaster of the King's 
 School, Peterborough. 
 
 Blessed be Thou (double ch.oir)— written for the reopening of 
 Hereford Cathedral, fune 30, 1863. 
 
 tChrist is risen from the dead (verse) — for Easter. 
 
 Give thanks, O Israel (full with verse k 4 v) — lithographed only. 
 
 Great is the Lord (full with verse double choir) (8vo and folio). 
 
 Hear, O Lord, and have mercy (full k 4 v) (8vo and folio). 
 
 Help us, O God (full k 8 v). 
 
 I waited patiently (tenor solo) — dedicated to Rev. f. Hampton, 
 M.A. 
 
 I will give thanks (double choir). 
 
 *I will magnify Thee (full k 5 and 8 v) — dedicated to Rev. Sir 
 W. H. Cope,Bart., Minor Canon of St. Peter's, Westminster, 1853 (e). 
 
 (e) The Rev. Sir W. H. Cope, Bart., of Bramshill, Hants, died Jan. 7, 
 1892. While Minor Canon of Westminster he edited a useful collection 
 entitled Anthems by Eminent Composers of the English Church (8vo, 
 Olivier, Pall Mall, 1849). It contained many of the masterpieces of Tallis, 
 Fairant, Gibbons, Byrde, Batten, Childe, Rogers, Aldrich, Blow, Locke, 
 Creyghton, Goldwin, Kelway, and W. King. He also published an 
 original Communion Service in F (8vo, Novello). 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 tl saw the souls of them that were beheaded (full with verse h. 
 4 v) — for St. James' Day. 
 
 In Jewry is God known (full with verse k 5 v) — lithographed 
 only. 
 
 In the sight of the unwise (trio for S. S. S., from the oratorio, 
 Si. Polycarp) (8vo). 
 
 It came even to pass (full with verse k 4 y)— written for the reopen- 
 ing of Lichfield Cathedral, Oct. 11, 1861, and sung by .980 voices 
 (folio and 8vo). 
 
 It is a good thing to give thanks — Festival Anthem, scored for 
 orchestraj produced at the great Choral Festival in Salisbury 
 Cathedral, June 6, 1889). 
 
 Let all the world in every corner sing (full with verse k 4 v) — 
 lithographed only. 
 
 O praise the Lord with me (full with verse k 4 v) (8vo and folio). 
 
 O sing unto God (double choir). 
 
 One thing have I desired of the Lord (full with verse k 4 v) — 
 composed for the Choral Festival held in Tewkesbury Abbey, Sept. 
 1884 — hthographed only. 
 
 Plead Thou my cause (full k 4 v)— published by Metzler & Co., 
 Great Marlborough Street (8vo). 
 
 Rejoice with Jerusalem — unpublished. 
 
 Sing, O Daughter of Sion (full k 4 and S v). 
 
 *Sing unto the Lord — Festival Anthem, composed for the Annual 
 Festival of the Norfolk and Suffolk Church Choral Association, 
 1865. 
 
 tThe Lord is King (k 6 v) — for Ascension Day. 
 
 The Lord is my Shepherd (full k 4 v) — dedicated to the Rev. J. 
 Wayland Joyce. 
 
 The Lord shall roar out of Zion (k 4 v). 
 
 +They that wait upon the Lord (k 6 v). 
 
 Thou art my portion (treble solo). 
 
 tThus saith the Lord (double choir) — for Epiphany. 
 
 tUnto Thee will I cry (verse k 4 v) — for Lent, dedicated to 
 Captain E. J. Ottley. 
 
 tWho shall ascend (verse a 2 v) — for St. Bartholomew's Day. 
 
 tWhy standest thou so far off (verse k 2 v) — for Advent, dedicated 
 to Francis Deffell, Esq. 
 
 The following were elaborately scored for a full band and orga7i 
 by Sir F. A. Gore Ouseley : — 
 
 And there was a pure River. 
 Ascribe ye greatness. 
 260 
 
APPENDIX D 
 
 Awake, thou that sleepest. 
 
 Blessed be Thou. 
 
 Christ is risen. 
 
 Give thanks, O Israel. 
 
 Great is the Lord. 
 
 I waited patiently. 
 
 In Jewry is God known. 
 
 It came even to pass. 
 
 O sing unto God. 
 
 Sing, O Daughter of Sion. 
 
 Sing unto the Lord. 
 
 The Lord shall roar out of Zion. 
 
 The two following, the property of the Rev.f. Hampton, are in 
 MS. at St. MichaeVs College, Tenbury : — 
 
 O send out Thy light (tenor solo and verse k 3 v). 
 O ye that love the Lord (full k 4 v). 
 
 Chants. 
 
 Twenty-nine Single and six Double Chants, printed in Anglican 
 Psalter Chants, edited by Dr. E. G. Monk and Rev. Sir F. Ouseley 
 (4to, 1876, Novello) (/). 
 
 Thirteen Single and Six Double Chants, as sung at St. Michael's 
 College, Tenbury — lithographed for use there only. 
 
 Two Double Chants in G and B flat, composed for and printed 
 in The London Chant Book (oblong 4to, 1886). Seven Single 
 Chants, in the same collection. 
 
 Double Chant in E flat, published in Bemrose's Choir Chant 
 Book (1S82). 
 
 Hymn Tunes. 
 
 In " Hymns Ancient and Modern," 
 edited by Dr. W. H. Monk (enlarged edition, 1889). 
 
 No. ig. "The radiant mom hath passed away" (St. Gabriel). 
 No. 28. (Tune i). "Sweet Saviour, bless us ere we go" (Christ 
 Church). 
 
 (/ ) Those printed in other Chant Books are, as a rule, taken from the 
 above. 
 
 261 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 No. 84. " Once more the solemn season " (Hereford). 
 
 No. 118. "Throned upon the awful tree" (Gethsemane). 
 
 No. 424. "They come, God's messengers of love" (Woolmers). 
 
 No. 443. " For man the Saviour shed" (Aberystwyth). 
 
 No. 476. " Behold the sun " (Brightness). 
 
 No. 503. " Forty days Thy seer of old " (Confidence). 
 
 No. 509. (Tune 2). " Be near us, Holy Saviour" (Sharon). 
 
 No. 517. "When all Thy mercies" (Contemplation). 
 
 No. 544. "Praise the Lord, His glories show" (St. Ethelbert). 
 
 No. 547. " Children of the Heavenly King " (Bewdley). 
 
 In " The Hymnary," edited by Joseph Bamby 
 (Novello, 1872). 
 
 No. 43. " Go to dark Gethsemane." 
 
 No. 78. " Father, by Thy love and power.'' 
 
 No. 82. " O Lord, the heaven Thy power displays." 
 
 No. 177. "O love, how deep." 
 
 No. 185. "O Lord of health and life" (Langley). 
 
 No. 337. " Be present, Holy Trinity." 
 
 In " Church Hymns" {S.P.C.K.), edited by 
 Sir Arthur Sullivan, Mus.D. (1874). 
 
 No. 16. "The radiant mom" (St. Gabriel). 
 
 No. 185. "O God, the Son Eternal" (Tenbury, No. 2). 
 
 In " The Dublin Church Hymnal" edited by 
 Sir R. P. Stewart, Mus.D. (1883). 
 
 No. 169. " Go to dark Gethsemane." 
 
 No. 192. "Glory to God on high" (St. Augustine). 
 
 In Rev. Peter Maurices "'Choral Harmony" (1854). 
 
 No. 184. "Weep no more, Zion" (Langley). 
 No. 265. " The God of harvest praise." 
 No. 267. " To God Hosannas sing" (Peterstowe). 
 No. 285. " Hosanna be our cheerful song" (Tenbury, No. i). 
 
 262 
 
APPENDIX D 
 
 In " The National Book of Hymn Tunes, Kyries, and 
 Chants" (410, 1884). 
 
 No. 38. "Exultation." 
 No. 72. "Faith." 
 
 In " The Anglican Hymn Book^' edited by 
 Dr. E. G. Monk (Novello, 1871). 
 
 No. 19. " Saviour, breathe an evening blessing." 
 
 No. 238. " O Death, thou art no more." 
 
 No. 291. " Far from the world, O Lord" (Lovehill). 
 
 No. 341. "Ye servants of the Lord." 
 
 No. 346. " If thou wouldest life attain.'' 
 
 No. 362. "The God of harvest praise" (St. Augustine). 
 
 No. 389. " Walking on the winged wind." 
 
 In " The Children's Hymn Book " (Rivingtons). 
 
 No. 255. "All things bright and beautiful." 
 
 No. 124. "Easter flowers are blooming" (In Excelsis Gloria). 
 
 No. 186. " Shepherd, good and gracious" (Star of the East). 
 
 In " The Holy Year" (musical edition by W. H. 
 Monk, 1868). 
 
 No. 122. "When the Architect Almighty'' (Shekinah). 
 No. 120. "O Lord, Who in Thy love divine" (Ordination). 
 
 In " The Home Hymn Book" (Novello, 1887). 
 No. 253. " When sinks the sun " (Thornton). 
 
 In " The Hymnal of the Episcopal Church of America" 
 edited by W. B. Gilbert, Mus.B., Oxon. 
 
 No. 91. " Pain and toil are over now" (Pruen). 
 
 In Rev. R. R. Chop^s "Hymn and Tune Book " (1863). 
 
 No. 60. " Great mover of all hearts" (St. Cyril). 
 
 263 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 In Dean AlforcPs " Year of Praise" (1867). 
 
 No. 229. "Ten thousand times ten thousand" (Eastham). 
 
 This tune is also set to the hymn, " The ocean hath no dan- 
 ger," in The Church of England Hymnal{g). In the same book 
 there is the tune, "Exultation," set to the hymn, "There is no 
 night in Heaven." 
 
 In " The Song of Praise" edited by Geo. Prior. 
 No. 505. "Angels Holy" (St. Winifred). 
 
 In Dr. SteggalVs ^^ Hymns for the Church of England" 
 
 No. 76. " You, that like heedless strangers." 
 No. 151. "O God, the Son Eternal." 
 
 In the Appendix to '■'■Hymns Ancient and Modem" (1868). 
 No. 278. " Hail, gladdening Light." 
 
 "Now, brothers, to the holy ground" — Funeral Hymn: In 
 Memoriam, Bishop Selwyn, Princess Alice, and Archdeacon 
 Moore (Novello). 
 
 Arrangement of the tune " Hanover" for chorus, orchestra, and 
 organ (8vo — Goodwin, 71 Great Queen Street). 
 
 "Royalty" — a Hymn for Coronation Day (June 28) (Svo, 
 Novello). 
 
 " Holy Lord, Thy tender mercies." — Home Mission Hymn (8vo). 
 
 Christmas Carols. 
 
 "Angels singing, church bells ringing" (k 4 v) (Novello). 
 
 "Come, tune your heart" (Stainer and Bramle/s Collection, 
 No. v.). 
 
 "In Bethlehem, that noble place" (No. xxxii., Stainer and 
 Bramley). 
 
 "Listen, lordlings, unto me" (No. xviii., Stainer and Bramley). 
 
 {g) Musical edition by Dr. A. H. Mann, organist of King's College, 
 Cambridge, 1894. 
 
 264 
 
APPENDIX D 
 
 Cantata. 
 
 "The Lord is the true God" (exercise for his degree of Bachelor 
 in Music, Oxford, 1850 — unpublished). 
 
 Oratorios. 
 
 The Martyrdom of St. Polycarp (exercise for his degree of 
 Doctor in Music, 1855 — Novello & Co.). 
 /ragvzr(produced at the Hereford Festival, 1873 — Novello & Co.). 
 
 Organ Music (all published by Novello) iji). 
 
 Set of Six Preludes and Fugues (dedicated to Sir Herbert 
 Oakeley). 
 
 Set of Seven Preludes and Fugues (dedicated to the Hon. Miss 
 Rushout). 
 
 Set of Eighteen Preludes and Fugues. 
 
 Set of Six Short Preludes. 
 
 Set of Three Andantes. 
 
 Two Preludes and Fugues (contributed to The Organists Quar- 
 terly Journal). 
 
 Two Sonatas (the first one was composed for the opening of the 
 new organ, by Willis, in the Sheldonian Theatre, Oxford). 
 
 Voluntary for Christmas-tide (No. 8 of Original Compositions 
 for the Organ). 
 
 Voluntary in F (No. 9 of Original Compositions for the Organ). 
 
 Overture to the oratorio Hagar (arranged by B. W. Horner). 
 
 March from the oratorio St. Polycarp (arranged by Langdon 
 Colborne). 
 
 Andante Expressivo (published in George Cooper's Classical 
 Extracts for the Organ — Cocks & Co.). 
 
 (A) As a player of extemporaneous fugues, Ouseley, like S. S. Wesley, 
 was almost unrivalled. This branch of the divine art is now rapidly be- 
 coming a lost one ; but an able exponent is still left to us in the person of 
 Dr. G. B. Arnold, the organist (since 1865) of Winchester Cathedral. 
 Many quiet hours were spent by Ouseley and his friend. Dr. Arnold, in the 
 Winchester organ-loft ; subjects of extemporisation being mutually given 
 and worked out. Dr. J. C. Beckwith and Dod Perkins, the respective 
 organists of Norwich and Wells Cathedrals eariy in the present century 
 were noted fuguists. The former would sometimes pour forth four extem- 
 pore fugues on one Sunday. 
 
 265 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Works edited for Church Use. 
 
 A Collection of Cathedral Services by English Masters of the 
 lyth and iSth Centuries (folio, Novello, 1853) (0- 
 
 Contents. 
 
 Aldrich in G (Sanctus and Gloria). 
 Childe in A minor. (M. C. E.) (j) 
 Church in F. (M. C. E.) 
 Creyghton in B flat. (M. E.) 
 Farrant in D minor. (M. E.) 
 Foster ( Gloria in Excelsis for Gib- 
 bons in F). 
 Kelway in G minor. (E. ) 
 
 Kempton in B flat. (M. E.) 
 Ouseley (^Gloria in Excelsis for 
 
 Rogers in D). 
 Rogers in E minor. (M. C. E.) 
 Rogers in F {/6). (M. E.) 
 Tomkins in C. (M. with Venite, 
 
 C. E.) 
 
 The Sacred Compositions of Orlando Gibbons (folio, Novello, 1873). 
 
 Containing Prefatory Memoir, two Sets of Preces, two Services, eighteen 
 Anthems, and six Hymn Tunes. 
 
 A Collection of Anthems for Certain Seasons and Festivals (2 vols., 
 folio, Cocks and Novello, 1861-66). 
 
 Containing compositions by — Leslie, Gilbert, Greatheed, Stainer, 
 Goss, Hayne, E. J. Hopkins, Haking, Rev. H. E. Havergal, Steg- 
 gall, Oakeley, Sterndale Bennett, Armes, Allen, G. J. Elvey, 
 Wintle, Dykes, E. G. Monk, Macfarren, E. J. Ottley, Bamby, 
 Chawner, Colborne, Sullivan, and the Editor. 
 
 An old Anthem, "Hear my prayer," by Thomas Wilkinson, 
 edited by Sir F. A. G. Ouseley and Dr. A. H. Mann, from the 
 ancient choir-books of Peterhouse, Cambridge. 
 
 (j) None of these had ever been printed before, except Tomkins' Ser- 
 vice, in Warren's edition of Boyce's Cathedral Music. 
 
 {/) M. = Morning ; C. = Communion ; E. = Evening. 
 
 {k) The Sanctus, Kyrie, Gloria Tibi, Gratias, and Credo belonging to 
 this Service, which were not given by Ouseley, are in an ancient MS. 
 organ book once belonging to John Bishop, organist of Winchester Cathe- 
 dral and College (died 1737). Another copy is in an oblong quarto volume 
 in score, containing the complete Church compositions of Benjamin Rogers. 
 This is in the handwriting of Dr. Philip Hayes, Professor of Music in the 
 University of Oxford, 1777-97, and organist of Magdalen, New, and St. 
 John's Colleges. Both volumes are in my possession. — ^J. S. B. 
 
 266 
 
APPENDIX D 
 
 Anglican Psalter Chants — Single and Double, edited in conjuncfion 
 with Dr E. G. Monk (4to, 1876). 
 
 The Psalter Pointed/or Chanting, edited in conjunction with 
 Dr. E. G. Monk (various sizes). 
 
 Tains' Preces and Responses, arranged for the use of the 
 Shropshire Choral Union. 
 
 Final Amen. — This very beautiful and touching little piece of 
 music — one of Ousele/s last compositions — was composed for 
 use in Winchester Cathedral, where it is constantly sung at 
 the close of Evensong on Sundays. It was printed in the Lich- 
 field Choral Festival Book for 1889. 
 
 II. 
 SECULAR. 
 
 N.B. — Music under this section has been published only where men- 
 tioned. 
 
 Instrumental Music. 
 
 Overture in D for a full orchestra. 
 
 Overture in D minor ditto. 
 
 Overture in F ditto. 
 
 Concert March in C ditto. 
 
 Concert March in D ditto. 
 
 Minuet and Trio ditto. — published by Lafleur. 
 
 String Quartet in C (/) ? published by Augener. 
 
 Stnng Quartet m D mmor > 
 
 String Quartet in A ) KIS. property of the Rev. J. 
 
 Fugue in 4 parts for Strings > Hampton. 
 
 Minuet and Trio for a very large orchestra. 
 
 A set of unpublished " Songs without Words," written between 
 the years 1839 and 1849. 
 
 (/) The slow movement from this Quartet was arranged for the organ by 
 George Cooper, and printed in his Organ Arraitgemenls. 
 
 267 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 Vocal Music. 
 
 Glees. 
 
 Ah, why should nature (A.T.B.). 
 Gem of the crimson-coloured Even (A.T.T.B.). 
 Go, lovely rose (A.T.B.B.). 
 Go, tuneful bird (S.A.T.B.). 
 O Memory (A.T.B.). 
 
 Sweet Echo (S.A.T.B.B.) — composed 1845; published by J. 
 Vincent, High Street, Oxford. 
 The Water Sprites (S.A.T.B.). 
 The Spirits of the Wood (S.S.A.T.B.). 
 Though I may never more behold (S.A.T.B.). 
 When o'er the silent sea (S.A.T.B.). 
 
 Madrigal. 
 Your shining eyes (S.S.A.T.T.B.). 
 
 Part Songs. 
 
 Place the helm on thy brow (S.A.T.B.) ) ^thographed only. 
 War, wme, and harmony (12 parts) (/«) ) 
 Life (S.A.T.B.)— Novello. 
 
 Songs. 
 
 Set of Six — for Sunday use — (words by the Rev. Richard Wilton) 
 — published by Novello, containing : — 
 
 I. 
 
 " Oh, where." 
 
 2. 
 
 " Under the snow." 
 
 3- 
 
 « Home." 
 
 4- 
 
 "The Sparrow." 
 
 S- 
 
 " Apple Blossoms." 
 
 6. 
 
 " The resting-place." 
 
 
 " How beautiful is day." 
 
 
 " The Skylark." 
 
 
 " The ploughshare of Old England." 
 
 
 " Zephyr, should'st thou chance." 
 
 
 " Old Bells." 
 
 (w) This was written at Cambridge as an irtdei^is of what Oxford could 
 do. 
 
 268 
 
APPENDIX D 
 
 III. 
 THEORETICAL AND OTHER WORKS. 
 
 A Treatise on Harmony (8vo, Oxford, 1868). 
 
 A Treatise on Counterpoint, Canon, and Fugue, based on Che- 
 rubini (4to, Oxford, 1869). 
 
 A Treatise on Musical Form (4to, Oxford, 1875). 
 
 " History of Music," by E. Naumann, edited by Sir F. Ouseley 
 (2 vols., Cassell, 1882). 
 
 The Choral Worship of the Church — a Sermon preached at 
 Derby (8vo, 1861). 
 Jerusalem at Unity — a Sermon (8vo, 1863). 
 Secular Education — a Sermon (8vo, 1869). 
 
 Essay on "The Education of Choristers in Cathedrals," being 
 No. 9 of the series of " Essays on Cathedrals," edited by Dean 
 Howson of Chester (8vo, Murray, 1872). 
 
 Papers read before the Musical Association by Sir Frederick 
 Ouseley, President from its formation in 1874 : — 
 
 1. " Contributions on the History of Ecclesiastical Music of 
 Western Europe," January 3, 1876. 
 
 2. "On the Early Italian and Spanish Treatises of Counter- 
 point and Harmony," March 3, 1879. 
 
 3. " On some Italian and Spanish Treatises on Music of the 
 Eighteenth Century," February 6, 1882. 
 
 4. " On the Position of Organs in Churches," February i, 1886. 
 
 These have all been published in the Association's Papers (Novello). 
 
 Paper on " Organs^' read at the Musical Institution, Sackville 
 Street, April 3, 1852. 
 
 Papers on Church Music, read at the Church Congresses at Man- 
 chester ( 1 863), Wolverhampton ( 1 867), Leeds ( 1 872), Brighton ( 1 874). 
 
 269 
 
LIFE OF SIR F. A. G. OUSELEY 
 
 The following works are in Manuscript in the Library of St. 
 MichaePs College, Tenbury : — 
 
 " Let tears fall down" (ode on the death of the Duke of Welling- 
 ton, 1852) — scored for full orchestra. 
 
 " Now let us praise famous men " (ode on the Installation of the 
 Marquis of Salisbury as Chancellor of University of Oxford)— for 
 soprano solo, five-part chorus, and full orchestra. November 1869. 
 
 " Peace Ode" (after the Crimean War) — for soprano solo, five- 
 part chorus, and full orchestra (1855). 
 
 In the library at St. Michael's College, Tenbury, is also pre- 
 served a small volume 9^ x 5 J inches, containing 243 compositions, 
 showing the extraordinary precocity of Ousele^s genius. Many 
 of these were composed at the age of five years (chiefly waltzes, 
 marches, and melodies), for his parents. Queen Adelaide, Madame 
 Pasta, Madame Weiss, Lady Denbigh, Lady Fitzgibbon, Hon. 
 Miss Jervis, and others. The earliest example is dated November 
 1828, when only three years and three months old. 
 
 At the age of seven and a half years he composed an opera, the 
 MS. of which consists of 53 pages of six lines each, but it has no 
 distinguishing title ; and when about eight he wrote another, with 
 Italian words, entitled, L'Isola Disabitata, which was noticed in 
 the Musical Library ^ of September 1834. About the same time 
 he composed a duet, " Vanne a regnar besnomio " per Soprano e 
 Contralto. This was printed by Novello, and favourably reviewed 
 at the time of its appearance. 
 
 In a book entitled Original Campositions in Prose and Verse, 
 published by Edmund Lloyd, of Harley Street, Cavendish Square 
 (1833), appeared a March in C and an Air in A flat, both composed 
 at the age of six. 
 
 In the eleventh volume of The Harmonicon (1833) appears 
 another March in C. 
 
 270 
 
INDEX 
 
 PAGE 
 
 Adelaide, H.M. Queen 14, 270 
 Ainslie, Rev. Preb. A. C. -159 
 Alderman, Oxford . . . 208 
 
 Allegri 71 
 
 Alscote I 
 
 Ambrosian Chants . . . 167 
 American Church, Sir F, O. 
 
 looks to . . , -53 
 " Ancient and Modern, " Hymn 
 
 Book .... 5, note 
 Angelic ministrations . . 209 
 Arms of Ouseley Family 206, note 
 Arnold, Dr. G. B. . . . 265 
 Arnold, Mr. Matthew . • 151 
 Art, Sir F. O.'s appreciation of 
 
 all sides of . . . . 205 
 Atlay, Bp. James, of Here- 
 ford . . . ' . 160, 229 
 Avery, John, Organ builder . 29 
 Ayrton, Mr. W. . . . 9 
 Ayscough, Rev. Preb. T. A., 
 quoted . . . . 1S4 
 
 B 
 
 Bach 254 
 
 Bach Choir . . . .218 
 
 Bai 71 
 
 Bailey, Mr. H. J. . . 178, 182 
 
 Baini 71 
 
 Baker, Sir Henry . . . nS 
 Bands in Church Services . 204 
 Barlow, Nurse . . .18 
 Barnby, Mr. H. . .9° 
 
 Barnes, Rev. Dr., Ch. Ch. . 29 
 Barrett, Mr. W. A., 187, 
 
 quoted . . . I9S-I97 
 Barrington, Danes . : 9 
 
 Bather, Ven. Archdn. . . 192 
 
 2 
 
 Batiste 251 
 
 Bayne, Rev. T. Vere . . 36 
 Beaconsfield . . . . 6, 33 
 Beckwith, Dr. J. C. . 265, note 
 Beethoven . . . 191, 253 
 
 Bells 204 
 
 Bennett, Rev. W. J. E. 49, 52, 54, 
 57 ff., 67, 78, 98 
 Benson, Archbp. . . . 220 
 Benson, Rev. R. M. . -36 
 Berlin .... -77, 78 
 Bishop, Sir H. R. 86, 87, 146, 
 177, note 
 Bishop, John . . 266, note 
 
 Blenheim obelisk . . . 208 
 Blomfield, Bp. . . 49, 64 
 Blow, Dr . . .150, 247 
 Bockleton . . .82, 93, 94 
 Borgatta, Signer ... 20 
 
 Bovieri 71 
 
 Boyle, Mr. G. F. (Lord Glas- 
 
 gow) . . .36, 39, 42 
 
 Brighton, Church Congress at 165 
 Budinger, Mr. J. C. . . 103 
 Buildwas Abbey ... 81 
 Bull, Rev. Dr., Ch. Ch. . 29 
 
 Bumpus, Mr. J. S. 115, note ; 248 
 
 note ; and Appendix JD, pp. 256 ff. 
 Burford (Salop) 35, 46, 47, 72, 82 
 Burford, Deanery of . -95 
 
 Cadiz 69 
 
 Cadmore Brook . . . 106 
 Cambridge, Sir F. O.'s Hon. 
 
 Degree .... 151 
 Canonry of Hereford . 160, 220 
 Canons, writing of . 1 16, 225 
 
 Capetown, Bp. Gray of . . 185 
 Capetown, Cathedral at . . 109 
 
 71 
 
INDEX 
 
 Catania 71 
 
 Chants 65, 118, 167, 202, 204, 261 
 Cherwell .... 208 
 
 Choragus 
 Choial Festivals 
 Choral Service 
 Choral Unions 
 
 . 145 
 
 165, 259, 260 
 
 • 74. 246 
 
 . 160 
 
 Choirmen and Choristers, 77, 78, 
 157, 158, 226 
 Choirs, training of, etc. . 161, 165 
 Chorister boys, Saxon and 
 
 English .... 76 
 Christ Church, Oxford . 29 ff., 230 
 " Christian Year," author of . 42 
 „ quoted . . 230, 231 
 
 Church Congresses, Sir F. O. at 162 
 Church and State . 50, 52 ff., 70 
 Churton, Rev. John . . 82 
 
 Cintra 69 
 
 Classical studies 27, 28, 30, 71, 122 
 CleeHill .... 83 
 Clerke, Archdn., Ch. Ch. . 29 
 Colborne, Dr. L. . . . 265 
 Compositions of Sir F. O. 115,118 
 Convocation . , • 73) 158 
 Convocation, Chronicle of . IS9 
 Cooper, George . . 267, note 
 Cooper, Rev. V. K., quoted 109, 221 
 Cope, Rev. Sir W. H. . . 259 
 Corfe, Bp. C. J. . . .89 
 Corfe, Dr. C. W. . 44, 145, 257 
 Coronation Anthem for King 
 
 James II 150 
 
 Courteen Hall, Northants . i 
 Coward, Rev. J. H. . . 188 
 Crest, Ouseley . . . 207 
 Crest, St. Michael's College . 207 
 Crispin, Mr. A. T. . . 258 
 
 Crock/ord's Clerical Directory . 151 
 Crotch, Dr. W. 9, 113, 177, note 
 
 ,, Lectures of . 122, 248 
 Cummings, Mr. W. H. ■ . 85 
 
 D 
 
 Daily News, referred to 
 
 67 
 
 Davidson, Mrs. Henry . 
 
 10 
 
 Dawes, Very Rev. Dean 
 
 156 
 
 Daymond, Rev. C. 
 
 259 
 
 Deacons' Orders . 
 
 49 
 
 Deane, Rev. H. . . 1 
 
 4. 154 
 
 Deffel, Mr. Francis 
 
 260 
 
 De Gex, Rev. G. F. . 49, 
 
 69,76 
 
 Degrees, Sir F. O.'s B.A. . 45 
 Mus.Bac. ... 84, 85 
 
 M.A 85 
 
 Mus.Doc 85 
 
 Diocesan Festivals . . 248, 259 
 Disraeli, Right Hon. B. . 219 
 
 Dissenters, Sir F. O.'s attitude 
 
 tovfards .... 206 
 Doctors of Music, velvet cap . 86 
 Dodson, Sir J. . . • S2 
 Dodsworth, Rev. W. . 52, 54, 63 
 Dolby, Miss .... 85 
 Dorking .... 67 
 Dorking Vicarage, 26, 28, 177 
 
 Dresden ... 76, 77 
 Dublin, Sir F. O.'s Hon. 
 
 Degree .... 151 
 Dufferin, Lord • . • 39 
 
 E 
 
 Edinburgh, ;Sir F. O.'s Hon. 
 
 Degree .... 151 
 Ella, Professor John . . 162 
 Elvey, Dr. Stephen 11, note ; 40 
 Elvey, Sir George J. 15, 89, 191 
 Erastianism . . . -51 
 Eton, Manners of . . . 108 
 Examination work, SirF. O.'s, 
 
 at Oxford , . . .148 
 
 Faussett, Rev. Dr., Ch. Ch. 29 
 Flight, Mr. . . .91, 104 
 
 Fontemaggi . 
 
 , 
 
 ■ 71 
 
 Foreign tour, and Organs 
 
 68-78, 191 
 
 Foster, Mr. Arthur 
 
 
 . 177 
 
 Foster, Mr. John . 
 
 
 . 77 
 
 Eraser, Bp. James . 
 
 
 . 232 
 
 Freemason . 
 
 
 . 220 
 
 Freischutz 
 
 
 • 17 
 
 Freyburg Organ 
 
 
 . 75 
 
 Frome . 
 
 
 • 78 
 
 Fugue playing 41, 11 
 
 6fr.; 
 
 197, 252 ff. 
 265, note 
 
 Fugue, treatise on . 
 
 
 • "5 
 
 Fugues on Oxford chime 
 
 > . 118 
 
 Fyffe, Rev. Henry 
 
 49. 
 
 67, 68, 76, 
 
 
 79. 258. 259 
 
 272 
 
INDEX 
 
 PAGE 
 
 Gaboussi, Signor ... 20 
 Gaisford, Very Rev. Dean 29, 44, 85 
 Gaines, Sir F. O.'s love of 179 ff. 
 Gardiner, Sir K. . . .70 
 Genoa . . . . 69, 70 
 German, SirF. O. 's proficiency 
 
 in 193 
 
 Ghosts . . . 209 ff. 
 
 Gibbons, Orlando . . 251, 266 
 Gibraltar .... 70 
 Gladstone, Right Hon. W. E. 206 
 Glasgow, Lord . . 36, 39 
 Globe, Newspaper, quoted 37, 180 
 Goldschmidt, Mr. Otto . .218 
 Gordon, Rev. Osborne . . 29 
 Goss, Sir John, 9, 10, note; 189, 191, 
 248, note ; 250 
 Granville, Dr. ... 6 
 Gray, Bp., of Capetown . 185 
 
 Gregorian Chants . 65, 167, 204 
 Grove, Sir G.'s Dictionary of 
 Music and Musicians, quoted 1 1 3, 
 IIS 
 
 H 
 
 Hagar, Sir F. O.'s Oratorio 115 
 and note, 229, 250, 265 
 Haileybury, E. Indian College 5 
 Hall Bam Park . . 6, 99 
 
 Hallelujah Chorus . 16, 200, 201 
 Halle, Sir Charles . . 85, note 
 Hamilton, Duchess of 11, 19, 242 
 Hampden Bp, Renn Dickson, 
 of Hereford 29, 75, 82, 87, 89, 
 
 90. 97 
 Hampden, Rev. E. R. . . 36 
 Hampton, Lord ... 39 
 Hampton, Rev. John 10, note; 11, 
 
 note ; 31, note ; 48,85,89, 107, 113, 
 
 191, 226, 229, 250, 253, 256, 
 
 259, 261 
 Handel . 38, 79, 113, 187, 199 
 Harington, Sir John . . 49 
 Harmonicon, quoted . 7, 270 
 Harmony 100, 115, 208, 224, 225 
 Harris, Renatus, etc. . 130. 131 
 Harrison, of Rochdale . . 104 
 Havergal's Memorials, quoted 42, 
 
 79, 116, 120, 144, 148, 149, 15s. 
 
 162, 180, 181, 184, 191, 195. 217, 
 
 223, 230 
 Hawk, quoted . . .174 
 
 Hawkshaw, Rev. Preb. E. B. 227 
 Haydn . . . . 9, 118 
 Hayes, Dr. P. . . 266, note 
 Heartley, Rev. T. C. . . 258 
 Heather, Dr. William . .138 
 Helmholtz .... 224 
 Helmore, Rev. Thomas . 259 
 
 Herbert, George, Life of, 
 
 quoted .... 48 
 Hereford, Bps. of. See Atlay, 
 
 Hampden, Percival 
 Hereford, Canonryof . . 220 
 Hereford Cathedral, 87, 155, 156, 
 160, 193, 224 ff., 257, 259 
 Hereford Cathedral, Choir 156-158, 
 226, 229 
 Hereford Chapter, ^Sir F. O. 
 
 Proctor for. . . .158 
 Hereford, Diocese of . 81, 106 
 Hereford Festival . . 250, 265 
 Herefordshire Philharmonic 
 
 Society . . . .160 
 Hertingfordbury, Herts . . 5 
 Hervey's Meditations . .199 
 Hessey, Ven. Archdn. . .158 
 Hill, Edward, Ch. Ch. . . 30 
 Hingston, Mr. ... 24 
 Holland, John Murray . . 87 
 Horace, quoting from . . 39 
 Horner, B. W. . . . 265 
 Hospitality, SirF. O.'s . . 183 
 How, Bp. W. Walsham, of 
 
 Wakefield . . . 121, 195 
 
 Howson, Very Rev. Dean . 269 
 
 Hutchinson, Mr. W. H. Florio 177 
 
 Hymns, Sir F. O. on 115, 164, 203, 
 
 261 ff. 
 
 Ince, Rev. Canon, Sermon 
 
 by 230 
 
 Irish Famine ... 38, 39 
 
 J 
 
 Jebb, Rev. Dr. John . .160 
 Jelf, Rev. Dr. R. W., Ch. Ch. 29 
 Jelf, Rev. W. E., Ch. Ch. 29, 40 
 Joyce, Rev. James, Dorking . 26 
 Joyce, Rev. James, Strathfield- 
 saye 176 
 
 18 
 
INDEX 
 
 Joyce, Rev. James Wayland, 26, 
 27, 46, 51, 52 ff. (Letters), 66, 82, 
 159. 223, note ; 260 
 
 K 
 
 Keble, Rev. John 42, 52, 54, 63, 
 230, 231 
 Keble, Lock's Biography of, 
 
 quoted . . • • 93 
 Kenrick, Mr. . . 227, 228 
 
 Kenyon, Mr. ... 63 
 
 Kitchin, Very Rev. Dean 36, 37, 
 45. 75. 2'o 
 Kossuth . . . -76 
 
 V Allegro .... 88 
 Langley, Slough . 68, 78, 79, 88 
 Lectures, Subjects of Sir F. O.'s 145 
 Ledwyche . . . .81 
 Leeds, Church Congress at 164, 203 
 Leipzig .... 77, 108 
 Leipzig Conservatorium . . 151 
 Lewis, Mary .... 5 
 Leysters . . . 82, 93 
 Library at St. Michael's, Gen- 
 eral, 4, 114 ; Musical, 113, 114,270 
 Lichfield Cathedral . 249, 260 
 Liddon, Rev. Dr. H. P. 36, 209 
 
 Lisbon 69 
 
 L'Isola Disabitata, F. O.'s 
 
 opera of . . . . 8, 12 
 Logier, John Baptist . 10, 21, 22 
 Lola Montes .... 75 
 London, Bp. of, Letter quoted 143 
 Lovehill House. See Langley. 
 Lubbock, Sir John . . 151 
 
 Lucerne .... 74 
 
 Lucknow, Sir Gore Ouseley at 2 
 Ludlow. . 46,74,75,78,81 
 
 Ludlow, Ven. Archdn. of . 192 
 Ludlow, Sermon preached at, 
 by Sir F. O., Appendix B 131 ff. 
 
 M 
 
 Macfarren, Sir George 117, 143 
 
 Madrigal, derivation of . . 150 
 
 Madrigalian period . . 247 
 
 Magdalen Chapel, Organ in 37, 145 
 Malibran . . • .12 
 Manchester, Bp. Fraser, of . 232 
 Manchester, Church Congress 
 
 at 163 
 
 Mann, Dr. A. H. . 264, note ; 266 
 Manning, Ven. Archdn. 52, 54 
 
 Mapa 69 
 
 Marriott, Rev. Charles . 52, 54 
 Marshall, Dr. William 44, 257, note 
 Maskell, Rev. — . .52, 54, 63 
 Mee, Rev. Dr. J. H. 38, note ; 145 
 Melody and Harmony, defini- 
 tions of ... . 208 
 Memorial Fund . . .219 
 Mendelssohn ... 13, 14 
 
 Mendelssohn's Hear my 
 
 Prayer .... 146 
 Meole Brace .... 192 
 Messiah, Handel's . . 38, 79 
 Messiah, MS. of . . .113 
 Middleton on the Hill . . 82 
 Milan Cathedral, 248, note; 258,note 
 Miller, Revs. John and Thomas 82, 
 
 93 ff- 
 Milman, Rev. H. . . . 36 
 Milton and the Organ . 100, 130 
 Monday Popular Concerts . 162 
 Monk and Ouseley's Anglican 
 
 Psalter Chants . . 114,261 
 Monk, Dr. E. G. . . .114 
 Monkland . . . -US 
 Montalembert, Contesse de . 18 
 Morning Chronicle, referred 
 
 to , . . . 66, 67 
 Mornington, Lord, Glee . 200 
 Morris, Mr. A. H. G., quoted 203 
 Morris, Rev. M. C. F., quoted 
 
 181, 182 
 Moscow, Sir Gore Ouseley at 3 
 
 Mozart . . . . 9, 12, 19 
 Mozart, influence of, on Ouse- 
 ley . . . 242, 251, 254 
 
 Munich 75 
 
 Murray, Herbert, Ch. Ch. . 36 
 "Musical Association," Sir 
 John Stainer's Paper read 
 before . . 38, 119, 188 
 
 " Musical Association," Sir F. 
 O.'s Papers read before, 162 and 
 166 ff.. Appendix C 
 Musical Faculty at Oxford, . 139 
 Musical Library, quoted 8, 270 
 
 Musical News, quoted . . 143 
 
 274 
 
INDEX 
 
 PAUB 
 
 Musical Standard, quoted 120, 
 191, 218 
 " Musical Statute " passed . 139 
 Musical Studies of Sir F. O. . 120 
 Musical training of the Clergy, 
 
 Sir F. O. on . . 78, 164 
 " Musical Union " . . . 162 
 Music and Letters . . 28, 45 
 Music, English Church . 235 ff. 
 Music, History of Ecclesiastical, 
 
 Appendix C, I. . . 166-168 
 Music, Italian and Spanish 
 
 Treatises on. Appendix C, 
 
 II. and III. . . 168-171 
 Music, Mr. Southgate's Brief 
 
 History of Degrees in . . 144 
 Music, power of, etc. . . 100 
 Music, Royal Academy of 3, 162 
 
 N 
 
 Nabob, Saadut Ali, Sir Gore 
 
 Ouseley at Court of, . . 2 
 
 National Church . . 54 
 
 Naumann, Dr. Emil . . 115 
 
 Naumann's History of Music . 269 
 
 New College Hall ... 38 
 
 Newman, Rev. J. H. . . 42 
 
 Newnham College . . . 222 
 "No Popery" Riots . 64,65 
 
 Oakeley, Sir Herbert 116, 143, 265 
 Oath of Supremacy . . S3 
 Ogilvie, Rev. Dr., Ch. Ch. . 29 
 Old Wood Common, 82, 88, 246 
 Old Wood Parish . . .106 
 Ordination, Sir F. O. pre- 
 paring for . . . 46-48 
 Organ at Hereford Cathedral 
 
 I93> 2S4 
 Organ at St. Michael's 89, 103, 104 
 Organ, Sermon on opening of 
 
 a new, Appendix B . 123 ff. 
 Organist, accompaniment of . 205 
 Organist, a youthful . . 203 
 Organists, College of . .IS' 
 Organs, Foreign 72-7S> 77. '91 
 
 Organs, on position of, in 
 Churches, Appendix C, IV. 171, 
 204 
 
 Ottley, Mr. E. J. . . 258, 260 
 Ouseley, Alexandrina Percival J, 32 
 Ouseley, Colonel Joseph . 5 
 Ouseley, Crest of, etc. . . 207 
 Ouseley Family . . . i, 2 
 Ouseley, Lady . 4, 16, 32, 48 
 Ouseley, Mary Jane 5, 6, 9-1 1, 17 
 Ouseley, Sir Gore . 2-6, 9, 13, 34 
 Ouseley, Sir William . . 2 
 Oxford, Christ Church Cathe- 
 dral . . . 42-44, 230 
 Oxford, F. O. at Ch. Ch. 29 ff. 
 Oxford "Movement" . 42, 50 
 Oxford, proposed establish- 
 ment of Sir F. O.'s School 
 and College near . . 83 
 Oxford, Sir F. O.'s views on 
 
 modern .... 205 
 Oxford, Town Hall . 38, 40 
 
 Pakington, Mr. J. S. . . 39 
 Palais Royal, Collection of 
 
 Music . . . '113 
 Palestrina . . . .71 
 Paley, on " Argument" of 48, 59 
 Pall Mall Gazette,reientA to, 10, note 
 Papal Supremacy . . S7i 72 
 Papers read by Sir F. O., 
 Appendix C, at Church 
 Congresses, 163 ff.; before 
 " Musical Association " 166 ff. 
 Parratt, Sir Walter 145, 146, 190 
 Peckwater, Ch. Ch. Oxford . 30 
 Pennell, Mr. — . . .36 
 Percival, Bp. John, of Here- 
 ford, quoted . . 110, in 
 Perkins, Dod . . 265, note 
 
 Persian enamelled plate . 80 
 
 Persian inlaid furniture . . 4 
 Persian jewel . . . 185 
 
 "Persian Poets" ... 4 
 Persia, Sir G. Ouseley at Court 
 
 of 3 
 
 Peterborough Cathedral . . 259 
 "Pickwick"- . . .178 
 Piggott, Mrs. . . .154 
 
 "Pigs' March," Sir F. O.'s. . 196 
 Poetry, Sir F. O.'s . 178, i79 
 " Poet's Stone " . . .94 
 Politics, Sir F. O.'s Conser- 
 vatism .... 205 
 
 27s 
 
INDEX 
 
 PAGE 
 
 Portraits of Sir F. O. . 1 76 ff. 
 Potter, Cipriani ... 9 
 Praeger, Translator of Dr. 
 Emil Naumann's History of 
 Music . . . .115 
 Precentorship of Hereford 87,155. 
 
 156 
 Precentorship of Winchester . 7 1 
 Prendergast, Mr. A. H. D. . 219 
 Priest's Orders . . 64, 87 
 Primrose League . . . 206 
 Proctor, Sir F. O. in Con- 
 vocation for Hereford 
 Chapter . . . .158 
 Proctors, Oxford University 86, 87 
 Professorship of Music 86, 87, 144 
 Prout, Mr. Ebenezer . . 224 
 Purcell . . . .150, 247 
 Pusey, Rev. Dr. E. B. 29, 42, 52, 
 54, 100 
 "Puseyite" .... 82 
 
 Queen Anne's Bounty . .160 
 
 R 
 
 Radcliffe Library . . 208 
 Radley College . . 114,177 
 Reinagle, Mr., quoted . . 14 
 Reynolds, Memoir of Sir G. 
 
 Ouseley by, quoted . 3, 207 
 
 Reynolds, Sir Joshua, Dis- 
 courses .... 122 
 Rich, Rev. Canon J. 36, 39-41, 65, 
 74. 84 
 Richter, Hans . . . 143 
 Rimbault, Dr. . . 257, note 
 Ringrose, St. Aldates, Oxford 30 
 Rogers, Benjamin . . 266, note 
 Rome . . . . 70 ff. 
 
 Rowden, Edward ... 87 
 Royal Supremacy . . 52 ft'. 
 
 Rushout, Colonel George . 89 
 Rushout, Miss Georgiana 89, 92, 
 103, 216, 265 
 Rushout, Miss Harriet . . 82 
 Russell's yoi . . . .149 
 
 PAGE 
 
 Salisbury Cathedral . . 260 
 Salisbury, Marchioness of . 17 
 Samson, Handel's . ■ • 3° 
 Sandys, Mr. J. E. . . • IS' 
 Santini, Abbate F. . 71, "3 
 
 Schneider, Organist . . 7° 
 Schubert, Music of . . 192 
 Scotch Church, Sir F. O. 
 
 looks to . • • -53 
 Secession to Rome, unwar- 
 ranted report of . . S3, 67 
 Sermons, Sir F. O.'s, 105 ; on 
 opening of a new Organ, 
 Appendix B, 123 ff. ; on 
 the Surplice, Appendix 
 B, 131 ff. ; his last at St. 
 Michael's . . . .224 
 Seville ... 69, 71, 192 
 
 Sheldonian Theatre 85, 153, 265 
 Siciliani . . . -71 
 
 Sinclair, Mr. G. R. . . 234 
 
 Smith, J. C 113 
 
 Solomon, Mr. ... 20 
 Southgate, Mr. T. L., quoted, 
 
 31, note; 117, 118, 120, 141, 
 144, 162 ff.; 191, 193, 203, 
 210 
 Spanish Music 26, 120, 192, 196 
 Spohr, Quartet . . .194 
 Spohr's Symphonies . . 113 
 Spring Grove ... 88 
 
 Stainer, Sir John, quoted, etc. 
 
 38, 118, 119, 121, 122, 140, 
 141, 188 
 Stanford, C. Villiers, . . 143 
 St. Barnabas, Pimlico, 49, 64, 67, 
 70, 83, 97, 98 
 Stewart, Sir Robert 140, 143, 252 
 " St. Frederick " . . . 107 
 St. James's Gazette, quoted 35, note; 
 85, note 
 St. Michael's, Boys at . 108, 109 
 St. Michael's Church and 
 College, Dedication, etc., 
 88 ff.; description of Church, 
 90 ff. ; foundation of, 82-84 ! 
 Library at — General, 4, 114; 
 Musical, 113, 114; Organ, 
 89, 103, 104 ; Ornaments, 
 furniture, etc., 102 ff.; re- 
 garded as a restitution of 
 Church property, 99 ; ritual 
 
 276 
 
INDEX 
 
 at, 98, 99; Wardenship of 
 
 College, worries of . 1 1 1 ff. 
 
 St. Neots, Hunts . . . i6i 
 Stockton, F. R., quoted . 175 
 
 Stopford, Arthur F. . .87 
 St. Paul's Cathedral . 188, 191 
 St. Paul's, Knightsbridge 49, 67 
 St. Petersburg, Sir G. Ouse- 
 
 ley at .... 3 
 
 St. Polycarp, Sir F. O.'s 
 
 Oratorio 85, no, 115 and 
 
 note, ^50, 260, 265 
 Strathfieldsaye . . .176 
 St. Stephen's Keview, quoted 84, 108 
 St. Winifred's, Salop . . i 
 Sullivan, Sir Arthur S. 89, 90, 143 
 "Sweet Echo," Glee 38 and note, 
 
 268 
 Switzerland .... 192 
 
 Tallis, forty-part Song 114, 247 
 Taylor, Rev. J. R. G. . . 226 
 Teheran, Sir G. Ouseley at . 3 
 Teme and Teme Valley 46, 81 
 
 Temple, Sir Richard . • 151 
 Tenbury . . 46, 81, 228 
 
 Tenhury Advertiser, quoted . 228 
 Tewkesbury, Choral Festival 
 
 at 260 
 
 Tewkesbury Abbey Church, 
 
 Sermon preached at, on 
 
 Organ, Appendix B . 130, 131 
 "Tom Quad," Ch. Ch. . 33, 38 
 Toronto, Trinity College, 
 
 Musical Degrees at . 141 ff. 
 Total Abstinence Movement . 180 
 Treatises of Sir F. O. . -US 
 Truro Cathedral . . . 220 
 Truth, quoted . . 174 
 
 Turner, Mr. . 227, 228 
 
 Tuttiet, Rev. Lawrence . . 49 
 
 U 
 
 Universities, Protest of, 
 against Toronto in absentid 
 Degrees . . . I4i> '4^ 
 
 University Amateur Musical 
 Society .... 4° 
 
 PACE 
 
 Venice .... 72 
 Victoria, H.M. Queen . . 14 
 Vincent, Dr., Sir F. O.'s 
 
 Letter to . . . .143 
 Vinhalls, Ludlow ... 83 
 Violoncello . . . .194 
 
 W 
 
 Wagner . . . .120 
 Wakefield, Bp. of (W. W. 
 
 How) . . . 121, 195 
 
 Wales, H.R.H. Prince of . 220 
 Waller, Edmund . . 6, note 
 Watts, G. F. . .151 
 
 Webb, Mr. Aston . . . 233 
 
 Webber, C 40 
 
 Weber ... • 17 
 
 Wedding March . 40 and note 
 Weiss, Mr. ... 85 
 
 Wellesley, Lord ... 2 
 Wellesleys and Wesleys 2 
 
 Wellington, Arthur, Duke of 14, 
 17, 243, 270 
 W^ly . . . 251 
 
 Wesley, Samuel . 9, 250, 265 
 
 Westminster Abbey, Canonry 
 and Deanery of, 219, 220 ; 
 Organ loft, 191 ; Verger, 
 43, note 
 Whewell, Professor W. 150, note 
 Whitelock, earlier members of 
 
 family .... 4 
 Whitelock, John and Mary . 3 
 Whitelock, Miss . . .16 
 Whyley, Rev. E. B. .. . 259 
 Wilberforce, Archdn. R. I, 52, 54 
 Wiberforce, Bp. Samuel 83, 223 
 Wilberforce, Henry . . 52 
 William iv., King ... 14 
 Willis, Organ builder 104, 131, 265 
 Wilson, Mr. A. C. . . 36 
 
 Wilton, Rev. R. . . . 268 
 Winchester Cathedral . . 267 
 Winchester, Precentorship of 71 
 Windsor, St. George's Chapel 15, 
 77, 89 
 Wolverhampton, Church Con- 
 gress at . . . . 164 
 Woodyer, Mr. Henry . 83, 92 
 Woolmers, Herts . . S, 23 
 
 19 
 
INDEX 
 
 Worcester Cathedral, Pre- 
 centor and Choristers of . 229 
 
 Worcester Festival (1887) . 247 
 
 Worcester, Sermon preached 
 at All Saints Church, 
 Appendix B . . 123 fF. 
 
 Worcestershire Chronicle, 
 quoted . . . .92 
 
 Wordsworth, William . 94, 194 
 
 Worfield, near Bridgnorth 
 
 PAGE 
 I 
 
 York, Frederick, 
 York Minster 
 York, Synod of 
 
 Duke of 17, 
 
 243 
 114 
 
 159 
 
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 41 
 42 
 
 NOVEMBER 1900 
 
November 1900 
 
 Messrs. Methuen^s 
 
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 THE INDIAN BORDERLAND : Being a Personal Record 
 of Twenty Years. By Sir T. H, Holdich, K.C.I.E. Illustrated. 
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 MODERN ABYSSYNIA. By A. B. Wylde. With a Map and 
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 THE HISTORY OF THE BOER WAR. By F. H. E. CUN- 
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 DARTMOOR: A Descriptive and Historical Sketch. By S. 
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Messrs. Methuen's Announcements 3 
 
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Messrs. Methuen's Announcements 5 
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 Edited by J. C. Collins, M.A. 
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Messrs. Methuen's Announcements 
 
 Poetry 
 
 WRIT IN BARRACKS. By Edgar Wallace. Cr.?,vo. y.bd. 
 
 Mr. Edgar Wallace, a member of the Royal Army Medical Corps, is a follower of 
 Mr. Kipling, and his ballads of soldier life and sufferings are well-known in South 
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 THE RUBAIYAT OF OMAR KHAYYAM. Translated by 
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 and a very full commentary on each stanza. Professor Ross, who is an admirable 
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 interesting facts. 
 
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 LACE-MAKING IN THE MIDLANDS, PAST AND 
 present. By C. C. Channbr and M. E. Roberts. With i6 
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 AGRICULTURAL ZOOLOGY. By Dr. J. Ritzema Bos. 
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 A SOUTH AFRICAN ARITHMETIC. By Henry Hill, 
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 This book has been specially written for use in South African schools. 
 
 A GERMAN COMMERCIAL READER. By S. Bally, M.A. 
 
 Crown Svo. 2s. [Methuen's Commercial Series. 
 
8 Messrs. Methuen's Announcements 
 Fiction 
 
 THE MASTER CHRISTIAN. By Marie Corelli. Crown 
 8vo. 6s, 
 
 QUISANTE. By Anthony Hope. CrownZvo. 6s. 
 
 A MASTER OF CRAFT. By W. W. JACOBS, Author of 
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 THE GATELESS BARRIER. By LuCAS Malet, Author 
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Messrs. Methuen's Announcements 9 
 
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 XVI. THE LADY'S WALK. Mrs. Oliphant. 
 
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 V. PEGGY OF THE BARTONS. B. M. Crokbr. 
 
 VI BADEN-POWELL OF MAFEKING : a Biography. 
 
 J. S. Fletcher. {November. 
 
 VII. ROBERTS OF PRETORIA. J. S. Fletcher. ^December. 
 
 A2 
 
A CATALOGUE OF 
 
 Messrs. Methuen's 
 
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 Poetry 
 
 Rudyaxd Kipling. BARRACK-ROOM 
 
 BALLADS. By Rudyard Kipling, 
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 Leather, ts. net. 
 
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 Rudyard Kipling. THE SEVEN 
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 ^yth Thousand. Cr, 8vo. Buckram, 
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 'Animated through and through with in- 
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 ■Q." POEMS AND BALLADS. 
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 E. Macliay. A SONG OF THE SEA. 
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Messrs. Methuen's Catalogue 
 
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 B. L. Stevenson. VAILIMA LET- 
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12 
 
 Messrs. Methuen's Catalogue 
 
 F. Lauffbridge. BALLADS OF THE 
 BRAVE ; Poems of Chivalry, Enter- 
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 Edited by Rev. F. Langbridge. 
 
 Second Edition. Cr. Svo. $s. 6d, 
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 Dante. LA COMMEDIA DI 
 
 DANTE ALIGHIERI. The Italian 
 
 Text edited by Paget Toynbee, 
 
 M.A. Crown %vo, 6s. 
 
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 Gibbon. THE DECLINE AND 
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 By Edward Gibbon. A New Edi- 
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 C. G. Crump. THE HISTORY OF 
 THE LIFE OF THOMAS ELL- 
 
 /lRetbucn'0 StanDard XiDrar^ 
 
 WOOD. Edited by C. G. Crump, 
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 —Daily Mail. 
 
 Tennyson. THE EARLY POEMS OF 
 
 ALFRED, LORD TENNYSON, 
 Edited, with Notes and an Introduc- 
 tion by J. Churton Collins, M.A. 
 Crown Svo. 6s. 
 
 An elaborate edition of the celebrated 
 volume which was published in its 
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Messrs. Methuen's Catalogue 
 
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14 
 
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26 
 
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28 
 
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Messrs. Methuen's Catalogue 
 
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30 
 
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Messrs. Methuen's Catalogue 
 
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32 
 
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Messrs. Methuen's Catalogue 
 
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34 
 
 Messrs. Methuen's Catalogue 
 
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