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[436] whole audience rose, and when the royal guests came to the front of the gallery so as to be distinctly visible, a tumult of applause broke forth which was with difficulty suppressed by the Dean as entirely unsuitable to the place. . . .. . As soon as they were seated the whole choir broke forth with Handel's Coronation Hymn, this being the anniversary of the King's crowning. The effect was electrical. The vast audience rose again, and when the shout of ‘God save the King’ broke from the choir of four hundred voices sustained by the full power of two hundred and fifty instruments and the tremendous organ, its effect was not to be mistaken. There was not a soul under those wide vaults that did not feel it. . . .

September 9.—The performance to-day was Handel's Messiah,— the whole of it,—a great work, which requires all the power and variety that the art of music can bring with it; and which, I suppose, has never been heard so well anywhere as in this vast and solemn minster. . . . It is astonishing how distinctly a single voice is heard, even in its lowest and sweetest tones, through nearly every part of this wide pile; and the stillness of the multitudes to catch its murmurs is sometimes as thrilling as the notes themselves. Grisi can fill the whole building with the most brilliant sounds.

We dined at Lord Fitzwilliam's, who has taken a large house just outside the gates, for the Festival week, which he thinks it his inherited duty to patronize. . . . .

September 12.—Mr. Willis of Caius College, Cambridge, who has published on architecture, being here, and desirous to see some parts of the cathedral not usually seen, Mr. Harcourt had it opened and lighted, and a party was formed to go over it. It was very curious. We were shown, under the pavement of the present choir, the remains of the ancient choir of the church built in 1070 and burnt in 1137, together with one arch of the still older church built about A. D. 900, all discovered in 1830, when the excavations were made for the repairs of the present building, after the disastrous fire of 1829. These old ruins are of Cyclopean size, and the later portions of them are in the Norman style and very elaborate. The whole is in total darkness under the foundations of the huge minster itself, but was this morning beautifully lighted up with gas, which has been introduced for the purpose. After this we went over the choir and the other parts of the church. . . . It has more of the power given to Gothic architecture in the ‘ Penseroso’ than any building I know of; ‘the high embowed roof,’ the ‘antic pillars massy-proof,’ the ‘storied windows, richly dight,’ ‘ the pealing organ,’ and ‘the fullvoiced ’


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