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The Rifle Corps.

The Rifle Corps had a most successful field-day on Firbright Common, Fox Hills, about four miles from Aldershot, on March 25th. We were excessively fortunate in the weather, for the fall of the barometer did not prophecy well. During preparation on Tuesday evening, thanks to the Master, we were able to have a parade, when our new capes, which added greatly to the appearance of the uniform, and new havresacks were first served out and worn.

The reveillée sounded next morning at 6.30, breaking untimely into our slumbers, but the full effect was marred by various discordant house-bells. Ammunition was served out, and companies formed at 7.10; then followed a substantial breakfast in Hall, and at the same time we received our luncheon provided by the College.

Falling in again at 7.40 we marched quickly up to the station in good time for the 8.15. At Reading we were joined by Clifton in smart scarlet uniforms, armed with Martinis, in two companies of 30 each. By the kindness of the G.W.R. we kept our carriages all through the day on both lines. At Theale we were joined by Bradfield in one company, 18 file, and at Wellington by two companies numbering 70 in all. Our train arrived at Farnborough punctually; detraining here we formed quarter column, and the general and special ideas of the day's manoeuvres expounded to us by Major Joke, who took command of ours, the defending force, consisting of Wellington, Clifton, Bradfield, Marlborough and Charterhouse, who joined late to the number of 85.

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A mile's march brought us to the boundary line, which we might not enter till 12.15. Piling arms we ate the College-provided luncheon, which was excellent fare.

One company of Clifton Engineers were sent on from here to blow up a bridge upon the right of our line; one company of Wellington formed an advance guard to the left, who marched in column to the inspiriting music of the Marlborough and Wellington bands alternately. An uphill march of 2 miles brought us to Firbright Common, the site of the battle. The remaining company of Clifton with Wellington and Marlborough (No. 1 company) advanced to meet the attack, and the enemy were reported in force to the left and in front by our scouts. Dropping shots with volleys were heard, and soon

the engagement became general along the line. We were obliged to retire before the withering fire of Eton, the attacking force being composed of Eton and Winchester. Our retreating line kept up a steady fire until covered by the reserve, who had taken up a strong position on the tunnel covered by fences and gorse. The attacking party were unable to dislodge them and the cease fire was sounded. We fell in column about 2.30, and took up a position for marching past, during which the umpires and commanding officers discussed the manoeuvres, and gave the decision slightly in favour of the defending force. We then marched past in quarter column, the whole force numbering about 650; Eton formed a battalion of three companies and to them unquestionably belongs the palm, both for numbers and general smartness. General Lyons reviewed the troops and gave us a short and complimentary address.

We then fell out for an hour's rest, which was most acceptable owing to the heat. We moved off with the rear of the column in front, and the Eton battalion preceding us, Winchester having marched off in a different direction. The time was short, so Eton stepped out and soon distanced us. After a steady march, well sustained throughout, we arrived at Farnborough and forming quarter column we received an address from Major Joke who congratulated his force on behalf of General Lyons on their general efficiency. He expressed a hope that it would become an annual institution, adding that the staff at Aldershot were willing at any time to help us by commanding us and offering themselves as umpires. He also proposed that a brigade from Public Schools should have a sham fight with a brigade of regulars from Aldershot.

Shortly after all but Charterhouse entrained; the various corps left us at their respective stations with hearty cheers.

At Reading we underwent an hour's shunting, at the end of which we fell out for a quarter of an hour. Summoned by the bugle we again entrained and reached Hungerford, where we halted for high tea in a schoolroom kindly lent. Mr. Duck had prepared an ample meal. After tea Captain Rundall proposed that a vote of thanks should be sent to Colonel Plant of Clifton for his kindness in helping us in every possible way, which was carried nem. con. Captain Willson seconded Captain Rundall's motion

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warmly thanking the commander for his untiring energy and perseverance, without which we should not have presented nearly so creditable an appearance. Votes of thanks to Lieut. Bull and Col.Sergt. Atlay were proposed for the way in which they had drilled their squads, and carried with acclamation. Members of Common Room were then warmly thanked for their patriotic support. In our march back our step was noticeably good and had it been light we should have presented a very smart appearance.

We got home at 9.30, and marched through the town and arrived thoroughly pleased with the expedition, the day and ourselves.

We must put in a word in praise of Sergt.-Instructor Forman for the way in which he had got everything into first rate order.

It is to be hoped that there will be no dropping off in numbers or efficiency next term, since if this affair becomes annual, as as we all sincerely hope, a year's training will be none too much. Captain Rundal, with his indefatigable energy, is already arranging a battalion drill for next term, for which the officers, we are glad to say, will remain the same. Once again let us thank the Master for his kindness in granting us a whole holiday for our expedition, and the Bursar for his admirable arrangements in the commissariat department.

Art Society.

On March 13th the society assembled to hear the Rev. W. J. V. Baker continue his account of the ancient Egyptians, with illustrative magic-lantern slides, chiefly prepared by himself. The lecturer began with (1) the secular literature of the Egyptians, and read an extract from an heroic poem of Pentaur, who lived long before the earliest date assigned to Homer. There is a critique on a book of travels which might serve for many a modern piece of bookmaking; "you talk of this and that town as if you had been there," says the critic, "whereas everyone can see by what you say of them that you did not go there; you fill your book with petty personal details about yourself and your own doings, which is very bad taste." Something corresponding to the novel was not unknown, and there are amusing fairy stories, exactly like the children's stories of our times, e.g., how the prince, doomed to be killed by a dog or snake or crocodile, tames the dog, kills the snake with a poisoned cake, and is finally on the point of engaging with his third fate, the sacred crocodile, when unluckily the papyrus ends. (2) Then we had illustrations of the language and writing beginning with the picture writing proper, and seeing how this early method was modified first in

the hieratic and then into demotic. (3) Among the caricatures of the Egyptians, who were obviously possessed of some humour, we traced the prototypes of our "lion and the unicorn"; one especially vigorous caricature of a cat and a kitten, we were able to compare with the original design, the young prince Pharoah bringing captives to his father. As we get later in the history, the caricatures get feebler -the life of the nation seems to be crushed out of it. (4) As illustrations of the portraits we were shown Rameses II, the oppressor of the Israelites, who was determined not to tolerate the Semitic tribes whose kinsmen had but recently usurped the throne (the Hykshos), a determination which has gained him in our minds a bad reputation, but who was in fact a vigorous ruler, whose face was an index of his strong character; next the weak Merenptah, opponent of Moses, who allowed rebellions to gain the upper hand; and many others, including the brave semiEthiopian Tirhaka, renowned for his resistance to the Assyrian power. Generally speaking, Egyptian portraiture is not unskilled, but expressive of much character, though very calm, and this very calmness makes the portraits the more suitable for the adornment of a temple. Lastly (5) were exhibited specimens of Egyptian architecture; the plan of their temples; the beautiful columns, with shaft and capital designed from the natural forms of the papyrus and the lotus; the ruins of the lovely Philae; the stupendous Hall of Pillars at Karnac; the facade of Abou Simbel, the rock-hewn temple; and numerous other examples, down to the Pyramids and the Sphinx.

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SOLO COMPETITION.

MAY 20TH, 1885.

THE Competition this year, as Mr. Bleeck remarked after the performance, was very creditable to the Vocal capabilities of the school. There were others no doubt, Mr. Bleeck insinuated, who might-if circumstances had allowed it-have joined in augmenting the quantity without deteriorating from the high quality of the singing. But circumstances, in the opinion of most of us, ordered a very convenient quantity of voices to fill up the evening's programme; the seven broken and eight unbroken voices were judiciously sandwiched, the selection of songs from popular and classical composers and the introduction of snatches from Greece, Rome, and Modern Italy gave a variety to the proceedings, which kept up the interest of the "voluntary " audience.

The first song, Molloy's "Postillion," was sung with much vigour by H. C. Bett; the tender part about the "Wife in Bristol town," however, did not suit his style so well as the sentiment," Then one glass more, the ale is fine." The refrain "Ho-la! who's for the coach to-night?" was given with much dash and spirit.

The well-known song, "Cherry Ripe," came next. E. B. Burnaby has a flüty voice, but it did not seem to

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come from quite the right place in his larynx, neither were the words pronounced with sufficient distinctness; the effect, however, was smooth and pleasant.

W. E. Kingsbury next gave us Pinsuti's "Bugler," a song requiring more declamation than it received. The last verse, in which the "gallant old bugler," shot and apparently dead, raises himself for "one grand long blast" before he actually dies, was sung with taste, and received well-merited applause.

There was a little uncertainty in some of Boyson's notes in the earlier part of his song, "When other lips." His high notes were usually clear and ringing. but here and there something told us that he will not appear next time in the capacity of a soprano. The song was one which suited his flexible voice.

Buchanan sang the more ambitious "Maid of Athens," and, though he was not in quite his best voice, he sang with great taste and skill. The difficult change of key, which occurs toward the close of each verse was thoroughly mastered. We will not here discuss the question as to whether personal experience is necessary for rightly rendering impassioned love passages; but even without it we think a little more passion might have been judiciously introduced. The soft pleading in the last verse was really ex

quisitely done, and we cordially agree in thinking that Buchanan's masterly rendering of this very fine song merited the prize, which was eventually awarded to him.

Another favourite air, "Sweethearts," was sung by G. E. W. Money. A bad start rather disconcerted him, but he warmed to his work, and sang the two last verses with much more spirit and vigour. The refrain "Oh, love, for a week, a year, a day" (punctuation from programme) was very prettily repeated.

Buchanan's closest rival was, by universal consent, F. A. Ferguson-Davie, who sang "Big Ben" in capital style; his low notes were simply tremendous. The prelude to this song is most dramatic, and Mr. Bambridge elicited from the piano all the contents of Westminster belfry, including the clock-work, with almost magical effect. Nor was there any failing in dramatic effect when Ferguson-Davie began by representing how the "deep Big Ben" unbosomed his thoughts to the silent night. The second verse describes how in the busy day Big Ben looks down on the strife of tongues, but keeps his own counsel only reminding that "madding crowd" how time rolls on. This verse also was rendered with considerable power; the words were so well pronounced that every one in the room must have heard them and have enjoyed the full rich tones in which they were uttered. It must indeed have been difficult for any judge to decide between this and Buchanan's song, the one remarkable for its power and boldness, the other for its difficulty and the apparent ease with which that difficulty was surmounted.

A tasteful extract from the Vicar of Wakefield, entitled "Olivia," was next sung by W. H. Theobald. He soon overcame a slight huskiness and sang a waltz air with a well-modulated voice, clearly and simply; the refrain "Ah! well-a-day for the lover" was pleasing.

Now the song, "Pepita," with an Italian chorus broke forth from the lips of Dobie; it might almost have proceeded from the interior of a piccolo (a small kind of flute). The judge professed that he didn't like the voice, but was bound to confess that the execution was admirable, and in this latter sentiment the audience, judging from their behaviour, evidently concurred. There is no doubt but that in this song, as in that of last year, Dobie gave evidence of considerable taste, and effected a wonderful management

of those pipe-like sounds which failed to entrance the judge's ear.

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Ross's "Good Bye" was really sung exceedingly well. He managed to give alternately solemnity, pathos, and passion. The Agitato' in the last verse was capital; there was only one thing lacking --power, especially in the higher notes. One felt that he knew exactly how the song should be sung, but was not able to reach his own ideal in its fullness-though the softer parts were all that could be desired.

Next came Scott's words "Ah! County Guy," set to very indifferent music by Cobb, and sung only moderately well by W. Barnicot. However, there

were points in his singing; the word "hushed" spoke for itself (we don't mean that Barnicot left it entirely to its own devices). Again his repeated enquiry as to County Guy's whereabouts showed a real anxiety to be better informed on the subject.

Prowse sang "Twickenham Ferry," a song which a few years ago was exceedingly popular, and which stands the test of time, especially when sung with such freshness and daintiness as were infused into it by Prowse. He fully entered into the spirit of the song. "There was just a soft twang in the turn of his tongue" as he described how that peculiarity characterised the slim young ferryman's diction.

Another well-known song, "The Scout," followed. Woolner did not do full justice to it, though, judging from the spirited finale, he had all the necessary qualifications. It is a song which absolutely requires distinct pronunciation, and this was not accorded; otherwise the singing was fair. The singer was rewarded by loud applause.

The song of the evening was undoubtedly Schubert's "Ave Maria," as sung by Ainslie. In the first place the song was of a higher class than any other. It was a great treat to listen to Ainslie's full rich voice interpreting the deep feeling in this musicprayer. There were only a few higher notes which did not come in the full-toned register of his voice, but these he managed, so as to be at least pleasing, while the depth of his contralto voice had ample opportunity for its fullest expression throughout the song; one felt no inclination for criticism unless praise is one of its forms.

The last song, "The Yeoman's Wedding," requires a tremendous voice to do it full justice, and Dundas has not got a tremendous voice; the softer parts

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