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FRIENDLY HOUSE MATCH.

COTTON HOUSE v. LITTLEFIELD.

This match resulted in a victory for Cotton House by four goals to one goal and one try. On the first day Thompson's lost Fairrie and Carey, and Littlefield lost Curtler. Fox however played very well, and succeeded in getting two tries, one of which was placed by Cunliffe 2us. The game was more equal for a time, chiefly owing to the good play of Wright and Scott. But after some dribbling by Askwith, Wright 2us obtained another try for Thompson's just before change. After change, R. B. Thompson, whose collaring had been most serviceable, was unluckily hurt; so Scott was able to secure two tries for Gilmore's, one of which was placed. Fox got yet another try for Cotton House. Twenty minutes on the second day proved sufficient for the game to be finished. Fairrie ran right round every one, and got in, but was collared before he could get behind the goal. The place failed, but Fox, getting hold of the ball, obtained a try right behind the posts, which Cunliffe converted into a goal. Brown, Scott, and Agnew by short runs did their best to prevent defeat, but Druitt ran in, and obtained another try, which was kicked. Besides those mentioned, Impey, Curtler, and Dickinson played well for Gilmore's, Cunliffe lus, Carey, and Dawson for Cotton House.

COTTON HOUSE v. SHARP'S (MITRE.) Played on the Toλoí, and finished in the hour. Sharp's lost Henniker and Kingsalter; Thompson's lost Fox and Houghton. Thompson's played down the hill, and Fairrie ran in three times in the first half-hour. Cunliffe 2us turned the tries into goals. Tatham nearly succeeded in getting in for Sharp's, but was well collared by R. B. Thompson. After change another try was secured by Fairrie, but the place failed. G. E. Thompson got in at the bottom, but the place again was unsuccessful. Finally another try was obtained by R. B. Thompson and was kicked. R. B. Thompson once more got in before play ceased, and another goal was gained, thus giving the victory to Cotton House, by 5 goals and 2 tries to nil. Besides those mentioned, Cunliffe lus, Wright, and Scovell played well for Cotton House, Martyn, Villiers, Jones, and Windeler for Sharp's.

CLASSICAL ART MUSEUM.

During the past week nine casts, a first instalment of the proposed collection of casts from the antique, have been placed in the Bradleian, upon brackets which have been provided by the generosity of the Council. They are, (1), the "Otricoli" bust of Jupiter from the Vatican Gallery; (2), the head of Juno called "Ludovisi," from Rome; (3), the bust of the "Venus of Melos" from the Louvre, Paris; (4), the bust of the young Augustus, from the Vatican; (5), a reduced copy of a bas-relief from the temple of Nike Apteros, Athens; (6), head of Augustus; (7), head of Aesculapius; (8), head of the "Giustiniana" Apollo; (9), terminal bust of Homer, all from the British Museum. The two first and largest of these have been put upon the two stone mantel-pieces on the west side of the room. Besides these casts, some large photographs have been procured, which will serve to illustrate the casts; these are still in process of framing. In the next number of the Marlburian, I hope to give some account of these casts; meanwhile I beg to acknowledge with thanks the assistance of the Master, F. E. Thompson, Esq., H. Richardson, Esq., J. B. Gilmore, Esq., T. O. Harding, Esq., H. D. Drury, Esq., W. W. Fowler, Esq., T. N. Hart-Smith, Esq., the Art Society, the Editors of the Marlburian, the Sixth Form, Mr. Way's House, and several members of the school. Many others also have promised their assistance, and their donations shall be duly acknowledged in future issues of the Marlburian. L. E. UPCOTT.

ART SOCIETY.

On Thursday, November 27th, the last lecture of the term was given by W. H. M. D'Urban; the list of great painters on whom our series has been given being fitly closed with the names of Raphael and Michael Angelo. It would be superfluous to enumerate the long list of marvellous creations with which their eventful lives are crowded, still more to attempt any analysis or critique on their various styles; wonders of the world, like the ceiling of the Sistine Chapel and the Transfiguration, defy such pre

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sumption, and all we can do is to gaze on their works and think with ever-increasing admiration and reverence on the grand old man and the divine youth who have raised Art to its truest and its highest position.

The lecture was rendered far more vivid by a great number of photographs and engravings (kindly lent by Mrs. Bell and Miss Preston) of wellknown pictures, such as Raphael's Madonnas Del Gran Duca and Di San Sisto, and the wondrous Sistine ceiling, with its grand prophets and Sybils. But perhaps the most interesting of all was a book of facsimile sketches, executed roughly in chalk or bistre, being original designs of Michael Angelo's, from which he drew the conceptions of many of his grandest works. Here one might see the first idea of the Christ in the Last Judgment, some of the wonderful figures in the Pisa Cartoon of the soldiers bathing in the Arno, and a few bold lines which suggest at once, perhaps, the grandest of even Michael Angelo's conceptions, the Jeremiah. Altogether, the lecture was, if it be not presumption to say it, a success worthy of its theme; and was at any rate thoroughly enjoyed by such an appreciative audience as was present.

An extra meeting will be held on Thursday, December 11th, to settle the arrangements for the next term, and to award the prizes offered for the best drawings contributed during the present term.

We have had promises of lectures for next term from L. E. Upcott, Esq., and W. E. Mullins, Esq.; also the prize lecture will be read at the first meeting.

We also hope next term to get the Lower VIth class room, in which to place photographs, pictures, contributed by members of the Society, and our library, to which Mrs. Bell has just given a most welcome addition, Flaxman's illustrations of Homer.

The Rifle Corps.

On Friday, Nov 21st, there was a Company Drill, with rather a small attendance. Skirmishing and the new form of attack were the order of the day, and were creditably performed. On Friday, Nov. 28th, the corps had a field day; 30 rounds of blank

ammunition being served to each man. A section, under the command of Sub-Lieut. Elton, held the pavilion, which the rest of the Corps attacked. When the sham fight was over the company practised volley firing. There were 30 rank and file present, but the band turned up in such small numbers as not to be able to march the corps on to the field. As this is the second or third time it has happened this term, the Band want reminding that besides practices, they ought to attend-drills,

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EDITORIAL.

DECEMBER 22ND, 1879.

Ar last the day has come when the Editor turns to his mythical waste paper basket and pulls forth a bundle of those little jeux d'esprit thrown off by literary Marlburians in their hours of ease. He must hold up the candle of editorial criticism to the framework of each, and unsparingly expose their flaws to the popular derision. Sorry as we are to deviate from established custom, and conscious as we are that such rank heresy deserves to evoke a storm of angry letters from enraged ex-editors, we are prepared to maintain that this operation was not performed in the traditional arm-chair, nor before the traditional fire, nor again had the editor the traditional coffee to lighten his labours. But a truce to this levity. It is a very little bundle that we see before us, and, as usual, the principal place is taken by the poets. Prose is a plant to which Marlborough soil is uncongenial-that once favourite topic of a hideous dream, in which the author foresees some fearful revolution in the College some nineteen hundred years hence, and is invariably awakened by Chapel Bell, has apparently been exhausted. Evidently the school possess less vivid imaginations, and better digestions. At the same time there is another

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PRICE 3d.

species of composition not yet exterminated: descriptions of Journeyings, especially on foot. It is so easy to give a conscientiously truthful narrative of some excursion or other which one has made; to give the bare skeleton of a walk or a bicycle tour, with an accurate and historical narrative of the places one has visited. It does not matter if there is nothing original or individual about it, nothing, in fact, which one could not find by referring to those classical authorities, Black and Murray. Here is a specimen, entitled "Up Helvellyn." "Late one day in August," says the writer, we decided to see the sun rise on Helvellyn next morning." A very proper wish. Accordingly they very naturally "went to bed to get some rest before starting." Perhaps the author did not sleep well, for the next morning the first tarn which they came to reminded him of "Doré's illustrations of Dante's hell." Finally most of their climbing was done, and they had a "fine view of Ulleswater covered over with clouds so as to resemble cotton wool." The reader, who has been expecting to hear about the sunrise, is doomed to disappointment. "The sunrise by no means came up to our hopes, being rather obscured by clouds; the sun, whenever it did appear, looked like a ball of liquid fire." Then follow some statistics about the

position and height-"We were just in the very middle, the umbellicus (sic) in fact, of the lake district," and so on.

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There is more originality about the subject of "My first dormitory match," which relates a new comer's experiences of football. Now a game of football is not adapted to be set forth on paper. readable, when we know the names of the players in it; but there is a certain sameness and monotony about the sensations of the individual, especially when that individual is a small boy making his first appearance on the scene of action. "Some one shoved me before him like a buffer; another person "literally squashed me flat;" "my toes were terribly trodden on "; this is the burthen of the small boy's ditty. Think how excruciating it would be to the anxious parent to hear of her darling undergoing such tortures. Our timid friend goes up to the field, and is much alarmed at the appearance of one of the players, a man with part of a beard." After the kick off "everyone ran after, bawling and shrieking, and finally embracing one another, and putting the ball in the middle, they pushed. I stood staring, for I did not at all like the look of the steaming mash." Let us leave him there.

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Let our poets now approach. Here is a little discussion upon "Autumn and the Seasons." One has to read this two or three times through, before one understands the drift of the author's composition. He begins with an eulogy on Spring, comparing it to childhood:

"Lovely buds and cheerful blossoms
Ope their eyes on every tree."

Then follow two stanzas on Summer and Autumn, and then the author gets "mixed":

"Sweet composure reigns supremely,
Childhood's folly left behind.
Solemn, 'midst the rustling foliage
Sounds the moaning of the wind."

Having thus confused us, he follows up his advantage by making disconnected statements apparently referring to Autumn. In the last lines Winter is made a female

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"In olden time, when England's prime set off the cross to save,"

a "gallant band in armour grand, a glorious sight to see "set off. He devotes three out of four stanzas to describing them on the march, and metaphorically pats them on the back. We seem to be coming to some thrilling dénouement. Here it is. Suddenly

"Thick clouds arise before their eyes, 'Hurrah,' the foe is found."

Before the reader recovers from the shock he is still further startled to hear that

"They meet the foe, and here below no longer may be seen This gallant band, but sword in hand they did their best I ween."

Observe the patronising tone assumed by the author in the last line. To proceed,

and so,

"The Captain's voice. which would rejoice his men in many a fray, Was nushed now, I trow, his soul had flown away." Alas, poor Captain! Before you dissolve in tears pass to the next. "The Death of the Prince Imperial" is a difficult subject, and is treated with much vigour

""Twas a bright and splendid morning when Carey's horse went out,

'God speed thee,' said our comrades, with many a joyous shout,

And in our troop was riding, with bright and joyous glance Old England's fair boy exile, the brave young Prince of France.

But hark! a cry around us, it fills the very air!

A thousand fierce wild Zulus are rushing from their lair. Now quickly mount upon thy horse, 'tis mad to think of strife,

And dig thy spurs into his side, and ride for very life." But it is unequal. There are little defects which mar it, such as when "gone" is made to rhyme with "borne."

One more little effusion closes our list. It attempts to be of a light and sportive character; but we cannot say that the author has succeeded. He gives us a description of the Harp Recital in doggerel verse, in the course of which he aptly remarks,

"I'm in a state of semi-inanition,"

in which he evidently follows the maxim "yvới σεavτóv" for his lines verge on the inane. We will give our readers a specimen :

"First, a Fantasia' strikes the enchanted ear, But since description's always hard, I pray For your forgiveness, if I don't appear Very exact: next, merry 'Patrick's Day,' 'Summer's last rose,' and other airs we hear From the sweet Emerald Isle.-Hallo! I say, I wish you fellows wouldn't stamp behind, And stop your snoring, if you'd be so kind." The production is freely interlarded with such remarks as the last, or as

"Jones, wait a minute while I tie my lace,"

which occurs towards the end.

On the whole, the editorial box has fared hardly so well as usual this term. We must once more repeat the old complaint, that the School does not support the Marlburian as it ought. Correspondence indeed, has flowed in freely, and the question started by "Ex-editor, O.M." proved particularly fruitful, but we cannot say the same of other contributions. There must be plenty of literary ability in the School lying dormant for want of a little energy.

HANDEL.

On the 24th of February, 1684, a son was born in his old age to a doctor at Halle, and received the name of George Friedrich Handel. Music seemed to possess him from his earliest years. He lived in and for music, at work and at play, and so earnestly that the old doctor's scruples grew weak and his son was placed under a master. When but ten years old he wrote sonatas, when but nineteen directed an opera. But though a German by birth, he was to become an Englishman by adoption. For after various travels he found himself at Herrenhausen, and was patronised by the Elector Duke of Cambridge, a great lover of music.' We read that there was a court organist, two musikanten, four French fiddlers, twelve trumpeters, and a bugler, so that there was plenty of music profane and pious, in Hanover.' Travelling again, visits to England, forgetfulness of the Elector Duke, but bitter remembrance and hiding when the Elector Duke steps into the throne of England as George I., all follow in turn. But 'Water Music' on the Thames is too much for the king's wrath, and we hear of patronage again, doubled pensions, smiles and favours, masterships and operas, anthems and sonatas.

An Academy of Music is to be formed, Handel must be manager, Handel must supply operas. But spite of Handel's work and Handel's genius, Italian malice is too much for 'the German intruder,' and loss of money, of health, and of spirits seemed to leave nothing but failure. Then it is, during the Lent season, that the oratorios begin, then the 'Messiah' first appears, and like many of the greatest works in the world, is passed by almost in silence,

ill-attended, ill-received. So the great musician leaves in despair the place of his ill-success and journeys to the gayer city of Dublin. Honours come fast. London receives with plaudits the man who nine months before had left unnoticed and unregretted. We have a curious picture of him at this time. His shout of "Chorus " after an air is said to have been prodigious. He loved a pipe, was famed for his wit, liked society. He wore a huge white wig, which wagged ominously when his oratorios went well, showing his satisfaction. Don't you think Mr. Handel has a charming hand,' asks Mrs. Cibber. A hand, madam,' replies Quin the actor, 'you mistake, it is a foot.' 'Pooh, has he not a fine finger?' 'Toes, madam, toes.' And indeed his hand was so fat that he hardly seemed to have fingers. His fame never left him again, and in spite of increasing blindness he worked on till he died on Good Friday 1759.

Such was Handel's life, but something must be said about his art. Till a few years since England alone seemed to appreciate his works. Now all Europe and America admire and revere him. When the 'Messiah' was first published it was received with coldness and neglect, but now every year the vast sums it gains for charities seems to increase. The musicians of his time once tried to thrust him out as an intruder, and few people once went to his oratorios. Now musicians prosper by performing his works, and people listen in rapt attention to the music. Handel Commemorations from 1784 to the present time have been marked with ever increasing Hundreds of singers take part in the

success.

oratorios. Israel in Egypt,''Saul,' 'Samson,' are names famed throughout the world. As time passes his fame grows greater, especially in sacred music. And the secret of his fame lies in his true art. He threw himself into his works. There is no lacquer no deceit about it. By his own intense earnestness, by his own spirited and sublime soul, he carries the listener away with him, draws him from earth and as it were raises from all that is sordid and low, and soars to purity and holiness. He was true. From his boyhood to the day of his death he lived for art; art was for him no mere profession, no pastime to be dabbled with and flung aside, but it had a veritable being and material existence, and whether he would or no, he was irresistibly attracted towards it.

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