has been incorrectly bruited that a comparatively modern conductor of quadrille parties was the first to introduce that kind of amusement to the St. Leonards people, it may be permitted me to dwell on the subject to a greater length than would otherwise be deemed necessary. The plan of the tutor was to first walk through the figures with his pupils, himself acting as a partner to every lady and every gentleman in turn, and never suffering a second or third figure to be attempted until the preceding one had been thoroughly mastered. Then when a knowledge of the entire set had been acquired, the tutor would take an instrument — sometimes a flute, sometimes a violin, sometimes an accordion, but more often a guitar — and perform the appropriate music, When it happened to be the last-named instrument, an organophonic accompaniment was applied, and to this was usually added the vocality of the quadrillers, who, entering into the whole thing with an enjoyable zest, thus constituted themselves a kind of band, whilst they traced the figures and measured the music with their feet. And now for the grand demonstration - or, as I have already called it, the innovation — which evoked surprise at the Oddfellows’ ball. The bandsmen, under the direction of Messrs. B. Wood and E. Elford, had left the orchestra for the supper-room, when the Norman-road quadrille party, forming three sets, placed themselves in position, as by pre-arrangement, and immediately led off with the new figures and the original music to which they had been trained. Their band was entirely vocal, and such was the effect produced that the rest of the company showed their appreciation with hearty plaudits, whilst the musicians got up from their seats to feast their eyes on the performance.
Musical Adaptations - The Battle Abbey Painting
It was perfectly easy for this quadrille party to constitute themselves a vocal band; not only because they had learnt all the tunes during their private practice, but also because many of the original quadrilles to which they were accustomed had the advantage of being adapted from popular airs.
I am now, in 1897, revising (perhaps for posthumous publication) what had been previously written of the events of 1845; and, as it is 43 years since I relinquished the profession of music for the more serious work of a journalist, I have an old man's curiosity to renew the acquaintance of some long hidden music books. The first that comes to hand is sufficient to illustrate the facility of vocalising the quadrilles (still in manuscript) danced on the occasions referred to at the Assembly Rooms. The first in this particular book is called "Brett's 27th Sett" dated 1844. Further on is "Brett's 8th Sett," adapted from "I'd be a butterfly," "See the Conquering comes," "Matrimonial Sweets," "Home sweet Home," and "Here's a health to all good lasses." The 9th sett begins with "Oh no, we never mention her," followed by adaptations of "Miss Lucy Long," "The Trances," "The Garland of Love," and "My Heart and Lute." The Tenth Sett is similarly adapted from popular airs, and the "Eleventh Sett" is arranged from Scotch songs.
By such adaptations several other quadrilles became favourites with my quadrille classes, as well as not a few of those which were exclusively original, together with numerous polkas, waltzes, gallops, country-dances and songs, mostly composed, I find, between the years 1840 and 1854, during which period the arranging of music for two distinct bands (brass and string) fell to the lot of the present writer.
Apropos of the guitar, I shall have something more to say anon of this useful but generally abused instrument. That to exhibit its full capabilities much practice and some little ingenuity is required cannot be denied, but that it was possible for St.Leonardensis in, the hey-day of his musical career to produce from it the melody and harmony of waltzes, quadrilles, polkas and country-dances with sufficient power for a goodly number of dancers, may be credited by those who, a few months ago, had their ears ravished on the Pier by the vastly excelling performances of an American executant upon four banjos at once, each instrument being less a banjo than a guitar.
I have said that the music provided for the Oddfellows’ ball in 1845 was by Messrs, Wood and Elford (or rather by Elford and Wood) the latter being a member of the Adelaide Lodge and the conductor of the St. Leonards Band, then in a declining condition, and the former a joint-conductor of the old Hastings Band, also becoming effete. It was about that time that certain members of the two bands amalgamated, and performed alternately on the Hastings and St. Leonards parades. It must not be supposed, however, that it was this united band of wind instruments which was engaged for indoor service. No: the two principals here named were respectively performers on the clarionet(sic) and ophicleide on the parades, and the violin and pianoforte to indoor assemblies. And here I desire to record my sense of the musical tact and ingenuity of Mr. Elford, whose enthusiasm in his profession shortened a useful life, and at the same time to pay a compliment to the efficiency of the old Town Band, of which Mr. Elliott was the ostensible leader and Mr.Wood a most valuable member. It is another of those many coincidences which keep cropping up, that at the instant of my writing, a grand stand is being erected on the White-rock parade for the Town Band of the present day, whilst in 1829 a grand stand was erected on the Marine parade for the Town Band of that period, whose services I have had to lay under consideration in my account of 1845.
I have said in the next chapter that Lady Webster and Madame Bergeret were brought home from France in the baronet’s yacht, and it may be added that after many years had passed end her ladyship had become a widow, it was “ Madame ” who gave the present writer the first intimation of Lady Webster’s desire to present to the Corporation of Hastings the large historical painting which for many years had occupied a conspicuous place in the Hall at Battle Abbey.
I was asked if I thought the Corporation would receive it and preserve it; and I ventured (unofficially, but perhaps officiously) to promise three things on their behalf: Firstly, that they would, undoubtedly accept it; secondly, that they would be grateful for it; and, thirdly, that they would be sure to preserve it. This conversation was held on the occasion of one of my visits to ” Madame,” when she and the dowager Lady Webster were residing at St. Leonards; and the circumstance is here made mention of because there appears at the time of writing a probability of the painting in question being relegated to a loft as useless lumber. It was understood that when it was first put away in the Market Hall, and afterwards removed to the Music Hall, and lastly to the Skating Rink, such a mode of disposing of it was but a temporary necessity that would be obviated as soon as a new Town Hall was built. When the latter came into existence it was discovered that no provision had been made for the painting which represented the Conqueror William finding the body of Harold. We are now told by some members of the Corporation - who may be or who may not be competent judges - that as a work of art the picture is valueless. To this, however, I can only say that whatever may be its real merits or detects, it has historical associations of the utmost value, and deserves to be preserved as such, I know it as a fact that of the thousands who visited Battle Abbey before the removal of the painting most of them evinced the greatest desire to see it; and that after its removal, many hundreds of persons enquired for it. I say, therefore, that if a suitable place not be found for the picture in the people’s own hall, the townspeople themselves should insist upon some other building provided for it, so that enquiring visitors should not be dissapointed(sic in their search for what to them, at least, is a reminder of one of the greatest event in the history of England and the annals of Hastings. A painting which cost £1500, representing the costumes and armour of the combatants, soldiers bringing forward the dead body of Harold, the Conqueror mounted on his cream-coloured charger, together with a group of Normans, among whom are Bishop Odo, Tostain, &c., surely must have some artistic merit; but apart from that, it possesses an historical interest of both local and national dimensions. - It is to be feared that while we are ever boasting of parks, pleasure-grounds, and other modern acquisitions which are now common to every other town of any pretensions, and which strangers do not come to see, we are treating with the greatest indifference the battle picture, at Hastings, and the ”Conqueror’s stone,” at St. Leonards, which, were they in the possession of other towns with like associations, would be made the utmost of. Had the lady who gave the picture to the Corporation, and her old companion who confided to me the intention of such gift, not gone the way of all flesh, it is conceivable that long ere the time which I am writing, a suitable place would have found for it; but, alas! although their span of life was a long one, it yielded to the inexorable call of Time, and the common lot of all was theirs, Her ladyship died at St. Leonards on the 30th of January, 1867, and her housekeeper died at Hastings, on the 26th of May, 1869. Their ages were 75 and 82, respectively, and their remains were deposited, one beside the other, in the churchyard of Hollington. A handsome monumental tomb records the death of Charlotte, widow of Sir-Godfrey Webster, Bart., and another monumental Stone, but slightly inferior, makes it known that resting there are the remains of “Eliza Bergeret, for 50 years the attached friend and companion of Charlotte Lady Webster.” It should perhaps be stated that at the period to which the gift of the picture to the Hastings Corporation has reference, there were two Ladies Webster residing at St. Leonards; Lady Charlotte, widow of the fifth baronet, at 29 Warrior-square, and Lady Sarah, widow of the 6th baronet, at 22 Church road.
In a series of letters written from Hastings in 1826, by a ”Cosmopolite,” who was himself an artist, the writer describes the picture thus:-
”The modern painting of the battle of Hastings is 30 feet long and 17 feet high. In the centre on a cream coloured horse appears Duke William and before him is the dead body of Harold, held up by two of William's followers, whilst another holds up the crown or helmet of Harold. At the sight of this, William starts with astonishment, and the sword falls back out of his hand at this finding, after such a desperate day, the crown of England and his fallen enemy before him.
On his left is Odo Conteville, uterine brother of William, and Bishop of Bayeux. This ambitious prelate seems to express great delight, and looks with eager attention -
