em are of
a kind not found in modern works on instrumentation, as, for
instance, at the party at Trotty Veck's (_Ch._) when a 'band of
music' burst into the good man's room, consisting of a drum,
marrow-bones and cleavers, and bells, 'not _the_ bells but a
portable collection on a frame.' We gather from Leech's picture
that other instrumentalists were also present. Sad to relate,
the drummer was not quite sober, an unfortunate state of things,
certainly, but not always confined to the drumming fraternity,
since in the account of the Party at Minerva House (_S.B.T._)
we read that amongst the numerous arrivals were 'the pianoforte
player and the violins: the harp in a state of intoxication.'

We have an occasional mention of a theatre orchestra, as,
for instance, when the Phenomenon was performing at Portsmouth
(_N.N._):

'Ring in the orchestra, Grudden.'

That useful lady did as she was requested, and shortly
afterwards the tuning of three fiddles was heard,
which process, having been protracted as long as it
was supposed that the patience of the orchestra could
possibly bear it, was put a stop to by another jerk of
the bell, which, being the signal to begin in earnest,
set the orchestra playing a variety of popular airs
with involuntary variations.

On one occasion Dickens visited Vauxhall Gardens by day, where
'a small party of dismal men in cocked hats were "executing"
the overture to _Tancredi_,' but he does not, unfortunately,
give us any details about the number or kind of instruments
employed. This would be in 1836, when the experiment of day
entertainments was given a trial, and a series of balloon
ascents became the principal attraction. Forster tells us
that Dickens was a frequent visitor at the numerous gardens
and places of entertainment which abounded in London, and
which he knew better than any other man. References will
be found elsewhere to the music at the Eagle (p. 47) and the
White Conduit Gardens (p. 93).

_Violin and Kit._

We meet with but few players on the violin, and it is usually
mentioned in connexion with other instruments, though it was to
the strains of a solitary fiddle that Simon Tappertit danced a
hornpipe for the delectation of his followers, while the same
instrument supplied the music at the Fezziwig's ball.

In came a fiddler with a music-book, and went up to
the lofty desk, and made an orchestra of it, and tuned
like fif