de, the
splendor of the spectacle,--the memory of all this is the
rich possession of many, and will be ever recalled as the
happiest experiences of a lifetime."

[Footnote 9: The church-bells of the city were also employed in
rendering some of the music.]

The success of the "National Peace Jubilee" was so perfect, and had
produced a musical enthusiasm and revival so great, that, in the year
1872, Gilmore, still prolific in startling musical conceptions,
projected and carried into execution another festival of the same
general character as the first, only that it was far vaster and more
daring in its proportions. This one he styled "The World's Peace
Jubilee and International Festival." Several times during the week
that this great musical festival was held, not less than fifty
thousand people were present in the immense Coliseum building. This
time the orchestra consisted of two thousand instruments, and the
chorus numbered over seventeen hundred voices; while a mighty organ
and cannon and anvils were used as before. The great soloists engaged
were Mme. Leutner, Johann Strauss, Franz Abt, and Bendel. Foreign
governments being invited to send representatives from among their
best musicians, England sent the Band of the Grenadier Guards;
Germany, its great Prussian Band; France, the brilliant French
Republic Band. King William of Prussia sent also, as a special
compliment, his classical Court Cornet Quartet; and Ireland sent its
best band. To this galaxy of star military bands, perhaps the greatest
ever assembled, the United States added its own favorite Marine Band
of Washington. At this second great and vast assemblage of artists the
almost marvellous achievements of the first "Jubilee" were repeated to
the utmost delight of many thousands of people, and Gilmore became at
once the most brilliant and daring impressario genius of the world.

As before intimated, Wagner is not at all satisfied with pausing where
Mozart, Beethoven, and other great composers, left off. He believes
that their music can be improved upon. According to his theory, the
music of the opera, in the most highly-developed form of the latter,
is but an incidental element, the dramatic part being principal. He
lately composed a triology--three operas connected as one--with a
prologue, the subjects of the dramas being taken from mythology, and
forming beautiful fairy tales. To carry to the greatest perfection his
views and firmly-held