hile a portion of _Punch's_
preface to his sixth volume (1844) was supposed to be written by Lord
William, and presented a most laughable compound of sayings and
quotations, with slight alteration, from well-known authors. But when
_Punch_ dropped him, the unhappy author was not left alone, for the
"Great Gun" and other journals picked him up, and played with what
remained of his literary reputation.

It was in his second number that _Punch_ began his persistent ridicule
of Jullien, the famous _chef d'orchestre_ who introduced the Promenade
Concerts to Drury Lane, with such prodigious success. The poem, from the
pen of W. H. Wills, began characteristically--"One--crash! Two--clash!
Three--dash! Four--smash!!" and, not wholly without malevolence,
described the popular conductor as a

"_ci-devant_ waiter
Of a _quarante-sous traiteur_ "--

thus laying the foundation for the charges of musical ignorance,
illiteracy, musical-"ghost"-employment, and other imposture, under which
he suffered in this country nearly all his life. Jullien indignantly
denied the hard impeachment, and declared that he began his musical life
as a fifer in the French navy, and had in that capacity been present on
a man-o'-war at the battle of Solferino in 1829. His assailant accepted
the statement as to his military achievement, adding the suggestion that
after working himself up to more than concert pitch, and "holding in his
hand one sharp, which he turned into several flats," Jullien withdrew
from the service on account of the discord of battle, particularly as
the shrieks of the wounded were horribly out of tune.

_Punch_ fell back on Jullien's well-oiled ringlets, his general _tenue_
and violent gesticulation, and, with better cause, on his "Row Polka,"
and on those wild and frenzied quadrilles in which the music in one part
was "accentuated with a salvo of artillery." But _Punch_, ignoring the
better part of Jullien's musical ability, made no allowance for the
curious quality of his mind, which was evidently ill-balanced, and
indeed was finally overthrown. Jullien's vanity, for example, was
sublime, rivalling that of the Knellers and Greuzes of earlier days; and
his biographer sets forth how, in the scheme he imagined for the
civilisation of the world by means of music, he had determined (though
essentially a "dance musician") to set to music the Lord's Prayer. It
could not fail, said Jullien, to be an unprecedented success, with