From that moment he was recognised as the greatest interpreter of Handel; and from that pinnacle of fame no subsequent singer has been able to move him. His popularity became immense. At every great music festival his appearance was regarded as a necessity, and, until his final refusal to sing at the artificial pitch that had been introduced by Costa, his interpretations of all the great masterpieces of oratorio music were looked forward to as things of national interest. Sims Reeves was a great singer, and like most great artists, had idiosyncrasies. On one occasion, Sir Arthur Sullivan (then Mr., and a young man) went down to his beautiful place at Norwood, to play over the music written for him, in a forthcoming production. He heard it through, and then said, "My dear Arthur, the music is quite beautiful, but it would be difficult to say for what voice it was written." Certain passages had to be revised to suit him. That this would, naturally, be done, all those who knew Sullivan's character would easily understand. Sims Reeves continued to be, for many years, the idol of the British public, and it is only just to say that he deserved the distinction, being as he was, a man of sterling character, and one whose ideals were ever high. MADAME NORMAN-NERUDA (LADY HALL['E]) Her Birth--Precocity--Learns the violin at four years of age--First of women violinists--Sensation at her first public appearance--Arrival in London--Plays at Philharmonic concert, being ten years old--Tour in Russia--Arrives in Paris--Arouses enthusiasm--Second visit to London--Memorable consequences--Association with Popular Concerts, directed by Arthur Chappell--Her great fame--Her character--Association with Hall['e]--Their memorable concerts--Experiences in England--Her position in musical history. Wilma Neruda was born at Br[:u]nn, Moravia, in 1839. The family from which she came had been long famous in musical history. The story of her precocious genius reads, even to-day, as something akin to the marvellous. When she was about four years of age, her father, as the late Frantz Neruda told me, made her a miniature violin, more with a view to her amusement than with any contemplation of serious results. It was not long, however, before he became conscious that in this little daughter, he possessed a treasure, and one that was likely to prove a moving element in musical history. That his judgment was justified, events too have shown. At that time, strange as it may seem now, the idea of a woman-violinist was not only foreign to public instinct, but was even contrary to the general sense of propriety! Her fame, notwithstanding, rapidly increased in local circles, and it was not long before she was taken by her father to play before a great Church dignitary, not only to gain his patronage, but, through it, to allay any prejudice that might be aroused by so unusual a spectacle.