for strings, two flutes, two oboes, two trumpets, and bassoons. The instruments are never employed simultaneously, an orchestral feature peculiar to Arne. The song "Sweet Echo" was sung "behind the scenes" by Mrs. Arne, with an echo played on the flute, and proved very effective. Either from want of time, or some other cause, Arne did not compose chorus music, but adapted several pieces from Handel; the manuscript of these adaptations is in the British Museum. Produced at Drury Lane Theatre in 1738 under the composer's direction, the piece had a long run and was frequently revived. A notable occasion was the performance at Drury Lane on the 5th of April, 1750, when it was given for the benefit of the grand-daughter of Milton, Mrs. Elizabeth Foster, who was living in extreme old age and poverty; for this notable event Dr. Johnson wrote a prologue which was spoken by Garrick. It is satisfactory to know that the substantial sum of one hundred and thirty pounds was handed over to the aged lady as a result of the united efforts of the artists who gave their services. The popularity of "Comus" induced Arne to publish a score of the music in 1740. The title-page of the volume reads: "The Music in the Masque of Comus. Written by Milton. As it was Perform'd at the Theatre-Royal in Drury-Lane. Composed by Thomas Augustine Arne. Opera Prima. London. Printed by William Smith, at the musick shop in Middle Row, near Holborn Bars, and sold by the Author." The copies were signed by the composer; we may therefore presume that the publication was his own venture, which may account for his calling it Opera Prima. It certainly was not the first work of his, either composed or printed. He afterwards sold the plates, and the score was published with a new title-page bearing the imprint "London. Printed for and sold by J. Simpson in Sweetings Alley Royal Exchange." "Comus" became so popular that the songs were sung all over the Kingdom, and gave rise to numerous convivial and musical associations which were convened under the title _Comus's Court_. In 1739, a number of eminent musicians residing in London united in establishing a charitable society for the relief of indigent musicians and their families. The first steps were taken by Festing, Handel, Green, Weideman, and nine others; it was then called "The Society of Musicians," and since has become by Charter "The Royal Society of Musicians." Among the first to join the Association and to sign the "Declaration of Trust" were Thomas Arne and Handel. The former, after some years, neglected to pay his subscription, and ceased to be a member; but the latter retained his membership to the end of his life, and by his Will bequeathed one thousand pounds to its funds.