Lord Cantilupe, of whom I always heard that he was the handsomest man of his generation, died before I was born, and Lady Di Beauclerck had married Baron Huddleston and ceased to ride in Rotten Row before I came to London; so my survey of the scene was unmarred by Locker's reflective melancholy, and I could do full justice to its charm. "Is there," asked Lord Beaconsfield, "a more gay and graceful spectacle in this world than Hyde Park at the end of a long summer morning in the merry month of May? Where can we see such beautiful women, such gallant cavaliers, such fine horses, such brilliant equipages? The scene, too, is worthy of such agreeable accessories--the groves, the gleaming waters, and the triumphal arches. In the distance the misty heights of Surrey and the lovely glades of Kensington." This passage would need some re-touching if it were to describe the Park in 1911, but in 1880 it was still a photograph. With regard to Public Entertainments in the more technical sense, the period of which I am writing was highly favoured. We had Irving and Miss Terry at the height of their powers, with all the gorgeous yet accurate "staging" which Irving had originated. We had Lady Bancroft with that wonderful undertone of pathos in even her brightest comedy, and her accomplished husband, whose peculiar art blended so harmoniously with her own. We had John Hare, the "perfect gentleman" of Stage-land, and the Kendals with their quiet excellence in Drawing-room Drama; and the riotous glory of Mrs. John Wood, whose performances, with Arthur Cecil, at the Court Theatre, will always remain the most mirth-provoking memories of my life. Midway between the Theatre and the Opera, there was the long and lovely series of Gilbert and Sullivan, who surely must have afforded a larger amount of absolutely innocent delight to a larger number of people than any two artists who ever collaborated in the public service. As to the Opera itself, I must quote a curious passage from Lord Beaconsfield, who figures so often in these pages, because none ever understood London so perfectly as he. "What will strike you most at the Opera is that you will not see a single person you ever saw before in your life. It is strange; and it shows what a mass of wealth and taste and refinement there is in this wonderful metropolis of ours, quite irrespective of the circles in which we move, and which we once thought, entirely engrossed them." Those words describe, roughly, the seasons of 1867-1870; and they still hold good, to a considerable extent, of my earlier years in London. The Opera was then the resort of people who really loved music. It had ceased to be, what it had been in the 'thirties and 'forties, a merely fashionable resort; and its social resurrection had scarcely begun.