“A party of American minstrels, under the above designation, commenced on Wednesday night (21 Jan.), at the Hanover Square Rooms, a series of concerts, for the avowed purpose of affording an accurate notion of Negro character and melody. These artists are remarkably clever, and admirably ‘made up.’ They are painted jet black, with ruddy lips, and large mouths; and, being capital actors, the deception created is so great, that wagers have been offered that they are really ‘darkies.’ They dress in dandy costume, _à la Jullien_—that is, white waistcoated and wristbanded, turned up in the most approved D’Orsay fashion. Of course, it is impossible to come to any right conclusion as to the authenticity of the African airs, especially as they have arranged the compositions of the great European masters in such a grotesque manner. The executants are five in number; one plays the tambourine, Mr. Germon, who is the leader; another the bone castanet; the third, the accordion; and the two others, the banjo, or African guitar. The castanet player does not sing; but his four colleagues have good voices, and, in glees, harmonize charmingly. In a quartet, the parody on the Phantom Chorus, from Bellini’s ‘Sonnambula’; and in a glee, ‘You’ll See Them on the Ohio,’ nothing can be more effective than the skilful blending of the parts. It is, perhaps, the _buffo_ exhibition which will create the greatest sensation, and in this quality they are inimitable. The tambourine performer affects a ludicrous air of pompous sentiment, while the castanet sable hero indulges in all kinds of buffoonery and antics. He is a wonderful player—no Spaniard can rival him in rapidity, delicacy and precision. A scene called a ‘Railway Overture,’ causes an explosion of laughter; they seem to be endowed with perpetual motion; and the scream of the whistle, at the same time as the noise of the engine, beggars all description. The entertainment is quite a novelty, and will, no doubt, be attractive. They have been provided with letters of recommendation from President Polk, and some leading persons in America, who must be better able to appreciate the accuracy of their African delineations than Europeans.” They _were_ popular, with a vengeance—for every little street arab had beef bones for castanets, and every new song was roared out in the streets until it nauseated. _Punch_ drew policemen and dustmen as Ethiopian Serenaders, and even suggested that Lablache, Mario and Tamburini should adopt the style. [Picture: Picture of musicians]