Amongst the minor canons of Canterbury Cathedral, there was one John Gostling, the fortunate possessor of a bass voice of extraordinary compass. This man was a great favourite with Charles II., and on one occasion the King, having arranged a pleasure trip in his new yacht, _The Fubbs_, round the Kentish coast, desired Gostling to join the party "in order to keep up the mirth and good-humour of the company." The boat had not gone very far when a terrible storm arose, and the danger became so imminent that the King and the Duke of York had to work like common sailors to help keep the vessel afloat. They escaped, but the impression made on Gostling was so profound that on his return to London he selected those passages from the Psalms which declare the wonders and terrors of the deep, and gave them to his young friend Purcell to compose, the wonderful anthem "They that go down to the sea in ships" being the result. It was with reference to this singer that Charles II. made the _bon mot_, "You may talk as much as you please of your nightingales, but I have a gosling who excels them all!" In 1680 Dr. Blow resigned his position as organist of Westminster Abbey in favour of his young pupil, and thus at twenty-two years of age, we find Purcell in possession of the most important musical appointment in the kingdom. His fame was already secure, but this year was to put the crown on all his former achievements, and this crown was to be twined for him by English school-girls. [Illustration: Here lyes HENRY PURCELL Esqr Who left this Life, And is gone to that Blessed Place Where only his Harmony can be exceeded. Obijt 21^{mo} die Novembrs Anno Ætatis suæ 37^{mo} Annoq Domini 1695 ] In this year Mr. Josias Priest moved his school for young gentlewomen to Chelsea. In this year also he conceived the bold idea of an English opera, and having chosen his subject, the classic history of Dido and Æneas, he had commissioned Nahum Tate, a native of Dublin, who was already known as co-author (with Nicholas Brady) of the metrical version of the Psalms, to prepare the book. The brilliant young organist of Westminster Abbey was engaged to compose the music, and so heartily did he throw himself into the work that an opera was produced which could measure itself against the best existing productions of Italy, France, or Germany. [Illustration: Purcell's House] That the music should have been so surpassingly beautiful is the more surprising when we remember the limitations imposed upon its creator. With the exception of the part of Æneas, which was given to a tenor, all the parts were written in the G, or treble, clef as being the easiest for young gentlewomen; and the orchestral accompaniments were confined to two violins, a viola, bass, and harpsichord.