much unselfish labour in arranging selections of Bach and the other
great organ masters, besides publishing songs, duets, and piano works of
her own. In 1856 she tried for a musical degree at Oxford, presenting an
orchestral setting of the 130th Psalm; but, although the work won high
praise, no authority existed for granting a degree to a woman. Marian
Millar, a composer of songs and orchestral-choral works, met with more
success in hunting for the coveted "Mus. Bac." and obtained it by
applying to Victoria University. Augusta Amherst Austen, another
organist, has written songs and hymn tunes, while Elizabeth Mounsey,
also a performer, has published songs and piano pieces as well as organ
works.

Ann Shepard Mounsey (1811-91), afterward Mrs. Bartholomew, a sister of
Elizabeth, is mentioned by Spohr as a child prodigy. She was a friend of
Mendelssohn, who wrote his "Hymn of Praise" for her sacred concerts in
London. A set of "Thirty-four Original Tunes and Hymns" may be classed
as organ work, but her greatest effort took the shape of an oratorio,
"The Nativity." She also wrote a sacred cantata, and many lesser vocal
works, including excellent solo and ensemble songs. Emma Mundella
(1858-96) received an education both long and broad, and brought forth
part-songs, piano pieces, church music, and an oratorio, "The Victory of
Song." Elizabeth Annie Nunn (1861-94) also produced religious works,
and, besides songs and various church music, published a Mass in C.

In the early part of the nineteenth century, the mechanical skill of
Sebastian Erard made the harp extremely popular. At that time English
households contained harps much as they do pianos at present.
Excellently adapted as it was for women's performance, it is not
surprising to find women composing for it also. Elizabeth Anne Bisset,
Hannah Binfield, and Olivia Dussek, afterward Mrs. Buckley, were three
famous examples of female skill in writing for the instrument.

Of song composers there have been a multitude. Among the early ones,
Ellen Dickson (1819-78), under the _nom de plume_ of Dolores, won a wide
reputation. Her works are still sung, the most popular being her setting
of Kingsley's brook song, "Clear and cool." Frankly simple in style, but
full of pretty melodies, were the songs of Mrs. Charles Barnard
(1834-69), who became widely known under the pseudonym of "Claribel."
With her may be classed the ballad writers, such as Mrs. Jordan (Dora
Bland), who co