popular applause, he gained momentarily in the discussion, but did not
complete his advantage until he took out a memorandum book, and began,
coolly, to note down the numbers of the constables. This stroke was
decisive; they, at once, capitulated, merely stipulating that they should
have his address in return. To this, he readily assented, and searched
diligently for his cardcase, but that mark of gentility was not at hand.
He, however, made a page from his memorandum book serve his purpose, and
took his leave amid the loud congratulations of the applauding crowd,
with the following pithy address to the constables: 'I can't well see
what use you are. A hundred years ago there were no police, and Lord
Mayor's shows went off better than they do now. For my part, I can't see
what you do here at all, for you know'--he added with a significant
grin--'you know you don't look so very well in a procession.' Shouts of
laughter followed the post-boy's brief speech, as he rode on
triumphantly."

It was about this time that M. Louis Antoine Jullien, to whom we owe so
much for the popularisation of good music, and for the improvement of our
orchestras, came into notoriety as a caterer for the public's amusement,
and for his promenade concerts. These had been popular in the open air
at Vauxhall, Ranelagh, Marylebone, and other public gardens; but the
first, under cover, was given in 1838 at the Lyceum Theatre, or, as it
was then called, The English Opera House, when the pit was boarded over,
and an orchestra erected on the stage exactly as we are now so familiar
with. Jullien, in 1838, had been unlucky in Paris, was bankrupt, and
came to London, where, in 1840, he was assistant to Eliason, the
violinist and conductor of an orchestra of 100 performers, and a small
chorus. Next year Jullien was the conductor; and, in 1842, on 2 Dec., he
started for himself, at the English Opera House, the series of promenade
concerts with which his name will always be associated.

He always would have the very best musicians that he could find for his
orchestra, and in this year (1843) among them were Barrett, Baumann,
Harper, Koenig, Richardson, Hill, Lazarus, Patey, Howell and Jarrett, and
in after years he had such, soloists as Ernst, Sivori, Bottesini
Wieniawski and Sainton. In 1857 he came, financially, to grief; he then
went to Paris, was imprisoned for debt in Clichy, in 1859, and died in a
lunatic asylum on 14 March, 1860.