and Exhibitions offered for competition:—the Westmorland Scholarship of £10, for female vocalists between the ages of 18 and 24; the Potter Exhibition of £12, for male and female candidates in alternate years; the Sterndale Bennett Scholarship, of two years' free education in the the Academy, for male candidates between the ages of 14 and 21; the Parepa-Rosa Scholarship, of two years' free education in the Academy, for British-born females between the ages of 18 and 22; the Sir John Goss Scholarship of 15 guineas, awarded triennially to male organists under 18; the Thalberg Scholarship of £20, for male and female pianists at alternate elections, between the ages of 14 and 21; the Novello Scholarship, of three years' free education at the Academy, for male candidates between the ages of 14 and 18; the Lady Goldsmid Scholarship, of one year's free education in the Academy, for female pianists; the Balfe Scholarship for composition, of one year's free education at the Academy, for Britishborn males between the ages of 14 and 21; and the Hine Gift of £12, given annually for the best English ballad composed by pupils under 17. In addition to these, several prizes offered for competition, and certificates of it, silver and bronze medals, are awarded anually.
Public performances have been given by the pupils of the Royal Academy at various intervals from the date of its foundation. Their locality was sometimes in the Hanover Square Rooms and sometimes at Tenterden Street. The present custom is to have two concerts of chamber and choral music at the Academy, and one orchestral concert at St. James's Hall every term. From 1828 to 1831 operatic performances were given in public by the students, but since then they have been discontinued, the performances of the operatic class being held privately once or twice in each term. There is orchestral and choral practice twice a week throughout the year, at which pupils have the opportunity of hearing their own instrumental or vocal compositions and of performing concertos and songs with orchestral accompaniments. The number of pupils has increased from 300 in 1876, to 400 in 1881.
ROYAL SOCIETY OF MUSICIANS OF GREAT BRITAIN, THE, was founded by the exertions of Festing the violinist, and Weidemann the flutist, who were struck by the appearance of two little boys driving milch asses, who proved to be orphans of a deceased oboe-player named Kytch. [See Festing, vol. i. p. 515b.] They immediately raised subscriptions to relieve the family, and feeling that some permanent establishment was required to meet similar cases, induced most eminent music-professors of the day to associate themselves together as a Society for that purpose. This excellent work was formally accomplished on April 19, 1738, and amongst its first members were Handel, Boyce, Arne, Christopher Smith, Carey, Cooke, Edward Purcell, Leveridge, Greene, Reading, Hayes, Pepusch, and Travers. In 1739 the members of the Society executed a 'deed of trust,' which was duly enrolled in the Court of Chancery; the signatures of the members, 226 in number, include the most eminent professors of music of the time. The deed recites the rules and regulations for membership and for the distribution of the funds, and provides for regular monthly meetings at the sign of Saint Martin, in St. Martin's Lane. Handel took an especial and active interest in the welfare of the Society, composing concertos and giving concerts for the benefit of its funds, and at his death bequeathing to it a legacy of £1,000. The Handel Commemoration held in Westminster Abbey in 1784 brought a further addition of £6,000. In 1789 George III. granted the Society a charter, by virtue of which its management is vested in the hands of the 'Governors' and 'Court of Assistants.' In 1804 the funds of the Society not being in a flourishing condition, the king gave a donation of 500 guineas. Considerable sums have been given or bequeathed to the Society by members of the music-profession, especially Signora Storace £1,000, Crosdill £1,000, Begrez £1,000, Schulz £1,000; the latest and largest amount, 1,000 guineas, being that of Mr. Thomas Molineux (Feb. 10, 1881), now resident in London, but for many years an eminent performer on the bassoon and double-bass at Manchester.
The Society pays away annually to relieve distress over £3,000, which amount is provided by donations from the public, subscriptions and donations of members of the Society, and interest (about £2,500 per annum) on the Society's funded property.
Members of the Society must be professional musicians, and are of both sexes, the Royal Society of Female Musicians having been affiliated to the elder institution in 1 866. [See Royal Society of Female Musicians.] There is, says Dr. Burney, 'no lucrative employment belonging to this Society, excepting small salaries to the secretary and collector, so that the whole produce of benefits and subscriptions is nett, and clear of all deductions or drawbacks.' The large staff of physicians, surgeons, counsel, solicitors, give their gratuitous services to the Society. The present secretary is Mr. Stanley Lucas, and the honorary treasurer Mr. W. H. Cummings. The Society's rooms are at No. 12 Lisle Street, Leicester Square, and contain some interesting memorials of music, as well as a collection of portraits, including Handel, by Hudson; Haydn; Corelli, by Howard; Geminiani, by Hudson; Purcell, by Closterman; C. E. Horn, by Pocock; John Parry, the elder; Sir W. Parsons; J. Sinclair, by Harlowe; Gaetano Crivelli, by Partridge; Domenico Francesco Maria Crivelli; J. S. Bach, by Clark of Eton; Beethoven, with autograph presenting it to C. Neate; W. Dance by his brother; and a life-size painting of George III. by Gainsborough.
ROYAL SOCIETY OF FEMALE MUSICIANS, THE, was established in 1839 by several ladies of distinction in the musical profession, amongst others Mrs. Anderson, Miss
