by Gainsborough.

We now return to the early days of Arne. Burney writes, “Arne had a good school education, having been sent to Eton by his father, who intended him for the law. But I have been assured by several of his school-fellows, that his love for music operated upon him too powerfully, even while he was at Eton, for his own peace, or that of his companions; for with a miserable, cracked common-flute he used to torment them night and day when not obliged to attend the school.” Burney’s description of the flute must be regarded as somewhat exaggerated if we may judge from the instrument depicted in the portrait of Arne painted by Gainsborough, and here reproduced. Burney’s narrative continues, “He told me himself that when he left Eton, such was his passion for Music, that he used to avail himself of the privilege of a servant, by borrowing a livery and going into the upper gallery of the Opera, which was then appropriated to domestics.” Arne’s father, having decided that the young man should be brought up to the profession of the law, articled him to an attorney for three years, but this compulsory legal study did not prevent him secretly and assiduously practising on a spinet, which he had smuggled into his bedroom; using a silk handkerchief, he contrived to muffle the sounds of the instrument, and could indulge in play when the other members of the household were asleep. This he did with fear and trembling, well-knowing that if discovered by his father, both he and the musical instrument ran the risk of violent expulsion through the window. He further managed to acquire some proficiency on the violin, and soon contrived to get some lessons from the accomplished and eminent violinist, Michael Festing. His natural talent enabled him to make rapid progress, and shortly after the expiry of his articles, an incident occurred which happily determined his future career. His father, one day calling at a gentleman’s house in the neighbourhood upon business, found that he was engaged, but sending in his name, Arne’s father was invited upstairs, where there was a large company and a concert in progress, and, to his astonishment, his son in the very act of leading as first fiddle. This convincing proof that his son was more successful with music than law, caused him to relent, and he offered no further opposition to his adopting the former as a means of livelihood. Arne was now able to pursue his musical studies without restraint, and he soon bewitched all the family by his enthusiasm and ability. He discovered that his sister, Susanna, possessed a beautiful and sympathetic voice, which by his instruction rapidly developed. Festing still continued to give him lessons on the violin, and calling in King Street one day for this purpose, he found Arne diligently practising with his music supported on the lid of a coffin. Horrified with the sight, he declared he could not play under such circumstances, as he would be constantly imagining there might be a corpse in the coffin beneath. “So there is,” said Arne, and gave proof by removing the lid.

In 1732, Arne’s father dabbled in music as a business speculation; induced to do so, perhaps, by the remarkable talent of his children. He and others, without permission, and without consulting Handel, announced performances of that composer’s works at the theatre in the Haymarket. An advertisement of May the 10th reads: “At the theatre in the Haymarket on Thursday the 12th inst. Acis and Galatea, a pastoral drama set by Mr. Handel will be performed, with all the choruses, songs, machines and other decorations: being the first time it ever was performed in a theatrical way. The part of Acis by Mr. Mountier, being the first time of his appearing in character on any stage. Galatea by Miss Arne. Pit and boxes at five shillings. Subscriptions are only taken in by Mr. Arne at the Crown and Cushion, King Street, Covent Garden.”

For some reason the performance did not take place on the 12th, but on the 17th. Dr. Burney says that the adventurers, or partners, in the speculation included Arne and his son, and the performers, Miss Arne and Miss Cecilia Young, afterward young Arne’s wife. Arne now resolved to essay his powers in composition, by setting to music the libretto of Rosamond, written by Addison. The music of the chief character he designed for his sister, and the part of the Page for his young brother Michael. The work when completed was presented to the public at the theatre in Lincoln’s Inn Fields on the 7th of March, 1733. In addition to his sister and brother, the performers were Mrs. Barbier; Leveridge, the veteran bass, Mr. Corfe, Mrs. Jones and Miss Chambers. The first performance proved a great success and was followed by ten others; the last was announced for the benefit of “Mr. Arne, junior,” evidently to distinguish the composer from the father. Thus encouraged Arne now determined to try his hand on a humorous composition, and selected for the purpose Fielding’s Burletta “Tom Thumb”; this had been played as a comedy, with great success, in 1731, under the title “The Tragedy of Tragedies!” In its new musical dress the composer called it “The Opera of Operas,” and it was submitted to the judgment of the public at the new theatre in the Haymarket on the 31st of May, 1733. The principal character, Tom Thumb, was personated by the composer’s brother Michael. The verdict of the audience was highly favourable; the piece attained great popularity, and a very long run. The Princess Amelia and the Duke of Cumberland attended the second performance; the Prince of Wales, the sixth, and the younger Princesses the eighth. Arne’s next composition was an experiment in another branch of stage work; a Masque with Harlequinade entitled, “Dido and Æneas.” He was now regularly employed at Drury Lane Theatre as composer. His sister, Susannah Maria, had acquired considerable fame both as singer and actress, and in April, 1734, she married Theophilus Cibber, who became notorious as an evil-doer. He was the son of Colley Cibber, and for about three years husband and wife lived together; they had two children, who died in infancy. The profligate husband had a friend, a Mr. Sloper, who with ample means frequently relieved Cibber of pecuniary embarrassments, but in 1738 the latter absconded to France, and his wife placed herself under the protection of Mr. Sloper, who resided at Burnham in Buckinghamshire. On returning to England, Cibber brought an action for adultery, laying the damages at £5,000; the verdict in his favour gave him £10. He then brought a fresh action, claiming £10,000 for the loss of his wife’s professional services, and obtained a verdict for £500. It appeared that Cibber[5] had forcibly broken into his wife’s residence, abstracted her jewellery, and carried her off to the Bull’s Head tavern, Clare Market, where he had locked her in an apartment from which she was rescued by her brother, Thomas Arne.

In 1736, Arne, in the twenty-sixth year of his age, married Cecilia Young, the charming singer who had appeared with his sister at the performances in the new theatre in the Haymarket, in 1732. She was the daughter of Charles Young, a performer of good repute and organist of All Hallows’ Church, Barking. Of three accomplished sisters she was the most gifted; her natural soprano voice had been well trained by Geminiani, and was of unusual compass and flexibility, ranging up to E in alt. She was also greatly admired on account of the accuracy and perfection with which she executed trills and shakes. Dr. Burney said, “her