Frederick Serman, at the Four Dwellings, near Saltley, Nov. 22, 1883, shot Angelina Yanwood, and poisoned himself, because the woman would not live longer with him "to be clemmed."
James Lloyd, Jan. 6, 1884, stabbed his wife Martha, because she had not met him the previous afternoon. She died four days after, and he was sentenced to death, but reprieved.
Mrs. Palmer and Mrs. Stewart were shot by Henry Kimberley at the White Hart, Paradise Street, Dec. 28, 1884. Mrs. Palmer died, and Kimberley was hung at Winson Green, March 17, 1885.
James Davis, policeman, while on his beat at Alvechurch, was murdered Feb. 28, 1885, by Moses Shrimpton, a Birmingham poacher and thief.
Elizabeth Bunting, a girl of 16, was murdered at Handsworth, April 20, 1885, by her uncle, Thomas Boulton.
Museums.—No place in England ought to have a better collection of coins and medals, but there is no Numismatic Museum in Birmingham. Few towns can show such a list of patentees and inventors, but we have no Patent Museum wherein to preserve the outcome of their ideas. Though the town's very name cannot be traced through the mists of dim antiquity, the most ancient thing we can show is the Old Crown public-house. Romans and Normans, Britons and Saxons, have all trod the same ground as ourselves, but we preserve no relics of them. Though we have supplied the whole earth with firearms, it was left to Mr. Marshall, of Leeds, to gather together a Gun Museum. Fortunately the Guardians of the Proof House were liberal and, buying the collection for £1,550, made many valuable additions to it, and after exhibiting it for a time at 5, Newhall Street, presented it to the town in August, 1876. There is a curious miscellany of articles on exhibition at Aston Hall, which some may call a "Museum," and a few cases of birds, sundry stuffed animals, &c., but we must wait until the Art Gallery now in course of erection, is finished before the Midland Metropolis can boast of owning a real Museum. At various times, some rich examples of industrial art have been exhibited in the temporary Art Gallery adjoining the Midland Institute, and now, in one of the rooms of the Free Library, there are sufficient to form the nucleus of a good Museum. We may, therefore, hope that, in time, we shall have a collection that we may be proud of. Mr. Joseph Chamberlain (April 26, 1875) gave £1,000 to purchase objects of industrial art, and it has been expended in the purchase of a collection of gems and precious stones, than which nothing could be more suitable in this centre of the jewellery trade. Possibly, on the opening of the new Art Gallery, we shall hear of other "thousands" as forthcoming.
Musical Associations.—There were, of course, the choirs attached to the churches previous, but the earliest Musical Society is believed to be that established by James Kempson, in 1762, at Cooke's, in the Cherry Orchard, and the founding of which led to the Musical Festivals. The members met for practice, and evidently enjoyed their pipes and glasses, their nightly song being:—
"To our Musical Club here's long life and prosperity;
May it flourish with us, and so on to posterity,
May concord and harmony always abound,
And division here only in music be found.
May the catch and the glass go about and about,
And another succeed to the bottle that's out."
This society was appropriately known as the Musical and Amicable Society from which sprung the Choral Society in 1776, though the present Festival Choral Society only claims to be in its thirty eighth year. The Birmingham Musical Society dates from 1840; the Amateur Harmonic Association from January, 1856; the Edgbaston Musical Union from 1874; and the Philharmonic Union from 1870. The Church Schools Choral Union, the Sunday Schools Union Festival Choir, and the Birmingham Musical Association, with one or two others, are the progeny of later years; the last on the list of musical institutions being the Clef Club (in Exchange Buildings), established March 21st, 1832, for the promotion of musical culture by "providing a central resort for the study and practice of vocal and instrumental music, with the social advantages of a club."
Musical Festivals.—The credit of suggesting the first Musical Festival in aid of the funds of the General Hospital, has been assigned to Mr. Kempson a local musician, who, with his friends, formed a Glee and Catch Club at Cooke's, in the Cherry Orchard. The minutes-book of the Hospital under date of May 3, 1768, records that a resolution was passed that "a musical entertainment" should be arranged, and it was held accordingly on the 7th, 8th, and 9th of September in that year, part of the performances taking place at St. Philip's Church, and part at the Theatre, then in King Street, the Festival being wound up with a ball "at Mrs. Sawyer's, in the Square." Church, Theatre, and Ball was the order of the day for many succeeding Festivals, the Town Hall, which may be said to have been built almost purposely for these performances, not being ready until 1834. The Theatre was only utilised for one evening each Festival after until 1843, when three concerts were held therein, but since that date the Town Hall has been found sufficient. The Festival Balls were long a great attraction (no less than 1,700 attending in 1834), but, possibly from a too free admixture of the general public, the aristocratic patronage thereof gradually declined until 1858, when only 300 tickets having been taken, the Ball night was struck out of the future programmes. The first Festival performances were by purely local artistes, and on several occasions afterwards they formed the bulk of the performers, but as the fame of our Festivals increased so did the inflow of the foreign element, until at one period not more than half-a-dozen local names could be found in any programme. This has been altered to a considerable extent of late years, so much so that at the last Festival nearly the whole of the chorus of voices was composed of members of our local Musical Societies, and a fair sprinkling of the instrumentalists also. A big book would be required for a full history of the Birmingham Triennial Festivals, descriptive of their rise and progress, the hundreds of musical novelties introduced, the many scores of talented artistes who have taken parts, the lords and ladies who have attended, and the thousand odd notes appertaining to them all. In the following notes are briefly chronicled the "first appearances," &c., with the results and other items for reference.