"'I don't care,' said the keeper, 'what your name is; you can't fish here without an order.'
"'All right,' said Wesley; 'you take in my name to your master and I'll follow you.'
"The keeper consented: his employer expressed his regret at the occurrence, and said he would be charmed if the doctor remained to lunch, and they sat down together. After lunch the host turned to the doctor and said he would be very delighted if he would play a selection on the organ. A very fine instrument was in the hall, and the doctor, nothing loth, sat down and played for half an hour. The music over, Wesley returned to his fishing, fished to sundown, and then went home. The next day the owner of the organ and the lake was surprised to receive a letter from Wesley asking for ten guineas for his services on the organ. Wesley was even more surprised when he had in reply a letter as follows: 'My charge for a day's fishing is twenty guineas, so if you will kindly forward ten guineas, that will make us quits.'
MR. LLOYD'S ONLY APPEARANCE ON THE STAGE.
"On another occasion Wesley was conducting an overture, and was so wrapped up in his thoughts of fishing that he kept on beating time after the overture was finished. One of the principal violins whispered to him that they had done.
"'Impossible!' rejoined Wesley. 'I've got twelve bars more.'
"One can only conclude from this that during the twelve bars the worthy doctor had held his bâton still in the act of catching a fish, and when he rose it again to continue beating time he was landing it."
From the time Mr. Lloyd appeared at the Gloucester Festival the active part of his career may be said to have commenced. He has been engaged in all the principal festivals from that time, and created the tenor parts in all the most important modern works: "The Martyr of Antioch," by Sullivan; Parry's "Judith"; Mackenzie's "Rose of Sharon" and "The Dream of Jubal"; Cowen's "Rose Maiden" and "The Water Lily"; Stanford's "Maeldune," and Sullivan's "Golden Legend," and amongst foreign, Rubinstein's "Paradise Lost" and Dvoràk's "Spectre's Bride." He created the tenor part in Gounod's "Redemption" at Birmingham Festival, and at the following festival the tenor in the same composer's "Mors et Vita." At Gounod's request he was invited—an invitation he accepted—to sing in Gounod's latter work at Brussels and Paris under his direction.
At Brussels Mr. Lloyd was presented to the Queen of the Belgians.