It was during this particular decade that the unique powers of Joseph Joachim reached their prime. I had now become a regular attendant at the “Pops," and it was often my privilege to sit there beside my lamented friend James W. Davison, the critic of the “Times” and proprietor of the “Musical World”; the man who helped Arthur Chappell to establish those famous concerts, and who for twenty years or more wrote the analytical programmes which constituted one of their most important educational features. One Saturday afternoon I was sitting by Davison's side as a glorious treat was nearing its close. Joachim had with marvelous fire led one of the “Rasoumowsky" quartets; he had played the Bach “Chaconne" as he alone in the world could play it; and now he was taking part in Schumann's noble pianoforte quintet, with Mme. Schumann, Louis Ries, Ludwig Straus, and Piatti for his companions. Just before the finale, the old critic turned to me and said in his abrupt, characteristic way : “”My boy, mind you mark this day with a red letter! I have known Joachim ever since he made his debut here as a lad of thirteen, under Mendelssohn, at the Philharmonic in '44 [about thirty years previous], but never have I heard him play as he has played this afternoon. From first to last he has been like one inspired.”