Towards the end of June, 1879, when, seated by Adelina Patti in her ground-tier box at Covent Garden, I witnessed the production of Massenef's Roi de Lahore, I could not help thinking that we English were getting on apace in the way of emancipation from old-fashioned prejudices and hallowed traditions; for the third act of that extremely remarkable work is also transacted in the celestial regions, its "leading business" being appropriately confided to the First Person of the Trinity, who promotes human souls to eternal bliss or condemns them to its converse in solemn strains (to the accompaniment obbligato of four trombones), seated on his throne and surrounded by his angels — cherubim and seraphim — who dance "ballets of rejoicing" whenever a virtuous spirit obtains advancement or a sinner's ghost is bundled off to the infernal regions.