Between the London season and the provincial tour which followed they performed it 50 times. Among the cities visited were Edinburgh (four performances) and Glasgow (two performances). In the same season they undertook a work new to him, Nicolo's Joconde, and he played Zampa and The Porter of Havre again. The final work was a new opera with a role (Claude Melnotte) written especially for him, the Pauline of F. H. Cowen: the work was not successful. The tour took them to Dublin, Sheffield, Hanley and Birmingham. That, apart from two appearances as Sir Harry in The School for Scandal at Drury Lane benefits, and his eventual farewell appearance at Covent Garden in 1911, was the end of his stage career. Later years Santley gave recitals at the Monday Popular Concerts, and appeared with the Joachim String Quartet and Mme Clara Schumann. He settled down to concert and oratorio work in England. He converted to Roman Catholicism in 1880, and in 1887 Pope Leo XIII created him a Knight Commander of St Gregory the Great. He married twice, first (in 1858) to Gertrude Kemble (granddaughter of Charles Kemble), who before her marriage had a professional career as a soprano singer. Their daughter Edith also became a concert singer. Gertrude died in 1882. The couple had five children. Santley's second wife was Elizabeth Mary Rose-Innes. Santley, to whom European travel had been a holiday routine for many years, toured in Australia and New Zealand in 1889–1890, to the United States and Canada in 1891 and South Africa in 1893 and again in 1903. He sang last at the Birmingham festival in 1891 after an unbroken series of thirty years of appearances there. George Bernard Shaw, describing Santley as the hero of the 1894 Handel Festival, remarked especially on his Honour and Arms and Nasce al Bosco. 'Santley's singing of the division of Selection Day was, humanly speaking, perfect. It tested the middle of his voice from C to C exhaustively; and that octave came out of the test hall-marked; there was not a scrape on its fine surface, not a break or a weak link in the chain anywhere; while the vocal touch was impeccably light and steady, and the florid execution accurate as clockwork.' In these two arias his entire compass from low G to top E flat, and in Nasce al Bosco the top E natural and F, were