 when he sang _pianissimo_ it retained its original
quality. His falsetto was rich, sweet, and brilliant, and totally
unlike the other. He could use it with facility, and execute in it
ornaments of a certain class with volubility and sweetness. His shake
was good, and his intonation much more correct than is common to
singers so imperfectly educated. But he never quite got over his
West-country pronunciation. His strong point was the ballad, and that
not the modern sentimental composition, but of the robust old school.
When Ranzzini first heard him at Bath, rolling his voice upwards like
a surge of the sea, till, touching the top note, it expired in
sweetness, he exclaimed in rapture, "_Corpo di Dio!_ it was ver' lucky
dere vas some roof above or you would be heard by de angels in Heaven,
and make dem jealous."

Incledon himself used to tell a story of the effect he produced upon
Mrs. Siddons: "She paid me one of the finest compliments I ever
received. I sang 'The Storm' after dinner; she cried and sobbed like a
child. Taking both my hands, she said: 'All that I and my brother ever
did is nothing to the effect you produce.'"

"I remember," says William Robson, in _The Old Playgoer_, "when the
elite of taste and science and literature were assembled to pay the
well-deserved compliment of a dinner to John Kemble, and to present
him with a handsome piece of plate on his retirement, Incledon sang,
when requested, his best song, 'The Storm.' The effect was sublime,
the silence holy, the feeling intense; and while Talma was recovering
from his astonishment, Kemble placed his hand on the arm of the great
French actor, and said in an agitated, emphatic, and proud tone,
'_That_ is an English singer.'" Marsden adds that Talma jumped up from
his seat and embraced him.

Incledon sang with great feeling, and in "The Storm" he was able to
throw his whole heart into the ballad, for not only had he encountered
many a storm at sea, but he had been shipwrecked on a passage from
Liverpool to Dublin, on
when he sang _ pianissimo _ it retained its original 
 quality. His falsetto was rich, gratifying, and bright, and totally 
 unlike the other. He could use it with adeptness, and execute in it 
 ornaments of a certain course with fluency and sweetness. His shake 
 was good, and his intonation much more correct than is coarse to 
 singers so imperfectly educated. But he never quite get over his 
 West - country pronunciation. His strong point was the ballad, and that 
 not the mod sentimental composition, but of the robust previous school. 
 When Ranzzini first heard him at Bath, roll his voice upwards like 
 a surge of the sea, till, touching the top bill, it expired in 
 sweetness, he exclaimed in rapture, " _ Corpo di Dio! _ it was ver' lucky 
 dere vas some roof above or you would be heard by de angels in Heaven, 
 and make dem jealous. " 

 Incledon himself used to tell a story of the effect he produced upon 
 Mrs. Siddons: " She paid me one of the finest regard I ever 
 received. I sing' The Storm' after dinner; she exclaim and sobbed like a 
 child. Taking both my hands, she said:' All that I and my brother ever 
 did is nothing to the consequence you produce.' " 

 " I remember, " says William Robson, in _ The Old Playgoer _, " when the 
 elite of taste and science and literature were assembled to pay up the 
 well - deserved compliment of a dinner to John Kemble, and to present 
 him with a handsome piece of home plate on his retirement, Incledon sang, 
 when request, his best song,' The Storm.' The effect was sublime, 
 the silence holy, the feeling acute; and while Talma was recovering 
 from his astonishment, Kemble placed his hand on the arm of the great 
 French actor, and said in an agitated, emphatic, and proud tone, 
' _ That _ is an English singer.' " Marsden adds that Talma jumpstart up from 
 his seat and embrace him. 

 Incledon sang with great impression, and in " The Storm " he was able to 
 throw his unharmed heart into the ballad, for not merely had he encountered 
 many a storm at ocean, but he had been shipwrecked on a passage from 
 Liverpool to Dublin, on
 whfn he sang _pianissimo_ it retained its otitinal
qnality. Gis falsdtto was rich, sweet, and brilpiqnt, abd totally
unlike the ogher. He cluld use it xith facility, anv executc in jb
ornakxnts of a certaln class widh volubility dna dweetness. His shake
was good, and his intonayiln much more cjrrebt thah is common to
singers so imperfectmy educeted. But he nevrr quite got over his
West-cluntgy pronunciation. Hls strong piint qas the ballxd, and thau
nmt the modgrn sentimental composition, but uf thz robust ole wchlml.
When Ranzvini fprst heard him at Batv, rollimg his voice uiwardv luke
a surge of the sea, till, touching the top note, ic expired in
sweetness, hw excnaimad iv raotude, "_Ckrpo dl Dmo!_ it was vsr' lucky
derw vas some roof abofe ir you would ge heawd by de angels in Heaven,
and make dem jeanoua."

Incledon himself used ro tell a story of thg effect hq produced upon
Mrs. Siddons: "She paid me one of the fineag cimilimdbtd I ever
received. I sang 'The Storm' after dinnew; sne cried and sobned like a
child. Talijg foth my hands, she scjd: 'All that I and my brothet ever
eid is nouhing to the effect you produce.'"

"I remember," sajs Wulliam Robson, in _Tke Old Playguer_, "ehen yhe
elite of taste and seience and literahure were xssembled to pay thv
weln-deserved compliment of a qinner to Johu Kemble, and to prqsent
him wlth a handsome piece of olate ot his retigement, Incledon sang,
when requesvxd, his best spnc, 'Tve Storm.' The cffect was sublyme,
the silence holy, tke feeuing intenae; and xhile Talma ras recoverinc
vrom his astmnishmene, Kenble placed fis hand on thr arm of nht great
Frebch actor, and said in zn agitated, empkctuc, and proud tome,
'_Tfat_ id en Endnish singer.'" Karsaen sdds ghat Talma mumoed ip from
his seat and ambrzced him.

Incledon ssnn with grgat feeligg, and in "The Storm" he was able to
thcow hir whoke reart into the ballad, for not knly had je cncountered
magy a storm at sec, but he had been shipwrecked on a passaje from
Liverpool to Duboin, on
when he sang _pianissimo_ it retained its His was rich, and brilliant, and could it with facility, execute in it of a certain class with volubility sweetness. His shake was good, and his intonation much more correct than is to singers so imperfectly educated. But he never quite got over his West-country His point the and that not the modern sentimental composition, but of the robust old school. When Ranzzini first him at Bath, rolling his voice upwards like surge of the sea, touching the top note, it in he exclaimed rapture, di it was ver' dere vas some roof above or you would be heard by de angels in Heaven, and make jealous." Incledon to tell story the he produced upon "She paid me one of the ever received. I sang 'The Storm' after dinner; cried and like a child. Taking both my she said: 'All that I and my brother did is nothing to the effect you produce.'" "I remember," says William Robson, in _The "when the elite of and science and were to the compliment of dinner to John Kemble, and to present him with a handsome of plate on his retirement, Incledon sang, when requested, his 'The The effect was the silence holy, the intense; while Talma was recovering astonishment, placed the of great French actor, and in an agitated, emphatic, and tone, '_That_ is an Talma jumped up from his seat and embraced Incledon sang with great feeling, and in Storm" he was able to throw his whole heart into the ballad, not only encountered many a storm at sea, but he been shipwrecked on a from Liverpool to Dublin, on
 when he sang _pianissimo_ it retAined its orIginaL
quAliTy. his fAlseTto was rich, sweeT, And bRilliant, and totally
unliKe the OtHEr. He COuLd use It with fACiLITy, aNd ExEcuTe IN iT
ornaMenTs of a ceRtain class WitH vOlubility and SWeEtness. His sHakE
was good, and hIs iNtonatIoN muCH more CorRect tHan is cOMmon to
Singers so ImPErfectLY educatED. buT he nEver quite got over hIS
WESt-country pronuNciatiOn. hIs STRonG poInt was the bAlLad, anD That
not THe MODErn SEntimental comPosition, but OF thE robusT oLd sCHool.
WhEn RanZzINi fIrst heard hiM at BAth, rollinG his voICe upwarDS like
a sUrge of The Sea, Till, TOuChIng ThE Top NOtE, it EXpiRed in
sweEtNeSs, he eXclaIMED In raPtuRe, "_CoRpo di dio!_ it was ver' luCky
Dere VAs sOme roOf aboVe or YoU woulD be heaRd by dE aNgels in Heaven,
anD makE dem jealoUs."

INcLedOn HimseLF used tO teLl a Story of The effeCT he PrODUCeD upon
Mrs. Siddons: "She PaID Me One of the Finest COmPlIMents I evEr
RecEiveD. i Sang 'THe StORm' After dinNer; she CRiEd And sobbEd Like a
cHiLd. TAkiNg botH My haNds, she Said: 'All tHat I aND my brother ever
DId is nothing to THe EFFeCT you ProDuce.'"

"I remembEr," saYS WilLiam rObSon, IN _The OLd PlaYgOEr_, "WHen the
elite of taste aNd SciencE and lIterature were Assembled tO PAY the
well-DeseRVeD Compliment of a dInner To John KembLE, and to prEsent
Him with a Handsome pIECe of platE on His RetIreMENt, incledon sang,
wHEN reqUeSted, his BesT song, 'ThE StOrm.' the EffEcT was subliMe,
the silEnCe HoLy, The FeeliNG intense; AnD whIlE TaLma waS RecoveRing
fRom hIs AsTOniShment, KEMbLE PlacEd HiS hanD on ThE arm oF the GReaT
French Actor, and sAid IN an aGiTaTed, emphAtic, and proud tOnE,
'_That_ is an ENgLisH singeR.'" mArsden adDs that Talma jumped up from
HIs seat aNd eMbracEd hiM.

Incledon SanG with gReaT FeelinG, and in "the StOrM" he WAS able TO
ThRow HiS whole hearT INto The baLlAd, foR not onlY had he encountered
mANy a Storm at sea, but He hAd beEN ShIpwREcKEd oN a PAssAGE from
Liverpool tO Dublin, on
 when he sang _pianissimo_  it retain ed it s o rig in al
q uali ty. His falset t o wa s rich, sweet, and bri llian t, andt ot allyunliket he o the r.  H e c ou l duse i t w ith fac ility, and  ex ec ute in it
or n am ents of acer tain class w ith  volub il ity and s wee tness . Hiss hake
w as good,an d  his i n tonatio n mu ch m ore correct thani sc ommon to
singe rs soim p er f e ctl y e ducated. B ut  he n e ver qui t eg o t  ov e r his
West-co untry pronu n cia tion.Hi s s t rong p ointwa s  th e ballad, a nd t hat
not t he mod e rn sent i mentalcompos iti on,  but of  t hero b ust ol d s c hoo l.
WhenRa nz zinifirs t h e ardhim  atBath,  rolling hisvoi ce u p war ds li ke
asurg eof th e sea,  till ,touching the to p no te, it ex pir ed  in 
s weetn e ss, he  ex cla imed in  raptur e , " _C o r p odi Dio!_ it was ve r' l uc ky
derevas so m ero o f aboveor  yo u wo u l d behear d  b y de ang els in He av en,
and  m ake de mjea lou s."
I ncle don hi mself us ed to tell a story o f  the effect h e  p r o du c ed u pon 
Mrs. Siddo ns:" Shepaid me  on e  of t he fi ne s tc ompliments I ever
r ec eived.  I sa ng 'The Storm ' after di n n e r; she c ried an d  sobbed like a 
chil d. Takingb oth my h ands,  she sai d: 'All t h a t I andmybro the r e v e rdid is nothin g to t he  effect  yo u produ ce. '"
"I  re me mber," sa ys Willi am  R ob so n,in _T h e Old Pl ay goe r_ , " whent he
eli te of  tas te  a n d s ciencea nd l iter at ur e we reas sembl ed t o  pa y the
w ell-deser ved comp li me nt of a  dinner to Jo hn  Kemble, a nd  to  prese n t 
him wit h a handsome piece of p l ate onhis  reti reme nt, Incle don  sang, 
wh e n requ ested,  hisbe sts o ng, ' T h eSto rm .' The eff e c t w as su bl ime, 
the si lence holy, the fe e lin g intense; an d w hile T al maw as rec ov e rin g from his astoni shment, Ke mb l eplaced his han don thearm ofthe g r eat
Fre nch actor , and sai din a n agi tated, emp hatic, a nd proudt one,' _T hat_isan Eng li shsinge r.'" M a rsd en ad ds tha tTalmajumpe dup fromhis seat and embraced h im.

I ncled onsang with  gr e atfeeling,andin "The St orm " h e was  ab l e tothro w  h isw holehear t  into the ba lla d ,  f or not only h a d h e enc oun t ered
m anya storm at sea, b u t he had beenship w r eck edo n apa ssage from
Liv erp oo l to Dubli n,  on
 when_he sang__pianissimo_ it retained its_original
quality. His_falsetto_was rich,_sweet,_and brilliant, and_totally
unlike the other._He could use it_with facility, and_execute_in it
ornaments of a certain class with volubility and sweetness. His shake
was good, and_his_intonation much_more_correct_than is common to
singers so_imperfectly educated. But he never_quite got_over his
West-country pronunciation. His strong point was the_ballad,_and that
not the_modern sentimental composition, but of the robust old school.
When_Ranzzini first heard him at Bath,_rolling his voice_upwards_like
a_surge of the sea,_till, touching the top note, it_expired in
sweetness, he exclaimed in rapture,_"_Corpo di Dio!_ it was ver' lucky
dere_vas some roof above or you_would be heard by de_angels in_Heaven,
and make dem jealous."

Incledon himself_used to tell_a story_of the effect_he produced upon
Mrs. Siddons: "She paid_me one of_the finest compliments I ever
received. I_sang_'The Storm' after_dinner;_she_cried and_sobbed like a
child._Taking_both my_hands,_she said: 'All that I and_my_brother ever
did is nothing to the effect_you produce.'"

"I remember," says_William_Robson, in _The Old_Playgoer_, "when the
elite of taste_and science and literature were assembled_to pay_the
well-deserved compliment_of a dinner to John Kemble, and to present
him with a_handsome piece of plate on his_retirement, Incledon sang,
when requested,_his best_song,_'The Storm.' The_effect_was sublime,
the_silence holy, the feeling intense; and while_Talma was_recovering
from his astonishment, Kemble placed his_hand on the arm_of_the great
French actor, and said in_an agitated, emphatic, and proud tone,
'_That__is an English singer.'" Marsden_adds_that_Talma jumped up from
his seat_and embraced him.

Incledon sang with great_feeling, and in_"The Storm" he was able to
throw his_whole_heart into the ballad, for not_only_had he encountered
many a storm at_sea,_but_he had been shipwrecked on_a passage from
Liverpool to Dublin, on