In der Sitzung des Professoren-Kollegiums der Philosophischen Fakultät wird der von Prof. Dr. Stefan [am 3.7.1891] eingebrachte Antrag, Bruckner die Ehrendoktorwürde zu verleihen, einstimmig angenommen (*).
Dr. Stefan soll seinem Assistenten Komorzinsky berichtet haben, daß Hanslick wütend die Sitzung verlassen habe (**).

Kalendereintragung Bruckners: »Sitzung 6 Uhr. I. Abds 7 Uhr 4. Juli zum Ehren-Doctor ernannt. Karte v. P T H Rektor (#) circa 1/2 8 Uhr. zwischen 1/4 über 7 Uhr u 1/2 8 Uhr.« (***).

Brief von Robert Lienau an Oberleithner:
    Überreicht in Beantwortung des Schreibens vom 30.6.1891 die Verträge [zur Drucklegung der 8. Symphonie], von denen er ein Exemplar mit Bruckners und Oberleithners Unterschrift zurück erbitte. Freiexemplare stünden Bruckner wie gewünscht zur Verfügung (°).

Im Feuilleton-Artikel der Linzer Tagespost Nr. 150 auf S. 1 wird auch das Bruckner-Porträt Beratons [IKO 32] erwähnt:
                  "Ferry Bératon.
     Wir müssen uns allmählich daran gewöhnen, auch in den Künsten Wachsthum, Entwicklung und Wechsel zuzulassen. Die neuere Wissenschaft hat den Satz des alten Griechen bestätigt, daß alles beständig im Flusse ist. [... über Malerei im Allgemeinen und über Bératon im Speziellen ...]
     [... seine Porträts seien keine Scheingebilde, sondern nach der Persönlichkeit geschaffen ...] Es ist der leibhafte Mensch, mitten im täglichen Leben ergriffen.
     So hat er unseren großen Landsmann Bruckner gemalt in einem vornehmen und geistreichen Bilde. Es ist zu wünschen, daß auch das Porträt des Bürgermeisters, an welchem er jetzt schafft, öffentlich ausgestellt und dem Interesse der Kunstfreunde zugänglich werde." [keine Signatur] (°°).

Die in London erscheinende Zeitung The Era Nr. 2754 bespricht auf S. 13 in der 5. Spalte das Konzert vom 29.6.1891 mit der 3. Symphonie:
"           RICHTER CONCERTS.
     The concert of Monday last was given in conjunction with the Wagner Society, for which reason it was somewhat singular that only a portion of the programme was made up from the works of that composer, [... über Haydns "Die Uhr" ... Tristan, Arien mit Mme. Nordica ...]. The other orchestral composition was a symphony by Anton Bruckner, a composer of whom little has been heard in this country. The symphony, which was dedicated to Wagner, was, in fact, heard for the first time in England on Monday. It may be questioned whether the audience at St. James's Hall felt quite as much rapture after hearing the symphony of Bruckner as it appears was the case when this work was given in Germany. Anton Bruckner is a composer who has worked hard all his life, having been born in 1824 at Ausfelden [sic], in Upper Austria, and having followed his art without making a name, or even obtaining much recognition, until recently, when the symphony attracted a great deal of attention. He has been for more than twenty years a professor in the Vienna Conservatoire, and it is a wonder that his abilities did not obtain a wider acknowledgment. But Vienna is overshadowed by the fame of the greatest masters, and that may account for the difficulty a modern composer finds in placing his works before the public. With regard to this work, it is upon such an ambitious scale that it is not easy to judge of it after a first hearing. One impression was, while admitting the great merits of some portions, that it was hardly wise on the part of the composer to expand his ideas to such great length. It is full of knowledge and resources, and not wanting in freshness of ideas, although there are times when echoes of other, and, it must be confessed, greater, musicians are evident. Altogether, spite of the excellent interpretation of the orchestra, the symphony proved rather fatiguing before the close, and there were visitors who did not feel sufficiently impressed by the genius of Bruckner to stay to the end. Still it was possible to admire the ability and the vast labour devoted to this monumental work, and in past days, when there was greater leisure to enjoy such elaborate productions, it would have fared better. Herr Bruckner [sic], the writer of the analytic notice of the work, says, "Critics who formerly condemned it have recanted, and confessed their inability on a first hearing to assess the true value of a work laid out on such gigantic lines, so profound and abounding in so many scholastic devices; and, after a further hearing and studying the score, have joined the ranks of Bruckner's admirers. Let us therefore take a lesson from them, and listen to the new symphony with patience and forbearance!" "Patience" and "forbearance" we have ourselves exercised." [keine Signatur] (°°°).