panied."* Smith's design was never executed; but if it had, Gray would have compared the music with his own previous ideas, and might have objected to any part of it as not expressive of his own feelings or conceptions. In fact, they only who have this æsthetic faculty, are capable of understanding or criticising works of fine art.

Even the artist himself, whether musician, sculptor, painter, architect, or poet, must compare his work with his own ideas, and will often feel his inability to realize, in his work, the perfection which he conceives and feels in the solitude of his own intellect. The greater the genius of the artist, and the higher its cultivation, the more intimately will he perceive that he cannot work up to his ideas.

But though Mr. Jennens had a right to his own æsthetic sentiments, it were well that he had abstained from such expressions as "gross faults;" and charging Handel with "obstinacy" for refusing always to adopt his suggestions. He should rather have sat at the feet of such a master as Handel, in the teachable spirit of a little child. Interference with the conceptions of a great artist, is a delicate task. Whether the criticisms of Mr. Jennens were just, must be left to those who can ascertain which of the alterations made by Handel, from time to time, in the work, may be traced to the suggestions of Mr. Jennens.

Handel, it appears by the foregoing extract, steadily retained the overture to the Messiah, notwithstanding the censure of Mr. Jennens, that it contained passages beneath the dignity of the subject.

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Few will deem the majestic movement which commences the overture, with its grand succession of chords that come rolling on, one after the other, like great billows of the ocean, unimpressive or beneath the dignity of the subject. The second movement, or fugue, suggests to some minds, the development of a great theme or design.

Although the tone of popular feeling in London had undergone, in great degree, a change favourable to Handel, yet for several years after his return from Ireland, he had to encounter the effects of malice and illiberality. Some implacable persons of distinction, who, it is to be presumed, knew no moral rule of action save their own wills, used to have large card assemblies on the nights of his oratorios, with the manifest intention of diminishing the number of his audiences. This conduct was the more remarkable, as such assemblies were not usual in the season of Lent. Dr. Burney, who came to London in 1744, records his remembrance of private concerts at the house of a Lady Brown, who, he tells us, "distinguished herself as a persevering enemy to Handel, and a protectress to foreign musicians, in general, of the new Italian style; and was one of the first persons of fashion who had the courage, at the risk of her windows, to have concerts of a Sunday evening."†

So powerful was the impression made by the oratorio of the Messiah, that it always drew crowded houses; as also did Samson and Judas Maccabæus; but Handel's other oratorios were frequently performed to audiences so scanty, as not to defray his expenses. Even the pre

* Burney. Hawkins.

† Hist. of Music, vol. iv.

G

sence of the King, who continued his steady patronage of Handel, so little ensured a full attendance on these occasions, that one oratorio night, Lord Chesterfield being met coming out of the theatre, excused himself by saying, "I came away, not chusing to disturb the king in his privacies."

The necessary expenses of providing an orchestra on a large and liberal scale, were more than the reduced means of Handel, unremunerated by the performances, could sustain; and in 1745, he became a bankrupt.* By living prudently, however, he retrieved his fortunes. In later years, his profits amounted to more than two thousand pounds a season .

At this period, Handel maintained the same proud superiority in his profession as ever. Dr. Burney, quoting, with a slight alteration, the words of the charge of Cassius against Julius Cæsar (though not, like Cassius, by way of accusation), says of him, that at this time, he "did bestride the musical world like a Colossus." At the concerts at Carlton House, not even the presence of royalty could restrain the rage and impetuosity of the irritable and fine-nerved musician, if there was any talking or other interruption to the music. The tone of voice in which, at the close of an air, he shouted out, "Chorus!!!" is described as extremely formidable. At these concerts, Handel noticed the early predilection evinced by the young Prince, afterwards

* Hogarth, Musical History, &c., vol. i. p. 207.

† Hawkins, vol. v. p. 411.

"Why man, he doth bestride the narrow world,
Like a Colossus, and we petty men

Walk under his huge legs.”—Julius Cæsar, Act. I. Sc. 2.

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George III., for his music. On one occasion, Handel observed to those near him, "You will see that this young Prince will keep up my music after I am gone." A prophecy which was truly fulfilled.*

Influenced by feelings of benevolence and humanity, Handel resolved to give an annual performance of the Messiah, for the benefit of the Foundling Hospital in London. These performances, directed by himself to the end of his life, produced many thousands of pounds for the charity. He presented to the institution, a fair copy of the score of the Messiah. The directors so curiously mistook the nature of the gift, as to imagine that the composer meant to give them an exclusive right to the performance of the oratorio, and were going to apply for an Act of Parliament to that effect. They sent a deputation to Handel to ask his concurrence. This was too much for the generous composer, who, amid his difficulties, had acted with such extraordinary benevolence to the institution. So absurd and ungrateful a return roused his indignation: he burst into a rage, and exclaimed, "Te teufel! for what sall de Foundlings put mein oratorio in de Parliament? Te teufel! mein moosic sall not go to de Parliament !"

* The musical judgment and feeling of this Monarch were of a high order. Dr. Burney had the good sense to cancel his own remarks on the chorus in the Messiah, "He trusted in God," which were already printed in his account of the Commemoration of Handel, and to substitute those which the King had sent him. The King, observing on "the moral merit" of this "choral fugue," remarks that "the words contain a manifest presumption and impertinence, which Handel has in the most masterly manner, taken advantage of." The critical note in the handwriting of George III. was preserved by Dr. Burney, and is given in his memoirs by his daughter, Madame D'Arblay.

The characteristic impetuosity and irritability of Handel were not the result of malevolence, ill-nature, or selfishness. They proceeded, in great measure, from the exquisite delicacy of his artistic temperament. A false note would put him in a rage; but his anger, though vented in a manner which often caused much amusement to those who witnessed its ebullitions, never deprived him of the essential kindness and goodness of his disposition. His temperament was manifested in what Sir John Hawkins relates of him, that "he wrote very fast, but with a degree of impatience, proportioned to the eagerness that possesses men of genius, of seeing their conceptions reduced into form."* He had a great deal of humour; and even in his moments of impatience and irritation, dealt in sallies of wit and pleasantry.

In 1751, Handel was attacked with incipient gutta serena, which ended in total blindness. This event put an end to his career as a writer of music, but did not in the least impair his powers as a performer on the organ. He ceased to conduct his band himself; and entrusted that office to his friend and scholar, Mr. Smith. He thus continued his oratorios to the very last. The extempore pieces which he played between the acts of the oratorios, were as finely conceived, and as admirably executed as ever. It was an affecting spectacle to see the venerable Handel, blind and aged, led to the organ, and then brought forward to make his bow to the audience. When the words of Milton"Total eclipse! no sun, no moon !" were sung in the

* Hist. of Music, vol. v. p. 412.

†The duet and chorus in Judas Maccabæus, "Sion now his head shall raise,” were dictated to Mr. Smith, by Handel, after the total loss of his sight.-Burney.