379 



tatious ia music be^an to grow out of fadiioD, 

 about the time that terraces and avenues were 

 demolished ; but the impf.ovemeQts io modem 

 music have a very different character £rpm those 

 in modern gardening, for no one can accuse 

 Haydn or Paesiello of taoiene^s or monotonv. The 

 passion foe i^trict fugues in piosic, and for exact 

 symmetry in gardens, iiad beea carried to excess ; 

 and when totally undisguised and unvaned, it cre- 

 ated in both arts a drjpess and pedantry of style : 

 but the principle on which that r _ ^ founded " 



ih--ild never be totally neglect ^ .e of the 



greatest masters, of music in later times, among 

 V. horn liandel claims the highest place, have done 

 w hat improvers might well have done ; they have 

 not abandoned symmetry, but have mi^ed it, (par- 

 ticularly in accompaniments^ with what is more 

 wild and irregidar. Among many other instances 

 there is part uf a chorus of Uaudel's in the Ora- 

 torio of Jephtha, which 5trongly illustrates all that 

 I have been dwelling upon. It is that which be- 

 gins 



" No more to Ammon's God and Kiug," 



a chorus which Mr. Gray, (by no me^is partial to 

 Handel) used to speak of with wonder. The £rst 

 part, though admirable, is not to my present 

 purpose ; the second opens with a fugue on the 

 >vords, 



" Chemosh no more 



" Will we adore, 

 " With timbrell'd aotheots to Jeorah dae." 



