628 
Handel. filled the ostertsible situation of manager ofthe Ham- 
burgh theatre. He-was promoted to this situation in 
consequence of the flight of Keisser, the regular mana- 
ger, who had attempted to assassinate him. Having com- 
posed the operas of Almeria, F lorinda, and Nero, Handel 
proceeded to Florence, where he prudently resisted the 
consequences of an .attachment, whieh an actress, who 
was mistress to the Grand Duke, had coneeived for him; 
und repairing to other parts of Italy, he formed an ac- 
quaintance with Corelli and Scarlatti, famous’ musicians 
of that era. Then travelling to Hanover, he obtained a 
considerable pension from the Elector, afterwards Geo. T. 
of Britain, and arrived in London in 1710. 
His fame had already preceded him, and he enjoyed 
high favour at court. Some of his compositions were 
intended for the practice of queen Anne; and when 
he returned to Hanover, after urgent solicitations by 
the admirers of music to remain in England, she dis- 
missed him with a pension and valuable presents. 
After a short interval, Handel revisited Britain, where 
he was more caressed than ever, and where his musi- 
cal reputation began to extend. He first resided with 
the most distinguished persons, composing for perform- 
ances, and managing; some concerts for the nobility ; 
and afterwards a society, called the Royal Academy, 
was instituted, by a subscription of £ 50,000, to which 
the King contributed £1000, for the execution of his 
works. 
Handel now went to Dresden, in quest of performers 
for this great establishment, where he engaged a native 
of Siena, Francesco Bernardino Senesino, and Margari- 
ta Durastanti, two singers of celebrity, with whom he 
opened the Academy. But he had to contend with two 
formidable rivals in composition, Bononcini and Attilio, 
whose works were performed with applause in the Hay- 
marketstheatre. The friends of these three musicians, 
therefore, in order to decide their respective merits, 
agreed that each should compose the music for an act 
of an opera, called Muzio Scevola, of which the third 
fell to Handel’s share. Public opinion unanimously de- 
clared in favour of the Jast ; and it has been observed, 
that the performance of one of Handel’s operas after 
those of the other two, “is going from Arabia Petrea 
to Arabia Felix ; from barren rocks to spontaneous fer- 
tility”’ Handel, therefore, held unrivalled possession 
of the stage. Some years afterwards, having profited 
by the talents of Francesca Cuzzoni, a female singer, of 
whom it was said, “that her intonations were so just 
and fixed, that it appeared as if she could not sing’ out 
of tune,” he engaged Faustina, a young, beautiful, and 
interesting Venetian. But a rivalship commenced be- 
tween them, and the audience participated in it so keen- 
ly, that, amidst the violence of partisans, the merits of 
the institution were altogether obscured. Each was 
supported with indiscreet and indecent’ zeal ; and one 
of them having become refractory, Handel, from a pre-~ 
vious example of the same in-Senesino, refused to com- 
pose for this singer, and obtained his dismissal, proba- 
bly in order to intimidate the others. By this, and 
some arrangements of a different kind, he offended 
the directors of the Academy, which led to its dissolu- 
tion In nine years from its commencement. 
Handel, however, endeavoured to carry on an opera 
at his own expence, while a rival amusement, patroni- 
sed by many of the leading persons of the metropolis 
was established in Lincoln’s Inn Fields, But his suc. 
cess did not correspond with his expectations: and al- 
though he continued to compose with great facility and 
HANDEL. 
expedition, his productions were at length performed to 
empty houses. Neither did his opponents experience 
better fortune; from which we may infer, that the 
English taste for operas was beginning to decline. 
Handel produced no less than thirty operas between 
1721 ‘an 1740; but in the latter part of this period, 
both his health and his fortune were so deeply impair- 
ed, that he left Britain to visit the baths of Jixela-Chas j 
pelle. 
Having returned. ta London in a state of convales~ 
cence, Handel began to direct his attention more parti=’ 
cularly to another species of composition, oratorios, or 
sacred dramas, in which he expected, by the simplicity. 
of songs, and the grandeur of chorus, to command that ’ 
ublie notice which was denied to lighter compositions. 
he Messiah was ymed at Covent Garden in 1741, 
and it will scarcely be believed, after an interval of ’ 
70 or 80 years, that it was but indifferently recei- 
ved. The inhabitants of Dublin, however, to whom. 
the author had it performed for the benefit of the pri- 
soners of that city, viewed it differently ; and it was af- 
terwards repeated in England to the most crowded au-- 
diences with unbounded applause. Many other orato-— 
rios followed in rapid succession, of which the majority 
were favourably received. The tide of public favour 
was restored to its original current, and Handel’s merits 
gained their due appreciation. But some of his pro- 
ductions were nevertheless so little adapted to general 
taste, that the late King George II. attended them. 
almost alone, when abandoned by the rest of his’ 
court. Handel annually superintended the performance 
of the Messiah, with laudable liberality, for the benefit 
of the Foundling Hospital, which produced above £500° 
early. 7 
7 In the year1751, he Reacbeitietinig th eee ehcon and - 
from the moment that ensions for his sight were 
entertained, his spirits and vigorous imagination desert- 
ed him. An operation proving unsuccessful, his mes 
lancholy increased ; and he was obliged to resort to ex~ 
traneous assistance for the man ent of his oratorios. 
Years were now crowding upon him without bringing 
any alleviation of his disease ; and when he, whose works. 
had so often charmed an admiring audience, was led 
forward to make his obeisance ; or when his own com- 
position—* Total eclipse—no sun, no moon—all dark 
amid the blaze of noon,”—was performed, it is difficult » 
to determine whether he himself or the spectators were- 
most affected. - } 
Handel was attacked by a general debility in 1758, 
and from that time he considered his own recovery as” 
hopeless. Nor were his anticipations wrong, for he ex- 
pired in April 1759, in the 76th year of his age. He 
was entombed in Westminster Abbey, and a statue was 
erected to his memory, as one, erected in Vauxhall 
Gardens in 1738, had already celebrated his genius. 
In person he was large, and rather corpulent and un-. 
graceful ; and in manners he was rough and impetuous. 
Over his performers he exercised a isterial sway, 
exacting implicit obedience in the fulfilment of their 
respective duties; but it is probable, that posterity has” 
heard his music to even greater advan than was 
done by himself. He had no prominent vices however, 
and he practised many virtues. Handel died 
of considerable wealth for the period, and what must. 
be esteemed great for a musician, whose fortune was 
once ruined ; he left about £ 20,000, of whieh £1000. 
was bequeathed to the Society for rit decayed 
musicians, instituted in London in the year 1738. This. 
He 
