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not to flow. Nature surmounted every obstacle to her decree. The precautions taken to stifle the instincts of the child served only to fortify by concentrating them. He found means to procure a spinet, and to conceal it in a garret, whither he went to play when all the household was asleep – without any guidance finding out everything for himself, and merely by permitting his little fingers to wander over the keyboard, he produced harmonic combinations; and at seven years of age he discovered that he knew how to play upon the spinet.

      The poor father soon discovered his mistake, and in the following manner. He had, by a former marriage, a son who was valet to the Duke of Saxe Weisenfield. He wished to go and visit him; and George, who was then seven years old, and who was not acquainted with this brother, begged of his father to take him with him. When this was refused he did not insist, but watched for the moment when the coach set off, and followed it on foot. The father saw him, stopped the coach and scolded him; when the child, as if he did not hear the scolding, recommenced his supplications to be allowed to take part in the journey, and at last (thanks to that persistance which predicted the man of energy which he eventually proved to be) his request was granted.

      When they had arrived at the palace of the Duke, the boy stole off to the organ in the chapel as soon as the service was concluded, and was unable to resist the temptation of touching it. The Duke, not recognizing the style of his organist, made inquiries; and when the trembling little artist was brought before him he encouraged him, and soon won his secret from him.

      The Duke then addressed himself to the father, and represented to him that it was a sort of crime against humanity to stifle so much genius in its birth. The old doctor was greatly astonished, and had not much to answer. The opinion of a sovereign prince must have had, moreover, a great influence over the mind of a man who considered musicians mountebanks. He permitted himself to be convinced, and promised, not without some regret, to respect a vocation which manifested itself by such unmistakeable signs. Handel was present, his eyes fastened upon his powerful protector, without losing a word of the argument. Never did he forget it, and for ever afterwards he regarded the Duke of Saxe-Weisenfeld as his benefactor, for having given such good advice to his father. On his return home his wishes were gratified, and he was permitted to take lessons from Sackau, the organist of the cathedral at Halle.

      Sackau was an organist of the old school, learned and fond of his art. He was not long in discovering what a pupil Fortune had sent him. He began by carefully instructing him in general principles, and then laid before him a vast collection of German and Italian music which he possessed, and which they analyzed together. Sackau was every day more and more astonished at his marvellous progress; and, as he loved wine nearly as well as music, he often sent him to take his place at the organ on Sundays, whenever he had a good dejeuner to take part in. At length, although he found him of great use, this worthy man confessed, with excellent and admirable pride, that his pupil knew more than himself, and advised that he should be sent to Berlin, where he might strengthen himself by studying other models.

      Handel was eleven years of age when he went to Berlin. There he passed for a prodigy. The Elector, wishing to become the patron of so rare a genius, manifested a disposition to attach him to himself, and to send him to Italy to complete his musical education. But when the father was consulted, he did not think it wise to enchain the future of his son to the Court of Berlin, and he excused himself, saying that he was now an old man, and that he wished to keep near him the only son who remained to him; and, as in those days it was not prudent to oppose a prince on his own land, Handel was brought back somewhat hastily to his native town.

      Handel's father died shortly after the return of his son from Berlin, in 1697, leaving him poor; and it became necessary to provide for his existence as well as his renown. Halle was too small to contain him. He wished to visit Italy, but not having the means of such a journey, he went to Hamburg in the month of July, 1703.

      Soon after his arrival in Hamburg, the place of the organist of Lubeck was offered for competition, upon the retirement of the old incumbent. Handel canvassed for the vacancy; but finding a rather singular condition attached to the programme, which was that the successor was to marry the daughter of the retiring organist, as this was not quite agreeable to him, he returned to Hamburg as happy as he went. This adventure, at the very outset of his career, appears all the more original, when we remember that Handel never manifested any taste for matrimony.

      I shall not occupy your time by describing Handel's peregrinations through Italy – whereever he went his fame preceded him. In 1709 he left Italy, with an intent to settle in Germany. He came to Hanover. The Elector George of Brunswick, afterwards George I. of England, was delighted to receive such a man in his principality, and offered to retain him as his chapel master, at a salary of 1800 ducats, about £300 a year.

      Handel was not very desirous of occupying this post. For at the Court of the elector he had already met some British noblemen who had pressed him to visit England; and being persuaded by them to undertake that journey, he did not wish to engage himself, except upon the condition of being allowed to accomplish it. The condition was accepted and he set out at the end of the year. Passing through Dusseldorf he could scarcely tear himself away; for the Elector Palatine wished to keep him at any price. Thence he went to Halle to embrace his mother, who was now blind; and his good old master, Sackau. Afterwards he visited Holland and arrived in London at the close of 1710.

      Handel's first work in England was the Opera of Rinaldo, and this at once established his reputation.

      The Cavatina in the first act, "Cairo Sposa," was to be found, in 1711, upon all the harpsichords of Great Britain, as a model of pathetic grace. The march was adopted by the regiment of Life Guards, who played it every day for forty years. Like the regiments themselves, marches have their days and their strokes of fortune; and this one, after a long and honourable existence, was subsequently pressed into the service of the highway robbers. Twenty years later Pepusch made out of it the Robber's chorus in the Beggar's Opera, "Let us take road." The brilliant morceau in the second act, "Il tri Cerbero," was also set to English words – "Let the waiter bring clean glasses," and was a long time the most popular song at all merry-makings. But what shall be said of "Lascia che io pianza?" Stradella's divine air of "I miei sospiri," has nothing more moving, or more profoundly tender.

      It has been asserted that in music the beau ideal changes every thirty years, but that is an ill-natured criticism. Certain forms of accompaniment may grow out of fashion like the cut of a coat. But a fine melody remains eternally beautiful and always agreeable to listen to. The 100th Psalm of the middle ages is as magnificent to-day as it was when nearly four centuries ago it came from the brain of its composer, Franc.4 "Laschia che io pianza" and "I miei sospiri" will be admirable and admired to the very end of the world.

      Handel's publisher was said to have gained £1,500 from the publication of Rinaldo, which drew from Handel this complaint, "My Dear Sir, as it is only right that we should be upon an equal footing, you shall compose the next opera, and I will sell it." Publishers then, as now, not only lived by the brains of others, but had the lion's share of the profits.

      Handel's success as an harpsichordist was equal to that which he enjoyed as a composer. He very often played solos in the theatre, and at the house of Thomas Britton.

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