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THREE:The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfels��at whose court his brother-in-law was a valet��who found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburg��where, in 1705, he brought out his "Almira"��he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.Parliament met on the 16th of November, when the king told them that he had augmented the British forces in the Low Countries with sixteen thousand Hanoverians and six thousand Hessians. In fact, it had been his design, accompanied by his son, the Duke of Cumberland, to go over and take the command of the combined army of English, Hanoverians, Austrians, and Dutch; but the arrival of the Earl of Stair, who had been the nominal commander of these troops, and the return of Lord Carteret from the Hague, with the news that the Dutch could not be moved, had caused him to give up the idea and order his baggage on shore again. He assured Parliament, however, that the spirit and magnanimity of the Queen of Hungary, and the resolute conduct of the King of Sardinia in Italy, had produced the most beneficial effect. The usual address, proposed by the Marquis of Tweeddale, met with considerable opposition, especially in the Upper House, from the Earl of Chesterfield. Lyttelton again introduced the Place Bill, but it was rejected by the very men who had formerly advocated it. There was another motion made for inquiry into the administration of Walpole, on the plea that inquiry had been shamefully stifled on the former occasion; but it met with the same fate. But on the 10th of December the Opposition mustered all its strength on the motion of Sir William Yonge, the new Secretary at War, that we should pay for the sixteen thousand Hanoverians and the six thousand Hessians, and that a grant of six hundred and fifty-seven thousand pounds should be made for their maintenance from August, 1742, to December, 1743. It was the hard task of Sandys, as the new Chancellor of the Exchequer, to defend this monstrous grant and the interests of Hanover, after so many years of attack on these topics in opposition. Pitt answered Sandys in the most caustic style of his eloquence, and Sir John Aubyn and others followed as indignantly; but the Ministers carried the motion by two hundred and sixty votes against one hundred and ninety-three. Their ablest supporter on this occasion was Murray, afterwards Lord Mansfield, who made his first parliamentary speech on the occasion, and showed the delighted Cabinet that the man whom they had just made their Solicitor-General was capable of contending with that "terrible comet of horse," Pitt.