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ONE: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.The audacity of Buonaparte still further excited the indignation of the British Government. Under the name of consuls, he sent over to England and Ireland a number of military officers, whose real business was to act as privileged spies, to prepare plans of all the chief ports, with soundings, and an exact account of the winds with which vessels could go out or come in with most ease, and also at what draught of water the harbours might be entered by large vessels. These agents had been instructed to maintain the utmost secrecy as to their real objects, but they became known, and Ministers announced that any person coming in such a character to this country should be ordered instantly to quit it. Neither was the temper of the nation at all improved by the irritating proceedings of the French authorities on the coasts of France. A law had been passed by the Jacobins, in the most rabid time of the Revolution, condemning any vessel under a hundred tons burden found within four leagues of the French shores, having on board British merchandise. It was taken for granted that this decree was virtually annulled by the Peace of Amiens; but repeated seizures were now made of British merchant vessels driven by stress of weather on the French coasts, and the mere fact of having plates, knives, and forks for the crew, of British make, was used as a plea for confiscation of ships. It was in vain that remonstrances were made to the First Consul: they passed without notice. Such a peace it was evident could not last long. Napoleon was in a mood to brook no control from any quarter; he at this time showed how completely he would crush any creature who offended him when he had the power.