and writing new strains with an ease that well became the urgency of the
circumstances.

"My grandfather," says the Rev. J. Fountagne, "as I have been told, was
an enthusiast in music, and cultivated most of all the friendship of
musical men, especially of Handel, who visited him often, and had a
great predilection for his society. This leads me to relate an anecdote
which I have on the best authority. While Marylebone Gardens were
flourishing, the enchanting music of Handel, and probably of Arne, was
often heard from the orchestra there. One evening, as my grandfather and
Handel were walking together and alone, a new piece was struck up by the
band. 'Come, Mr. Fountagne,' said Handel, 'let us sit down and listen
to this piece; I want to know your opinion about it.' Down they sat, and
after some time the old parson, turning to his companion, said, 'It
is not worth listening to; it's very poor stuff.' 'You are right, Mr.
Fountagne,' said Handel, 'it is very poor stuff; I thought so myself
when I had finished it.' The old gentleman, being taken by surprise, was
beginning to apologize; but Handel assured him there was no necessity,
that the music was really bad, having been composed hastily, and his
time for the production limited; and that the opinion given was as
correct as it was honest."


VI.

The period of Handel's highest development had now arrived. For seven
years his genius had been slowly but surely maturing, in obedience
to the inner law of his being. He had struggled long in the bonds of
operatic composition, but even here his innovations showed conclusively
how he was reaching out toward the form with which his name was to