song written for her by the master, such rage took possession of Handel
that he seized her fiercely, and threatened to hurl her from the window
unless she succumbed. One of the arias composed for this singer extorted
from Main-waring, a musician bitterly at odds with Handel, the remark,
"The great bear was certainly inspired when he wrote that song."

Cuzzoni's popularity with the public had so augmented her native conceit
and insolence as to make a rival unbearable. Though she was ugly and ill
made, of a turbulent and obstinate temper, ungrateful and capricious,
she deported herself as if she possessed all the graces of beauty, art,
and genius, and regarded the allegiance of the public as her native
right. London had indeed given her some claim to this arrogance, as
from the first it had treated her with brilliant distinction, so that
fashionable ladies had adopted the style of her stage dresses, and duels
were fought by the young "bucks" and "swells" of the time over the right
to escort her to her carriage. The bitterness with which Cuzzoni hated
Faustina was aggravated by the fact that the latter, in addition to her
great ability as a singer, was younger, far more beautiful, and of most
fascinating and amiable manner. Handel and the directors of the King's
theatre were in ecstasies that they had secured two such exquisite
singers; but their joy was destined to receive a sudden check in the
bitter squabbles which speedily arose. Indeed, the two singers did not
meet in battle for the first time, for seven years before they had
been rival candidates for favor in Italy. Faustina Bordoni possessed
remarkable beauty of figure and face, an expression full of fire and
intelligence, to which she united tact, amiability, and prudence. As
singers the rivals were nearly equal; for Faustina, while surpassing the
Cuzzoni in power of execution, had not the command of expression which
made the latter's art so pathetic and touching. Dr. Barney, the musical
historian, and father of Madame d'Arblay, describes Cuzzoni in these