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HAN the title of which has since been modified into the Royal Society of Musicians. In several successive donations, and in his bequest of £1000, Handel was an enormous benefactor to the society. Handel wrote several minor pieces expressly for public gardens. Tyers, the proprietor of Vauxhall, engaged Roubilliac to make, for erection in the gardens, the full length marble statue of the composer, that is now in the possession of the Sacred Harmonic Society. The inauguration of this statue took place on the 1st of May, 1738, when the music for the evening was selected entirely from Handel's compositions.

This year is rendered especially memorable in Handel's artistic life, by the composition of the oratorio of "Saul," and also of his mighty masterpiece, "Israel in Egypt." "Saul," which is universally known by its dead march for the obsequies of the king, was produced at the king's theatre, January 16, 1739. On the fourth day after the completion of "Saul," October 1, 1738, Handel commenced "Israel in Egypt." It was first performed at the king's theatre, April 4, 1739

Handel's next important production was the Ode for St. Cecilia's day, set to the first of Dryden's two poems for that occasion; this was performed on the 22nd of November at the theatre in Lincoln's Inn Fields, together with his setting of the other ode, "Alexander's Feast." It was now that he produced "L'Allegro, il Penseroso, ed il Moderata," which had been composed in fifteen days. The season of 1740-41 was the last in which Handel had any concern, either as a manager or a composer, in Italian opera. He took the theatre in Lincoln's Inn Fields, and produced there, besides many revivals, two new operas "Imeneo" and "Deidamia." The undertaking was a total failure.

Handel was now invited to Dublin by the duke of Devonshire, then viceroy of Ireland. Preparatory to this visit, as we must suppose, he wrote the oratorio of "Messiah;" and, as he composed "Samson" immediately after he had completed the work upon which, more than all others, his immortality rests, that oratorio was probably also designed for performance in Ireland, had opportunity served for its production.. On the 18th of November Handel arrived in the Irish metropolis, where the cordial welcome he received was such as to compensate him for all his London vexations. He gave his first performance of a series of six on the 23rd of December, which consisted of "L'Allegro" and other instrumental pieces. His complete success induced the announcement of a second series, in the course of which he brought out, as a serenata, an English version of the last but one of his Italian operas, under the name of "Hymen." Besides these twelve he gave yet a supplemental performance of "Esther," and it was probably the success of these that delayed the production of the new oratorio. "Messiah" was first performed for a charitable benefit on the 13th of April, 1742—a day for ever signalized in the history of music. The success of the work was complete, and its repetition on the occasion of Handel's farewell in August was not less attractive than its original performance. "Messiah" was given in London on the 23rd of March, 1743, when its title was suppressed, and it was announced as "A new Sacred Oratorio." The "Sacred Oratorio' was unsuccessful in London, and was this year but once repeated. In the following year it was not played, but in 1745 it was again twice given. It was then laid aside for five years, to be reproduced with its original name on the 11th of April, 1750, when its reception was such as to fix it eternally in men's admiration On the 1st of May following Handel gave a performance of this work in the chapel of the Foundling hospital for the benefit of the charity, when he opened the organ which he presented to the institution.

In 1743 Handel took Covent Garden theatre for a series of subscription performances. These were opened with "Samson," which had considerable success. Handel had drawn new youth from the true Irish warmth of his Dublin reception, and began this season to trust alone to his English claims on English sympathy, composing only to English words. From this year until that of his death he gave annually his performances during Lent. In June, 1743, he wrote "Semele," and in August "Joseph and his Brethren," both of which were produced at Covent Garden during the ensuing Lent. Between the composition of these two works, the "Te Deum" was written for the victory of Dettingen, which was performed at the chapel royal on the 27th of November, In the early autumn of 1741, the time of year at which his imagination was generally the most fruitful, Handel wrote "Hercules." Immediately afterwards he composed the oratorio of "Belshazzar." "Hercules" was produced in January, and an oratorio in the Lent of 1745, first announced as Belteshazzar, but its title was changed prior to the performance. The success of both was indifferent. Handel had announced a, series of twenty-four subscription performances, extending through the winter of 1744-45, at the king's theatre, but they were so ill attended that he was compelled to close the series on the sixteenth night. This failure more than exhausted the profits of Handel's visit to Ireland, obliging him a second time to suspend his payments, and to obtain license from his creditors. At the beginning of 1746 the "Occasional Oratorio" was put together, for a series of performances at Covent Garden. The final victory of Culloden was a national event for Handel to celebrate. Handel chose the subject of "Judas Maccabeus" for this purpose. This oratorio was composed between the 9th of July and the 11th of August, 1746, and performed on the 1st of April following. The noble chorus, "See the conquering hero comes," which now forms a part of this oratorio, was introduced into it two years after its first performance—the chorus having been written for "Joshua," which was brought out in the interim. Between the beginning of June and the end of August, 1747, the oratorios of "Alexander Balus" and "Joshua," were both composed; and these were performed in the course of the following Lent. In the May and June of the next year, Handel wrote "Solomon;" and in the July and August "Susannah." The two oratorios were performed in the Lent of 1749. The treaty of Aix-la-Chapelle in 1748 was the occasion of Handel's producing some music for Vauxhall garden, which was extremely popular, and which, performed at the Foundling hospital, was of great advantage to the institution. Two compositions were the produce of the summer of 1749—"Alcestis," an English opera, and the oratorio of "Theodora."

Handel had now amassed a third fortune. The infirmities of age were advancing upon him; worst of all of which was the failure of sight. He resolved on visiting his native country once more before his death; and, preparatory to this journey, he made his will. At some time prior he had presented Smith, his treasurer, with £1000; and now he inserted his name in his testament for a legacy of £500, with the additional bequest of the harpsichord and organ on which he used to play, and of the original manuscripts of his works. Immediately after the execution of this deed, which is dated June 1, 1750, the veteran master seems to have started on his journey. Before the end of the month Handel wrote in a single week the interlude of the "Choice of Hercules," incorporating several pieces from "Alcestis." On his way back to London, between Haarlem and the Hague, he had a fall, from which he experienced some temporary injury. The year 1751 is rendered peculiarly interesting by the composition of "Jephtha," the last work Handel wrote with his own hand. "Jephtha" was produced in 1752, and in this year Handel succeeded to his mother's heritage of total blindness. He now amused his hours of helpless idleness with dreams of his earthly immortality; and this he thought he would best secure by depositing his MSS. in the Bodleian library at Oxford. He therefore requested the elder Smith to forego the bequest which he had made him of these, and offered him as an indemnification £3000. This equivalent was refused, and the composer, touched by so genuine a proof of his friend's devotion, made a codicil to his will in August, 1756, in which he inserted an additional legacy of £1500 to his staunch admirer. It must have been after this interchange of generosity that the two friends went together to Tunbridge, and there had a violent quarrel. So violent was it, and so implacable was Handel's resentment, that no appeal of Smith could bring him to a reconciliation. For the oratorio season of 1757, Handel remodelled his Roman work, "Il Trionfo;" in the English, "Triumph of Time and Truth." The younger Smith officiated as his amanuensis, writing down this work from his dictation. In the following year Smith's services were again exercised in noting down the song, "Wise men flattering," and the duet and chorus, "Sion now her head," for introduction in "Judas Maccabeus"—the latter of which is said to be the very last composition of Handel. Towards the end of March in 1759, Handel and his old friend Smith, by means of the son, were finally reconciled. A fortnight after this, on the 6th of April, "Messiah" was given as the final performance of the season, Handel presiding as usual at the organ. It was Handel's earnest desire that he might die on Good Friday, hoping thus that he might rise