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Rh in rendering him homage. Goethe admired him, and Herder devoted a chapter to him in his Adrastea of 1802. The wars of Independence gave an access of favour to the oratorio of freedom, to Judas Maccabæus.

With romanticism the feeling for the genius of Handel was lost. Berlioz, who, if he had but known him truly, and had found a model for that grand popular style which he sought, never understood him. Of all other musicians, those who approached to the spirit of Handel nearest were Schumann and Liszt, but they were exceptional in the lucidity of their perception, and their generous sympathies. It might be said that Handel's art, distorted by the editions and false renderings quite as much those in Germany as the ridiculously colossal representations in England would have been completely lost except for the foundation in 1856 of the Handel Society, which devoted itself to the object of publishing an exact and complete edition of the