Music, it seems, is an attainment denied to 'well-directed perseverance, and dependent, in a great measure, on certain original qualities, which are not to be acquired; but still application in the case of those on whom the precious gift has been bestowed is not, on that account, by any means unnecessary.

George Frederick Handel was, perhaps, the greatest melodist and musical composer whom Providence has ever endowed with talents to delight and enrapture his fellow-creatures. His works, as has been remarked, are so numerous and different in their kind as to elude all save general criticism; but certainly it is impossible to listen to them without experiencing emotions of the most exquisite kind.

He was horn at Halle, in Upper Saxony, on the 24th of February, 1684; and almost in infancy dis-played his wonderful taste and extraordinary capacity for music. Michael Kelly relates of himself, with his usual richness of humour, that when three years old he was accustomed to he placed on his father's table, along with the wine, to sing for the entertainment of his guests, and was thus led to cultivate the talent with which nature had blessed him; but Handel's sublime genius had no such encouragement. That—

"Music hath charms to soothe a savage breast, To soften rocks, or bend a knotted oak," would probably and naturally have been pleaded in vain to his father, an eminent physician, who was anxious to bring up his son to the profession of the law. At all events, he showed no sympathy with the enthusiastic boy's innate passion. On the contrary, he endeavoured to repress it by every means in his power—especially by sending everything in the shape of a musical instrument out of the house. Young Handel's potent genius was not, however, to be thus baffled or subdued. He enlisted the aid of a trusty servant, with whose assistance he continued to indulge and delight in his musical prepossessions.

At the top of the house was a solitary garret, which became the scene of his juvenile efforts. There he kept a small clarichord, an instrument in the form of a spinet, with strings so covered with little pieces of cloth as to deaden or soften the sound Upon this he carefully and industriously practised every evening, after the other members of the family had betaken themselves to repose. Thus he became a proficient in harmony, without the advantage of any instruction whatever. For years he carried on this system; and the extent of his accomplishments was first brought to light by his strong and absorbing interest in music and musical instruments.

An elder brother being in the household of the Prince of Saxe-Weissenfels, Handel was, at the age of seven, taken by his father on a visit to the ducal palace. While wandering through the apartments, he could not withstand the temptation of touching with his fingers the notes of the harpsichord, the very sight of which had an irresistible fascination for him. Happening to arrive at the royal chapel just as the service was concluding, he stole into it unperceived, and commenced playing upon the organ. The rich, sounds he drew from its notes came just in time to reach the ears of the prince, as he was ceremoniously retiring; and he immediately inquired who was playing. Handel's brother being in attendance on the occasion, turned back to ascertain; and finding, with surprise, who the person was, communicated the intelligence to his master, adding that the performer was only seven years old The prince then requested, that both father and son should be brought to his presence; and the interview resulted in Handel being placed for tuition under the organist of Halle Cathedral. The latter, with creditable discernment, allowed the young musician to form his own style, according to the promptings of his young genius, furnishing him, at the same time, with assistance in every way calcu lated to contribute to his improvement in the science. In this kind of discipline he remained for two years; and so rapid had been his progress, that when that period came to a conclusion he was qualified to officiate, now and then, as organist for his instructor, and occasionally to furnish compositions for the church service. Thus passed the time till he was fourteen.

It was then deemed advisable that he should proceed for further instruction to Berlin, where he was accordingly sent, and there he made the acquaintance of Attilio and Bononcini, who were afterwards his rivals on English ground. The former behaved to the boy with great kindness and encouraging familiarity; but the other assumed towards him a sullen and supercilious bearing.

It must be confessed, however, that Handel had his revenge more than twenty years later, in that great musical contest, in which Handel was declared the victor It was thus alluded to by Swift —

"Compared with Signor Bononcini, Some say that Handel's a mere ninny, Others assert that he to Handel Is scarcely fit to hold a candle.''

The Dean, with his wonted ability and bitterness, adds:—

"Strange, such a difference there should be 'Twixt tweedle-dum and tweedle-dee."

Meantime the King of Prussia treated the young musician with marked attention, often desired to see him at the palace, and kindly expressed a wish to send him to Italy. But Handel thought fit to decline the tempting offer, and returned to his native city. Soon after this his father died, and Handel set off for Hamburg, where he supported himself by the exercise of his musical talents. It was some time, however, before he had a fitting opportunity to display them to full advantage before the public

At length, on the occasion of the first harpsichord-player of the opera being absent, Handel was prevailed upon to perform instead of him, and exhibited his mighty power over a keyed instrument so signally, that he was loudly applauded, and when a vacancy occurred he was at once appointed to the office in preference to the second harpsichord-player. The latter was so vehemently enraged at the circumstance, that one evening, taking Handel out of the orchestra, he drew his sword, and attempted with one thrust to put a period to the existence of his successful rival. Handel's life was providentially saved by the weapon breaking against a metal button on his coat; and from that date he had the entire management and control of the performance. He shortly after, with great success, brought his first opera, "Almira," upon the stage; it had a run of no less than thirty nights.

On the invitation of the Grand Duke he nest paid a most satisfactory visit to Florence, from which he went to Venice—his reputation steadily increasing. After this he took up his residence under the patronage of the Elector of Hanover, afterwards George the First of England. The latter country he visited in 1710, when he composed the music to "Binaldo" in the short space of a fortnight So rapidly, indeed, did his ideas flow that he hardly gave the author of the play time to write. Two years later he settled in England, and thereby gave great offence to the Elector, who, on ascending the British throne, was with difficulty prevailed upon to receive Handel into favour. The intercession of a German baron, who planned a water excursion, and contrived that the great musician should surprise the royal barge with a piece composed for the purpose, effected a reconciliation; and the famous melodist continued, with brief intervals, to reside in this coun try during the remaining years of his life. His "Messiah" was first produced at Covent Garden in 1741, under the title of "A Sacred Oratorio;" but it was not till the next year that it met with the applause and admiration which it merited.

Handel made his last public appearance in the spring of 1759, and, dying soon after, was buried in Westminster Abbey. A statue of him, graven by the careful and delicate hand of Roubiliac, bears on a scroll the words, "I know that my Redeemer liveth," with the notes to which they are set in his sublime oratorio.