"Soliman the Magnificent" is evidently resolved to do justice to
his title on this occasion with his carefully-powdered wig, frills,
maroon-colored coat, and buckled shoes; and as he makes his progress up
the room, the company draw aside for him to reach his favorite seat near
Handel. A trio of Corelli's is gone through; then Madame Cuzzoni sings
Handel's last new air; Dr. Pepusch takes his turn at the harpsichord;
another trio of Hasse, or a solo on the violin by Bannister; a selection
on the organ from Mr. Handel's new oratorio; and then the day's
programme is over.

Dukes, duchesses, wits and philosophers, poets and musicians, make their
way down the satirized stairs to go, some in carriages, some in chairs,
some on foot, to their own palaces, houses, or lodgings.


III.

We do not now think of Handel in connection with the opera. To the
modern mind he is so linked to the oratorio, of which he was the father
and the consummate master, that his operas are curiosities but little
known except to musical antiquaries. Yet some of the airs from the
Handel operas are still cherished by singers as among the most beautiful
songs known to the concert-stage.

In 1720 Handel was engaged by a party of noblemen, headed by his Grace
of Chandos, to compose operas for the Royal Academy of Music at the
Haymarket. An attempt had been made to put this institution on a firm
foundation by a subscription of £50,000, and it was opened on May 2d
with a full company of singers engaged by Handel. In the course of eight