At Duesseldorf, Handel was sure of a warm welcome, for the Elector Johann
Wilhelm was a close friend of Steffani, and his wife was a sister of
Ferdinand and Gian Gastone de' Medici; he was a man of extravagant tastes,
and his opera-house was maintained on the most magnificent scale. But
Handel did not stay there long; England was a greater attraction, and he
arrived in London for the first time in the autumn of 1710.

Nothing is known of Handel's early days in London, but it may be safely
assumed that he was provided with letters of introduction to persons
of influence. We meet him first in the company of Heidegger, a Swiss
adventurer who achieved notoriety through his incredible ugliness, and from
1709 onwards was concerned in the management of the opera at the Queen's
Theatre in the Haymarket. Through Heidegger, Handel was introduced to Mary
Granville, then a little girl of ten, whom he delighted by his performance
on her own spinet. Her uncle, Sir John Stanley, asked her if she thought
she should ever play as well as Mr. Handel. "If I did not think I should,"
she cried, "I would burn my instrument!" Mary Granville, who, seven years
later, married a Mr. Pendarves, and in 1743 became the wife of Dr. Delany,
was for many years one of Handel's most faithful friends and supporters.

In the reign of Queen Anne the musical life of London was developing in a
new fashion as compared with what it was in the last twenty years of the
previous century. The type of English opera which Purcell and Dryden
had created came to an end with Purcell's death in 1695. Italian music,
especially when sung by Italian singers, was gradually becoming more and
more popular with London concert-audiences, and in 1705 Thomas Clayton
produced at Drury Lane an opera called _Arsinoe, Queen of Cyprus_. Clayton
had visited Italy, and had brought back with him a collection of Italian
songs; he got Peter Motteux to translate for him an old Italian opera
libretto, and adapted these songs to it. How much of _Arsinoe_ was