by him with certain reminiscences, one of which was unknown to Mainwaring.
According to this anecdote, recorded by Hawkins, the reconciliation with
George I was due to the violinist Geminiani, who had composed a set of
sonatas dedicated to Baron Kielmansegge; Geminiani was a notoriously
difficult player to accompany, and insisted on Handel, and no other, taking
the harpsichord when he went to play the sonatas to the King.

Mr. Flower, in his life of Handel, refuses all credit to Mainwaring's
well-known tale, and takes the view that the King never had any quarrel
with Handel at all. In any case it seems certain that he confirmed the
pension granted to him by Queen Anne, and added a further L200 a year of
his own. A few years later, Handel received yet another L200 a year--from
Caroline of Ansbach, now Princess of Wales, for teaching her daughters the
harpsichord, so that he enjoyed a settled income of L600 a year for the
rest of his life.

_Amadigi_, produced May 25, 1715, did not have many performances, as the
season ended on July 9, but it attracted considerable attention, partly
because that old favourite, Nicolini, sang in it again, and also on account
of its elaborate staging. "There is more enchantment and machinery in this
opera," says Dr. Burney, "than I have ever found to be announced in any
other musical drama performed in England."

During the following season, which did not begin until February 1716, both
_Rinaldo_ and _Amadigi_ were revived, but Handel produced no new opera. The
King seems to have wished to see Nicolini in his older parts; _Pyrrhus and
Demetrius_ was revived, as well as other operas of the days before Handel's
first arrival in England. In July, at the end of the season, George I
returned to Hanover, where he remained until the end of the year. Handel
accompanied him, but seems to have had freedom to travel, for he visited